Twisted Metal
for large percussion ensemble
Twisted Metal manifested itself from my long held intrigue of playing two keyboard percussion instruments simultaneously. The title of the piece employs the word “twisted” in two constructs, physically and ideologically. The brusque and insistent nature of the work simulates the process of physically deforming metal, while the demented harmonies and the simultaneous performance on multiple keyboard instruments represent the ideologically twisted mind. These two elements of the title twist themselves together inseparably throughout the duration of the work.
The opening sequence of meters (13/8+11/8+9/8+7/8+5/8+3/8) gives a foundation for the theme that appears in the vibraphones that seems to totally disregard the complex metric structure below it. This theme, based on a combination of three of the four possible augmented triads, is then transformed throughout the first section of the work.
The middle section of the work is characterized by the high pitched ring of a metal ocean drum. The theme is continuously layered atop this din with the pitched metal instruments, ultimately building to a recap of the original melody in the same form as the opening of the work. The recap then leads to a series of subsequent transformations of the theme that start to fold on top of one another with each performer using both of their keyboard instruments concurrently. This pandemonium leads to an energetic and unnerving finale.
The opening sequence of meters (13/8+11/8+9/8+7/8+5/8+3/8) gives a foundation for the theme that appears in the vibraphones that seems to totally disregard the complex metric structure below it. This theme, based on a combination of three of the four possible augmented triads, is then transformed throughout the first section of the work.
The middle section of the work is characterized by the high pitched ring of a metal ocean drum. The theme is continuously layered atop this din with the pitched metal instruments, ultimately building to a recap of the original melody in the same form as the opening of the work. The recap then leads to a series of subsequent transformations of the theme that start to fold on top of one another with each performer using both of their keyboard instruments concurrently. This pandemonium leads to an energetic and unnerving finale.
Instrumentation:
Twisted Metal is available for purchase for $50. Please contact me through the contact page on this site or at CoreyRRobinson@gmail.com for more info.
- Vibraphone, glockenpiel (shared with player 2)
- Vibraphone, glockenspiel (shared with player 1)
- Marimba (4.3), crotales (2 octaves)
- Marimba (4.3), metal pipes (range: B3-G5)
- Marimba (5.0), almglocken (range: C#4-G#5, substitute with MalletKAT if necessary)
- Marimba (5.0), tubular bells
- Piano
- Percussion 1: cymbal stack, crash cymbal, ride cymbal, metal shaker, snare drum, field drum, 2 brake drums
- Percussion 2: triangle, china cymbal, metal scraper, bongos, tam tam, metal ocean drum, 2 metal plates
- Percussion 3: spring coil, triangle, hi-hat, 4 concert toms, bass drum, mark tree, 2 metal pans
Twisted Metal is available for purchase for $50. Please contact me through the contact page on this site or at CoreyRRobinson@gmail.com for more info.
This work was commissioned by Mark Ford and the UNT Percussion Ensemble and was premiered at the 2016 Percussive Arts Society International Convention in Indianapolis, IN.
