The Escape

For Percussion Ensemble

Listen:

Program Notes

The Escape conveys a musical representation of our dependency on technology. Over the past few decades, the human race has invented, developed, and utilized technology to the point of obsession. It’s becoming a very rare occurrence to walk through a mall or a college campus, and not see the majority of people you pass exercising their phone or tablet in some way. With this image in mind, people are beginning to lose sight of the true beauty around them. As the digital age becomes more abundant, it’s changing the way that we think, act, and even perceive the natural world that is beginning to crumble around us.

Using a common ringtone that represents technology, The Escape is split into six parts that elaborate on a person seeking refuge from the circuits and wires that make up his phone.

• Section 1 – “Office Frustration” – As the sounds at the office begin to become overwhelming, the heart rate rises, and the realization of, “I need to get away”, becomes imminent.

• Section 2 – “The Scramble” – Rushing out of the office only to realize that being in the middle of a busy street isn’t any more relaxing.

• Section 3 – “Down the River” – Finally away from the bulk of technology, there’s one more task at hand: lose signal. What a better place than a relaxing canoe trip through the forest and down the river?

• Section 4 – “The Drop” – Signal is lost, no more nagging phone, just the beauty of nature; except for the steadily increasing current. Maybe going right at the fork wasn’t such a great idea…

• Section 5 – “Still Ticking” – Surviving through a waterfall drop nothing short of amazing, especially when your phone also shares the same fate.

• Section 6 – “Euphoria” – Deciding to go all out, the last bit of technology is tossed back into the river, creating the much desired state of euphoria and allowing a new wave of appreciation for the natural beauty that is surrounding.

Performance Notes

Mallets
Mallets that are not specified in the score:

• Snare and field drum mallets should just be standard concert sticks.
• Tam-Tam mallets should be a medium-soft.
• Hi-hat should use standard drum sticks.
• Ride and China cymbals should use Medium-soft mallets unless otherwise specified.

Special Percussion

• Computer Keyboards – This is exactly as it sounds. If possible use older computer keyboards that are very noisy. In the first section, “Office Frustration”, the performers will begin to softly type and increase in both volume and intensity as the section progresses.
• Typewriter – The older, the better! A typewriter that is loud, clanky, and makes a ding when you reach the end of a line. This may be substituted with another computer keyboard if absolutely necessary.
• Stapler – Exactly as it sounds. Try to use a stapler that is fairly percussive and noisy.
• Paper – I would prefer the use of large and loud construction paper here, though, newspaper works as well. Long tears and rips, as noisy as possible will create the best sounds and effects. The large pieces that are ripped will then be crumpled and thrown across the stage when specified in the score.
  

Other Percussion

• Toms – The range should be as wide as possible. The top-most tom should be around a 8” and the bottom as low as a 16”. Discretion is up to the conductor.
• Bike Horns – One low and one high.
• Congas – One low and one high. Discretion is up to the conductor.
• The ocean drum may be substituted with a large rain stick if necessary.