In 1983, continuing a thread of interweaving music with my tapestries, I wove a new series celebrating the cycle of The Four Seasons. Compared with my complexly structured tapestries in the ‘60s and early’70s, which were woven in counterpoint over a densely textured canvas, I explored, in this series, an area of visual music related to notation on a less modulated and textured surface. As I interwove threads of a melodic line of squares of different sizes, textures and colours to suggest note values and different strands of sounds, I saw movement horizontally and vertically as in the many voices of polyphony. I also aimed to have, within each whole tapestry, a balance of the abstract through visual music, with the concrete through outward forms of trees, flowers and fruit symbolic of growth and development. Visual music as described initially was woven within the central space of a geometrical shape, varying with each season to form a rectangle, circle, ellipse and square, filled with lighter and different colours. The weave became more fused as in the robotlike figures of knights of the ‘Modern Mercies’ panels.