
This collection consists of twelve distinct and accessible miniatures, each exploring non-standard, sequential harmonic solutions. The compositional approach varies across the pieces: in some, the melody was written first and then harmonized; in others, the harmonic structure came first, with chords—arising naturally from this sequential system—expressed as arpeggios and assembled into progressions. In certain cases, melodic lines were derived directly from selected chord tones.
A defining feature of the cycle is the consistent application of a specific harmonic method. While still rooted in traditional key centers, this method departs from the standard tertian (third-based) system of chord building. Instead, it offers an alternative yet internally coherent approach to harmony.
Notably, whereas the conventional tertian system produces open-ended sequences, some of the harmonic sequences used here form closed systems—that is, they generate a limited, self-contained set of pitches. This creates a unique sense of structure and closure within certain pieces.