I composed Increase, Decrease, Full, and Empty at the end of a year spent analyzing the orchestral music of Morton Feldman and Edgard Varèse. I sought to explore my own ideas about orchestration, accumulated during this period of analysis. Not having access to an orchestra, I staged my journey within the realm of synthetic sounds, aiming to treat collections of synthesizer patches as sections of an orchestra. The piece is characterized by slowly shifting layers of erratic, synthesized textures placed in juxtaposed illusory spaces.
The piece was composed using the Doepfer A-100 modular system.