Low was written for the Plus-Minus Ensemble .

The piece opens with a vicious accelerando, before settling into a somewhat Feldman-esque pointillist world. The initial kernel of an idea came from listening back to some of my earlier pieces, when I began to pick out certain interests and idiosyncrasies that I returned to repeatedly. Two of these particularly stood out: an interest in and general propensity to choose low, rumbly, clusters at the bottom of an ensemble's register, and an interest in constantly shifting tempi.

In this work, constantly shifting does not mean many metric modulations or tempo changes; instead, I am interested in the smooth transitions of ritardandi and accelerandi.

Therefore, this piece is built over a constantly shifting structure. Apart from a brief spell-breaking coda, we are within a ritardando or accelerando at every moment. Sometimes these are clearly audible (particularly when they take place over a short period of time), while sometimes they are totally unidentifiable. Yet they always contribute some kind of slippery element to the music.