Bach, J.S.: The Art of the Fugue All fourteen of Bach's Contrapuncti in "The Art of the Fugue" are built upon the same, stark four-note d-minor d-a-f-d subject; In order to give them personality and individuality, the composer had to infuse each with subtle variations and modifications as the theme is handed around between the voices and registers, repeated, folded back into itself with mathematical precision. The audible manifestations of a fractal, really: Open scoring as a direct equivalent to layering; and the motions from theme to variation even called "gradients" by professionals. And the achievement in it is really the way in which the fugal structure of all the pieces together reveals the theme that was cleverly concealed in each of the pieces. Since Bach left no indication as to instrumentation, many different arrangements have been tried sucessfully in the past: beyond the time-honored organ and harpischord, there exist arrangements for piano, recorders, string and saxophone quartets, even for small orchestras, brass bands, and modern ensembles with percussion sections. What could be more natural than to attempt a score "for Fractal Generator with Tongue in Cheek" - the large spheres representing the theme, the smaller ones reflecting (on) it, modifying it, generating a structure that is at the suface composed of discrete notes, but constitutes a continuous whole in the end.