Op. 9 contends with processes whose underlying symmetries translate to distinctive musical and temporal gestures. The pervasive polyrhythmic hocketing and various “loop” repetitions and returns demarcate two of the most common groups of gestures. At the same time, there exists a related surface interaction among recognizable musical shapes, repeated melodic fragments, ostinati, preponderance of quarter-tone intervals, adaptation of local soundscape ecologies, and momentary allusions. Ultimately, their interaction highlights a desire for asymmetric and playful musical variations.