Two main ideas underlie the composition of my Cinq miniatures for saxophone quartet. The first is the introduction of polyrhythmic textures based on a principle of decentralized tempi, where each voice is in temporal relation only to another, and no longer to a main tempo, with the aim of generalizing polyphonic independence. The second idea relates to the use of a limited number of objects - or sound figures - that recur each time altered, condensed or stretched, so as to produce a kind of miniature labyrinth where each motif conceals the potential for mnemonic reference to others, depending on the "point of view" adopted.