The reason for this creative hiatus was Pärt's realization that his musical compositional method had been fully developed.

The only major piece he decided to work on was the third symphony, which came about right before the creation of his unique tintinnabular style.

During the years between 1968 and the creation of both Fratres and Tabula Rasa, Pärt delved into Gregorian chant, early polyphonic music and polyphony from the Renaissance period, from which he found much inspiration for this symphony.

He uses harmonic and melodic material that attempts to resemble choir music from the 14th and 15th century, even though no quotations are used anywhere in the piece.

[3] The symphony starts with a slow melody played by both oboes and clarinets and swiftly modulates to G-sharp minor.