Depending on where you strike a steelpan note, you will get a range of timbres including a punchy fundamental, a rich overtone wash, and a tone similar to a gong. I wanted to compose a study with these tonal colors and take on a few compositional challenges. I avoided a programmatic subject, something I typically rely upon to direct the development of my pieces. I also explored the relationship between the composer and the performer by giving the performer greater control over elements of the piece. This led to a form with alternations between free time sections, in which the performer sustains tones and decides the pace of the piece, and sections with defined tempos, which are rhythmically driving and provide a counterpoint to the free time sections. The morphic nature of the tone, the lack of a programmatic subject, the blurring of creative roles, and the expectation to continue this exploration in other pieces led to the name Impression No. 1.