Satie (aged 48) states in the preface that he dedicates this three-part work, "Heures séculaires et instantanées" (Secular and Instantaneous Hours), to William Grant-Plumot and Louis XI, who surprised him. It is composed with poems, employing Satie's unique expressive methods from his perspective, regarding the earth, nature, races, colors, and the time of centuries and moments. Furthermore, Satie included the following warning to performers: "I forbid anyone to read aloud this text during the performance of the music. Any act violating this instruction will incur the wrath of my justice for such an impious attitude. No exceptions are allowed."

The First Piece: "Malicious Obstructionist"

This piece has neither time signature nor key. It begins in the low register. The notation in the middle section, representing "hours" and "minutes," is interesting. The illusion of time being carved throughout the piece might stem from the accents, staccatos, and the notation of quarter notes and eighth notes. Clear motifs form a natural flow.

The Second Piece: "Morning Twilight"

This piece concerns the existence of the sun related to centuries and the sun that is currently rising. It has neither time signature nor key. Double sharps are used, perhaps to represent the burning hot sun. Various motifs are suddenly combined.

The Third Piece: "Granitic Frenzy"

This piece also features an interesting method of expressing "time." The use of contrapuntal notation and the ascending progression of the same note played twice in succession evokes the sound of a clock's second hand. Furthermore, in the notation representing "13 o'clock," a brilliant expressive method is used: a right-hand triad resonates, followed by 13 quarter notes struck. One wonders if understanding comes from reading the poem, or if Satie intended it to be understood without reading the poem. If the poem were as clear as in "Sports et divertissements," the image would come simultaneously; more precisely, the picture would come first. The picture would transcend the music. However, in this piece, while the musical figures expressing "time" are clearly audible and discernible as central, the accompanying poem seems to be so deeply immersed in Satie's world that it is quite difficult to derive an image from it.