Other Japanese characteristics, including the further use of traditional pentatonic scales, continued to crop up elsewhere in his early works. In the opening bars of "Litany", "for Michael Vyner", a reconstruction from memory by Takemitsu of "Lento in Due Movimenti" (1950; the original score was lost), pentatonicism is clearly visible in the upper voice, which opens the work on an unaccompanied anacrusis. The pitches of the opening melody combine to form the constituent notes of the ascending form of the Japanese "in" scale.