CLOUDS OVER CALVARY
FOR PERCUSSION SEXTET
CLOUDS OVER CALVARY
FOR PERCUSSION SEXTET
Assuredly, I say to you, today you will be with Me in Paradise.
– Luke 23:14
Clouds Over Calvary is the fourth movement of The Blind Discuss Color for percussion ensemble. It consists of oscillators, melodicas, harmonicas, energy chimes, and glockenspiels.
Assuredly, I say to you, today you will be with Me in Paradise.
– Luke 23:14
Clouds Over Calvary is the fourth movement of The Blind Discuss Color for percussion ensemble. It consists of oscillators, melodicas, harmonicas, energy chimes, and glockenspiels.
TEN THOUSAND TIMES
TEN THOUSAND
FOR THREE OR MORE PERCUSSIONISTS
As I looked, thrones were placed,
and the Ancient of Days took his seat;
his clothing was white as snow,
and the hair of his head like pure wool;
his throne was fiery flames;
its wheels were burning fire.
A stream of fire issued
and came out from before him;
a thousand thousands served him,
and ten thousand times ten thousand stood before him;
the court sat in judgment,
and the books were opened.
– Daniel 7:9-10
Ten Thousand Times Ten Thousand is a movement from The Blind Discuss Color, a collection of
compositions for spatialized percussion ensemble that incorporates an array of resonating
metals, harmonicas, melodicas, oscillators, woodblocks, vibrators, and various other instruments
and implements. This movement focuses primarily on orchestral triangles, colliding with sine
wave oscillators to create shimmering colors of overtones and difference tones in a dimensional
chorus, along with the melodic element of “energy chimes” (small cylindrical tuned metal bars,
sometimes used in music therapy).
Each triangle is struck with light, heavy, and rubber-covered beaters, in addition to "angel" tuning
forks that produce very high frequencies (≈4000-4200 Hz). “Bullet”-style vibrators (small, plastic
sex toy vibrators) and string instrument bows are also utilized to stimulate triangle resonance
without a discernable attack.
Movements of The Blind Discuss Color are composed in such a way that a conductor or click
track are not required, or even the necessity for musicians to see each other; instead, they are able
to follow each other via aural cues. This allows performers to be arranged throughout the
performance space and in some cases in near-dark, creating a sonic sculpture that envelops the
audience.