Composed between June and July 1927. Subtitled "Three Plastic Gestures in Sound" (trois gestes plastiques sonores). Dedicated to Alphonse Leduc.

While Leduc refers to the name of France's foremost long-established music publisher, here it denotes the third-generation head of the company (Alphonse Émile Leduc). Leduc, who handled many of Migot's major works for many years, including this one, was a lifelong benefactor to Migot. On the other hand, separate dedications for each movement are also specified, apart from Leduc. This means that a work consisting of three movements has a total of four dedicatees. Migot sometimes set dedications in this dual manner; for example, his representative piano work Le Zodiaque also falls into this category (each movement is dedicated to one of 12 pianists, and a separate dedication for the entire work is also set). The premiere took place on March 5, 1929, at Salle Debussy, performed by Libussé Novak. There is also a string orchestra version by the composer himself.

The work consists of three independent movements: slow, slow, and fast. As the subtitle suggests, the depiction of abstracted bodily expressions is intended. While no specific era or scene is identified, given Migot's constant inspiration from medieval and Renaissance music, there seems to be an underlying tone clearly reminiscent of ancient courtly or chivalric rituals and dance offerings. In this regard, it is interesting that it resonates with Japanese people who have traditions such as Gagaku and Noh, which can be called the epitome of stylistic beauty.

I. Prélude

Dedicated to Georges Truc (composer, conductor, pianist; husband of Lucette Descaves). Allant et coulant (Lively and flowing), 3/4 time. The clear air of early morning on the day of the ceremony, a silence imbued with tension.

II. Salut

A ceremony of presentation to a noble person. Dedicated to Alix Ropper-Soyer. Modéré (Moderately), 4/4 time. It blends abstraction and concreteness by using a tone row derived from the spelling of the real name Alphonse Leduc as its theme.

III. Danse

Dedicated to Marthe Mazo. Rythmé (Rhythmically), 5/4 time. An elegant and dignified performance or martial dance, possibly involving swords or fans. In Japanese terms, it might be akin to the Seigaiha dance.

At the beginning of the second movement, there is an instruction: "l’interprêter plastiquement et hiératiquement" (to interpret plastically and hieratically). In interpreting this work, "plastic" (plastique / plastiquement), common to both the subtitle and the motto of the second movement, becomes a crucial keyword. It is said that the widespread use of "plastic" as a chemical product in our daily lives was triggered by the development of the Military Industry during World War II. In this work, composed before that period, the term plastique is used strictly in its original sense of "plastic" (or "malleable"). It is speculated that the term might have emerged from Migot's interest in and approach to the field of sculpture, given his extensive knowledge of all forms of art and his own painting. In any case, it is not an idea conceived by someone solely dedicated to music. "Plasticity" refers to the creation of visible, tangible objects from intangible ideas. "Malleability" refers to the ease with which something can change shape, and its resistance to returning to its original form. Performers are required to reflect this in their performance.