During his time in New York City between 1924 and 1928, Chávez acquired a taste for the then-fashionable abstract and quasi-scientific music, as is reflected in the titles of many of his compositions written between 1923 and 1934: for piano (Polygons, 1923), for voice and piano (Hexagons, 1924), "36" for piano (1925), for nine instruments (Energy, 1925), for violin and piano (Spiral, 1934), and an unfinished orchestral score titled (Pyramids).