“ As I said, I wrote a short thesis on it before I began “Le Nocturne De Lumiere,” which is really a proof of concept that this idea of in position or morphing of meter is not only something evocative and cool sounding—it morphs in the song from 4/4 to 6/8 in the second movement—but also, it’s actually something new. There’s a new area of rhythm between meters. I could say, “What’s between 4/4 and 5/4,” and you’d say, “Well, 9/8.” And yeah, 9/8 is between 4/4 and 5/4, but what’s between 4/4 and 9/8 or 9/8 and 5/4, and what if we’re interpolating between 4/4 and 5/4 over a period of time, and what if that interpolation is non-linear?
