Loosely depicting the composer's take on an out-of-body experience, this advanced work incorporates both voice and percussion and takes listeners on an incredible journey "into the void".
Genre: Percussion Ensemble w/ Choir | # of Players: 4 + Choir
Level: Medium Difficult | Duration: 10:00
Soprano, Alto Soloists
Tuned Whirlies [at least 4] (F5)>
Crotales [low oct.], Glockenspiel
Vibraphone, Chimes, Tuned Whirly (C5)
Tuned Gong (F4), Large Tam-Tam, Suspended Cymbal, Marimba [4.5-octave], Small Chamber Bass Drum or Slightly Muffled Concert Bass Drum
High and Low Triangles, Medium Tam-Tam, Suspended Cymbal, Djembe, Kick Drum, Vibraphone
The text of this piece was composed by Ramille Law:
"Floating in blackness Silence and weightless abyss Goodbye, gravity”
Into the Void loosely depicts my take on an out-of-body experience. It is separated into four sections. The first section sets up the mood of the piece, and it is meant to transform the environment of the stage, performers, and audience. It should give the sense of solidarity and wonder. This section grows until the climax propels the listener into the next section which represents the journey to the void. This section weaves in and out of different tonalities and modes, and there is no true sense of ‘home.’ The listener is taken through new themes and ideas as the words of the text are repeated until a new idea and word are presented. The third, percussion-oriented section appears out of nowhere and suddenly the environment is changed to an ethereal world of awe. The simple melody in the glockenspiel and the driving motor in the vibraphones present a music box effect, but the lack of harmonic changes and lydian mode still keep the music light-hearted and honest. The music builds and grows heavy as the choir takes over in this ethereal section. The voices build and intensify the mood as previous material is repeated in a longer and more massive way. The section climaxes in a huge and resounding swell from the percussion instruments to lead the way into this angelic chorale. This is what I think heaven might sound like. The music perpetuates our perception of time as we are taken from our angelic realm to return home in the fourth section. This final section is the journey from the void to reality. Previous material is used, but the piece takes another turn for an epic coda and slowing ending. The piece ends with the soprano soloist singing the entire haiku, and the listener finally reaches a sense of ‘home.’
This piece is dedicated to Dr. Joe Moore III for all the support and help he has given to me.