There is a corner of the Temple of Heaven Park in Beijing where old men congregate to play erhu; passersby often stop to sing along. These musicians aren't getting together to play with each other, or to play the same melody. Instead they play by themselves, together. The result is a rich cacophony from which fragments of melody sometimes emerge. When I sat down to compose something based on this experience, it dawned on me that both the violin and erhu are tuned in fifths and played with a bow; while the erhu has two strings (hence its name), the violin has four. Consequently, I thought one violin could represent several erhu and recreate the marvelous sound that drew me in that summer morning from another corner of the park.