Schlagzeug (Concert Series: Spheric Interludes SCi-Fi-Dance für Solotanz )

I. phase for vibraphone and organ

The composition combines the sacred organ with the sounds of vibraphone, aerophone meets metallophone. In order to strengthen the room in the church with phase shifts, the vibraphone should be played in the choir room. The room acoustics shift the shared arsis. Because the organist begins with the phase, the vibraphone comes into music-making in bar 5, a few bars later the phase is shifted further and further.

Ideally, the organ console should be in the choir so that the audience can experience an optical movement on three levels between the vibraphonist, organist and dancer:

Organist moves hands, arms, legs in the game

Vibraphonist moves hands, arms, legs in play (dampening with vibraphone)

Dancer moves hands, arms, legs - holistically in SCi-Fi-Dance

I imagine a wall of shadows where the dancer, lit from behind, draws her dance in the phase.

The dancer in 9/8 rhythm - alternating between flowing and articulated.

II. Phase for RAV Vast and organ

It may be necessary to mike the RAV Vast. Be sure to play with RAV Vast Combi Sticks rubber head yellow. Put the RAV Vast on a three-legged stool (like when camping).

The dancer moves out of the shadow wall, working with a fog machine. Light effects as desired. Rather flowing movements of the dance.

III. Phase for marimbaphone and organ

Play accented notes with awareness of the listed articulation. Pay attention to the cantus firmus.

The dancer moves to ecstasy, very pulsating and caught in the rhythmic phase corset of the third phase.

In the last bar to the last beat in the FREEZE pause as with the jumping jack and as soon as the fermata has ended, fall into the child's position (yoga).