“Oblivion” was composed around a few central ideas surrounding tempo and timbre. The composition experiments with an auditory tempo illusion created by accelerating or decelerating trills. Sometimes these resulting layers of tempos deviate from the original tempi. Meanwhile, the overtones from the steel metallophones are quite different from the harmonic overtone series produced by the strings. The fundamental melody is often doubled and sometimes tripled by this combination of overtones to enrich the timbral aspect of the work.