As a body of repertoire, these works are remarkable for their freshness of musical thought and energy (John Cage considered Wolff to be the most 'musical' of the experimental composers).
Wolff uniquely blends experimental concerns with classical tendencies. In these pieces not only are older composers referenced (Ives, Schumann) but Wolff's love of clarity of line and transparency of texture betrays an empathy with Webern, Haydn and Bach. This aesthetic is, however, combined with a tendency toward discontinuity and fragmentation, isolated sounds and silence, and, perhaps most significantly, indeterminacy of notation.
Notational techniques which appear in some or all of the works featured here include: 'tablature' notations which prescribe which fingers to play but not which notes; notes without specified duration; notes which may be played in any clef and octave; the omission of any indications as to tempo, dynamics and articulation; and Wolff's characteristic 'wedge', which means a pause or breath of any length.