The composition of this concertino, originally for tuba and piano, and graciously commissioned by tubist Elizabeth Beaulieu, was influenced by a conglomeration of varied factors. The primary, as one might derive, is based on the number 9 and its multiples, divisions, and combinations. This led to experimentations compounding duple and triple meters, and the colorful rhythms that could be developed therein. A secondary and significant influence within the composition is minimalism. I used a personal interpretation of minimalism that strongly focuses on rhythmic and (even more so) tonal dynamicism. The entire work exists in a quasi Stravinsky environment: fragments of the complete melodic idea act as cells that continually appear and grow longer and fuller each time until the idea is either completely fulfilled or left in ambiguity (my personal expression of the way in which my mind handles “sticky” and persistent ideas). It is my hope that these varied imaginings all find powerful and significant ways of coexisting together in an environment incessantly motivated by color and texture.