This piece obeys the use of a material of a markedly linear and counterpoint character that will be decisive in the later production of the author.
The Noniga material consists of a canon built on a flow of short notes that must be interpreted with great speed and fill a very closed intervallic space and that are losing a note to each new repetition. The retrograde strategy gives formal coherence to the first part of the composition.
The second part presents a fugue on a more relaxed theme that contains the twelve notes in the manner of a dodecaphonic series. Later the canon returns and compete with the fugue again until the end of the work.
There are several versions of this composition depending on its instrumentation. The first was written in 1987 for clarinet, bassoon and piano, but there is a version for clarinet, cello and piano and two more versions for clarinet, viola and piano and for flute, bass clarinet and piano.