The work contains timbres and sonorities that act upon each other through juxtaposition and blend. Even with limited instrumentation, Messiaen' 5 pieces depict the spectrum of timbre. Striking intervals in which overtones conflict and adapt are a result of his harmonic writing. Notes and tonal centers are often treated as dabbles of paint, as specific pitches held intrinsic qualities to the composer. Following the music on a tonal instead of harmonic basis shows his formalization.
Melodies often propagate themselves, each successive return goes on longer with the same material.
In this sense, the music spins out through time. Rhythmically, there is little that can be settled into, for change comes before it is ready. The alternative is stately tempos which draw on the infinite. There is no moderato in this music. The quartet was written during Messian's imprisonment as a soldier of war at Gorlitz in Silesia.