I: Vibraphone, Crotales, Maracas, Triangle, 4 Tom-toms, Bass Drum (small, on its side), Prepared Tam-Tam I*, bows for vibraphone & crotales
II: Marimba, Glockenspiel, Beads in Mixing Bowl I*, Brake Drum, Pedal Bass Drum, Prepared Tam-Tam II*
III: Marimba, 2 Large Church Bells (pitches not important), Beads in Mixing Bowl II*, Sandpaper Blocks, 3 Graduated Suspended Cymbals, Chinese Cymbal (as large as possible)
IV: Egg/Fruit Shaker, Triangle, Snare Drum, Slapstick (mounted), 2 Bongos, 2 Timbales, Large Bass Drum
There are two distinct sets of material at play in Out of the Loop. The first is a clear, sterile pulsing
– highly organized and mathematically informed. The second set of material (which exists primarily in the background) is a tonally and rhythmically flexible mess of sorts, involving more shimmering, aggressive and antagonistic material. For the most part, Out of the Loop is about the tension between these two sets of material – the transition between one and the other can happen secretly, smoothly, or violently. To a certain extent, this violence is presented as transgressive, but the pulsing material occasionally takes on the qualities of its aggressor (most notably in the uprooting metric modulations in the opening four minutes). After much ado, the conclusion of the piece gestures towards a synthesis of the two materials through ecstatic and gridded pulsing marked with threatening percussion. Out of the Loop is scored for large orchestra and should last 12 minutes.