The Adagio falls into the nocturne category, rivaling “Djami” and “Gulistan” for textural detail. What makes it unique from these pieces is a gradual build up to a fortissimo bell-like chorus that resounds almost simultaneously in all pianistic registers, requiring Sorabji to use seven or eight staves, the most used by the composer in all of his compositions. This majestic, discordant interlude returns a second time in a more extended manner.