此曲中，薩克斯風成為兩個極端之間不斷鬥爭的陪襯。一方面，緊湊的微調旋律線在極其狹窄的空間中發展，似乎正在推動越來越深的壓縮和精細度；另一方面，具有極大間隔跳躍的跳躍旋律線，跨越樂器全音域。最終，強烈壓縮和謹慎裁量的衝動與邊界拉伸的第二種素材發生碰撞，導致音樂立即霧化和充滿高度活力，顆粒感也變得越來越細，直到一根桿子變得越來越突出，將音樂帶回它最始的壓縮狀態。

The title of this piece refers to Robert Hooke’s pioneering book of 1665 consisting of drawings of various microscopic objects, greatly magnified and rendered in extreme detail. The word is also used to describe an unusual condition related to Parkinson’s disesase which results in excessively cramped and tiny handwriting.

In Micrographia, the saxophone is made the foil of a constant battle between two extremes: on the one hand, compact microtonal melodic lines unfolding in an extremely constricted space which seem to push toward ever greater compression and fineness; on the other, leaping melismatic lines with extremely large intervallic jumps going across the entire range of the instrument. Eventually, the urge toward intense compression and discretion collides with the boundary-stretching second material, resulting in a music at once atomized and highly energetic, the grain becoming ever finer until a single pole, becoming more and more prominent, brings the music back to its inital compressed state.