1. Day-Dreaming
2. Drawing Circles

The first poem, "Day-Dreaming," begins with slow, broken chords, with an almost modal character (resembling Phrygian at times), capitalizing on the sonorous quality of the bass range of the carillon in particular. The middle section features a rippling pattern in sextuplet eighth notes (but with a repeating pattern of eight pitches, so that each beat of the measure begins at a different point in the pattern). Meanwhile, the pedal part presents the melody of the first section, but harmonized differently. The sextuplet pattern adjusts to the changes in harmony. The final section returns to the tempo of the opening section, but now with more surrounding harmonization, predominantly ascending patterns of parallel thirds. The second poem, "Drawing Circles," is based almost entirely on a short pattern (long-short-short-long) hears at the beginning – a wonderful economy of means. During the course of the piece, the pattern of notes is slowed down, and at other times broken into fragments that turn into figurations. Portions of the piece are written in the octatonic scale, and at other points there are quick shifts of harmonies a tritone apart.

—The GCNA