While exploring the impact of Islamic and Western art in Azerbaijani classical music, I discovered considerable shared traits with national oral traditions, architecture and carpet-making. The character of symmetry and repetition in these crafts offer possibilities of infinite expansion. What are the limits of ornamentation in music for classical pianists? Can it be infinite in its concept and expand through improvisation? My researched ideas during the doctoral studies opened a world of new musical possibilities, including the integration of mugham into Bach’s music. Mugham is the foundation of Azerbaijani classical music traditions. As a highly-embellished genre, mugham consists of improvised melodic patterns explored throughout repeated sections within a composition. The frame surrounding a pattern appears to be important and provides a unit from which the rest of the design is projected. These combinations of elements have also shaped and enriched the decorative embroidery called arabesque patterns. The transposition of mugham and Bach’s original text relies on my personal interpretational sense of balance and spontaneity. I studied and re-arranged different, symmetrical and asymmetrical patterns of each unit and then contemplated it within unified musical flow.