Tetrahedron is my first composition for full orchestra. The work may be considered as a one-movement symphony. The composition is the result of a musical reflection and search for my personal "beloved harmonies" during one year, which originated from completely intuitive sounds. Just like my former compositions the first sketches were a pure intuitive matter in this piece. Unfortunately this wasn’t enough to achieve a larger compositional entity, which was necessary for a work of this shape.

Later on the intuitively chosen chords could be reduced to four big families of modes, which form the basics of the harmonic structure in the piece, mainly used as harmonic fields. One could speak of four "sound universes", each of them representing a specific sound that is audibly recognizable. This can be compared with the different ‘tonalities’ you hear in tonal music.

Because I wanted to proceed with the evolution of my former compositions, this symphony is also based on musical layers that evolve uninterruptedly and fade in and out with each other. It is obvious that the former harmonies not only occur in a static way, rather appear in a kind of development.

To achieve this, each of the four harmonies ought to be able to transform into one another at any time in the piece. It was essential to establish a permanent interaction between those four elements. Trying to make a visualization of that process, only one (geometrical) figure would fit into that idea: the tetrahedre (or tetrahedron), by coincidence as it happens being a symbol for "harmony" in the antiquity. The tetrahedron is a geometrical figure, consisting of four points in which every point is connected to all the other points. The result is a three-dimensional pyramid with a triangular base.