Written for the Quasar and Stockholm Saxophone Quartets, this piece is something of a musical etude that explores the possibilities of microtonal writing for the saxophone. Rather than the usual division of the whole tone - major second - into two semitones, I have divided the whole tone into as many as eight parts. The musicians are thus asked to play semitones, quarter tones and eighth tones in this work. For me, dividing the pitches down to eighth tones raises interesting questions about intonation vs. timbre / pitch colour: when do we hear two distinct microtonal pitches, and when do we simply hear another colour of the (almost) same pitch? The homogeneous timbre of the saxophone octet intensifies this question, as does the use of some extended techniques such as singing and playing or slow timbral trills.