Music written by Stephen James Taylor within the paradigm of “Transcendent Tonality”, an emerging term that encompasses microtonality. In this case using a 17 tone per octave scale, unequal, derived from Ervin Wilson”s “Moments of Symmetry” tuning continuum. Underlying meter and rhythms follow same geometry of long and short steps as the consecutive scale intervals themselves. Meter turns out to be in 33/8 time. That’s why the beat turns upside down in unexpected places.