Perimeter (1996)

for percussion trio

Duration: 8'

Score and parts available from the composer

When composing my first percussion ensemble piece, Perimeter, I was the proverbial kid-in-a-candy-store… so many instruments to choose from!  In order to experiment with as many sounds as possible while avoiding a chaotic free-for-all, I decided to use different groups of instruments to help define the structure of the work overall.  Four distinct percussion sounds were identified:

    A = pitched percussion (marimba, vibraphone, xylophone)
    B = non-pitched drums (tom-toms, bass drum)
    C = other non-pitched percussion (wood blocks, cymbals, claves, tambourine, triangle)
    D = pitched drums (timpani)

These distinct sound worlds were organized into an arch form:  A  B  C  D  C  B  A.  After the central timpani solo (D), the piece essentially reverses itself.  The work’s title refers to the fact that all material is in some way derived from the outer (A) sections (the work’s perimeter).

Perimeter: