In the introduction of the 12-minute work dedicated to Michael Faust, the flute ‘scans’ a striking motif, in the manner of ‘free sound speech’. In the main section, Höller exploits the second meaning of the work’s title, ‘scanning’ the 22-note motif the piece is based on, checking, analysing and dissecting its components for their effectiveness and their potential for development. The rhythmic shape – ie. the arrangement in bars – and the metric processes both originate from the original sound figure, which functions as a cantus firmus underlying the structure of the scores.