Skeiron consists of five Regions, each defined by its own unique harmonic materials and instrumental combination (most marked in the contrast between C flute and bass flute, as well as between metal and wooden percussion). The electronic Interludes consist of sustained sound continua created from manipulated vocal and air sounds; these, initially, are highly static episodes functioning as links between Regions, their microtonal tuning contrasting starkly with the instruments' equal-tempered harmonies. As the work progresses, the electronic and instrumental music increasingly interpenetrate one another, with microtonal intonation introduced into the flute's music in the work's final Region. The title is the name of the ancient Greek deity of the northwest (southeast-blowing) wind, at once a reference to the prevalence of air and wind sounds in the composition (in both flutes and electronics), as well as an allusion to the associations of atmosphere and spaciousness I feel that the work evokes.

The title refers to the family of seabirds comprising the subfamilies of gulls and terns. The movements and sounds of birds are strongly associated, in my mind, with the musical shapes and intertwining lines of this work.