Opening track of the album Kaleidoskop (Quetsch ‘n’ Vibes)
Fraktal unfolds as a large-scale A–B–A form, in which proportional relationships recur on different structural levels.
The A section follows an internal a–b–a design: a major-mode theme contrasted by a minor episode, both shaped as clear eight-bar periods. Even within the smallest accompanimental figures the same principle appears: set in 6/8, the metre divides into two groups of three, reinforcing the idea of structural self-similarity. The concept of the fractal is therefore embedded in the compositional fabric itself.
The piece begins with a mechanical music box, alone. It establishes both the accompanimental pattern and a contrapuntal line that initially functions as thematic material. With the entrance of glockenspiel and array mbira, the principal theme becomes clearly articulated, supported by mbira in a high-register bass function. In the minor section, RAV Vast handpans deepen the texture, and in the returning major section a countermelody in the Styrian accordion expands the layered sound world.
A further a–b–a cycle appears in fuller orchestration: mbira across its complete range, marimba transferring the music box material to the lower register, vibraphone doubling the main melody, and an additional accordion countermelody completing the texture. Through studio overdubs, the orchestration becomes increasingly dense and multi-layered.
The central B section opens a contrasting sound world. While the A section centres around G major (with the minor episode in E minor), the solo section shifts towards G Mixolydian. The marimba provides a rhythmic and harmonic foundation, over which a handpan solo unfolds. A modulation suggests C major; rather than establishing a new tonal centre, it functions as subdominant before guiding the music back toward G.
From this harmonic field emerges a more animated vibraphone solo, expanding the registral space and intensifying the texture. The music gathers momentum into a fully voiced climactic section before dissolving into silence.
From that silence, the music box reappears alone, initiating the reprise. The main theme returns in full orchestration before the texture gradually recedes. The work closes as it began — with the solitary sound of the music box.
The visual concept of the album artwork — inspired by the Sierpinski triangle — mirrors the compositional idea of recurring proportional structures. The presence of the number three resonates throughout: in metre, phrase structure and the trio constellation of Quetsch ‘n’ Vibes.