If the limb of a voice that has fallen behind is finally closed, the software will skip to the highest section currently being used by any other voice. Or, in the example above, the next time the right wrist is closed it will skip ahead to section 5, the section that the right ankle has already reached. But the dancer does not make choices related to melody, harmony or rhythm. This gives the dancer a certain amount of freedom of movement as well as expressive control of the music without requiring excessive concentration on instrumental performance. In the second section, activity of knees, elbows and wrists are mapped to activity of eight voices in a contrapuntal texture of pluck-like sounds.
Activity is defined as the change of angle over a particular period of time.
The computer generates random rhythms in which the number of notes played by each of the eight voices is directly related to the activity of the associated limb. The choice of harmonic material is related to the technique used in the first section, where subsections with different harmonic structures set the harmonic framework for each individual voice and coordinate interplay between voices. This section serves as a transition between the first and third sections. A fixed, regular pulse is set by the computer, and the six voices are always rhythmically synchronized. The dancer controls only the activity of each of the six voices, not the musical material to be played.