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Rehearsal numbers and instruments:

A - temple blocks, drums (skin)

B - metal instruments with elements of skin from ‘A’-section

C - timpani

D - gongs

E - come-back of the temple blocks, bridge to beginning

F - Chinese gong-pulse, temple blocks

G - all, especially skin- field-drum with snares

Finally in ‘D’, accents show the change from one to another speed-ratio.

The ratio of 6:6:2:2:2:3:3 also shows up within the units of rehearsal numbers A, B, C etc. ‘B’ opens with a cow-bell which appears with single strikes at points of the ratio.
The complete final section from ‘G’ with all its brutal changes is written strictly according to the main ratio.

or

Because of tempo changes, figure ‘C’ starts at the Golden Section instead of halfway of the composition.

For one percussion player.

April-May, 2000

Duration ca. 7

Basic rhythm:

Corresponding with the ratio of

This ratio forms the basis of the rhythm, the detailed as well as larger form and of the total shape of the work.

Form overview

rehearsal numbers:

length:

tempo:

Another basic idea of the composition is the one of beat phasing (explained in the first few bars of the piece). Two almost-synchronised pulses are shifting away and towards each other as if two metronomes are set just with a minimum of difference in tempo (in rehearsal number ‘A’ this becomes clear in the two temple blocks). In rehearsal number ‘A’ they join together after every three and a half bar.
The same idea is used to modify the rhythm. In rehearsal number ‘A’ the tom-toms play a juxtaposed version of two basic rhythms in different tempos, namely 4:5 as follows:

The lower one is a stretched-out version of the upper basic rhythm. They get together again after ten bars. The bongo’s play the same principle but twice as fast, set in a cut up fashion against the tom-toms.