My instrument is the traditional cedar flute of my Anishinaabe culture in North America. It has a characteristic sound for not only the soft, porous cedar wood, but also how breath and air pressure (varying the volume) naturally can make a fingered note go flat or sharp (or overblow to higher pitches, as with many different kinds of flutes around the world). I can also with very minimal air on certain fingerings access 'whisper tones' (flageolets), and these are reminiscent of the sounds of water birds far off in the distance on the lake. So when composing this work with the pitch set given to me, I also considered how I can access certain hard to find pitches by playing regular fingered pitches available at a very soft dynamic (and thereby a resultant tuning being about a semitone or so flat). The 'shifting' of tuning is what is inherently characteristic of this instrument and similar to many folk instruments around the world which do the same.