On the eight corners of the cuboid, the key A major was distributed. On its six sides, the 18 instruments were arranged, three on each side. Based on the corners the eight notes converge in the centre of the cuboid: A-A, C#-F#, E-H, G#-D. For the base note A, a whole diagonal of the cuboid is available, for each of the other notes half a diagonal. These diagonals are further partitioned in (using the example of D): D-2, D-1, D1, D2, D3. The three instruments per side of the cuboid are distributed on the unfolded cube in such a way that their positions approximate the plan of the performance. Thereby, one instrument lies on one of the square’s four corners and the other two on the centre of the opposing sides. In the cube (folded again), one instrument is marked by drawing a line from the instrument’s point of origin through a control point, the side’s centre, and from there on to the note the instrument plays and back to the point of origin. If several notes are played by one instrument simultaneously, all notes are traced consecutively before the line is returned to its point of origin. Thus, an area is delineated that describes which instrument plays which note. For a two-dimensional design grid, the pattern was continued on the unfolded cube. As a periodic pattern, it by all means equates to the clear tonal centre and rhythm of the source music. However, here the aspect of iteration and mutation is not present as it is the case with quasicrystals. Though, regarding the sections, this aspect is intended to be produced analogously to the structure of Music for 18 Musicians, in the construction of different applications with and on this grid.
The bars of section 3A are thus literally frozen to a crystalline form. In the 3D program Rhino, the three-dimensional grid was used as a base framework for the object design of the first 15 bars. The crystals where then printed in Ultrafrosted Detail by the Holland-based «Shapeways – 3D-Printing-Community». The slightly transparent crystals are put on display on a light box with the correspondent section of the score of that instrument, which occupies the front tip of the crystal. The crystals could be turned and another instrumental track added.