In this piece, the selection of sounds, rhythm, and parameters for sound processing are based on the movement of particle images, a technique used in 3D graphics. Regarding the piano performance sections, the movement of particles is converted into MIDI note numbers (pitch), velocity (dynamics), and duration, which are then notated. One part is performed by the player, and the other is automatically played by a MIDI piano. For sound processing, the piano sounds played in real-time are used to create filter, delay, pitch change, and loop effects based on the converted numerical values of the particle movements. These are reproduced by contact speakers installed inside the piano and 2-channel PA speakers. The composition consists of seven sections.

  The concept of this piece revolves around the act of transforming scientific numerical values into sound, which is one of the common themes in most computer music, and what it means to experience this. The reason for using particles this time is the idea that something inexplicable yet part of everyday life, such as gravity, might allow us to imagine the relationships between sounds. I believe that something can be felt from the serious act of performance and the reproduced sound, through the generated score, which depicts how gravity within the movement of particles relates to the progression from sound masses to developing scales, and how this relationship might be reduced to extremely small elements (at the level of finger articulation). This is the third work in a series of attempts to perform a piano duet, one of the traditional cultures of piano music, with two hands (+α) involving both human and non-human elements.