Into the Void (band) Mathew Campbell

A Study in Disembodied Consciousness
Band
Number of Players:Standard
Copyright:2017
Piccolo
Flute 1-2
Oboe
English Horn
Bassoon 1-2
E-flat Clarinet
B-flat Clarinet 1-2
B-flat Bass Clarinet
B-flat Contrabass Clarinet
B-flat Soprano Saxophone
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone

B-flat Trumpet 1-2
F Horn 1-2
Trombone 1-2
Bass Trombone
Euphonium
Baritone T.C.
Tuba

Double Bass

Harp (Tuned Whirly [F])

Piano (Tuned Whirly[F])

Percussion 1 (Timpani [4 drums], Vibraphone [shared])
Percussion 2 (Vibraphone [shared], Chimes)
Percussion 3 (Crotales [low oct.], Glockenspiel)
Percussion 4 (2 Triangles, Tam-Tam, Suspended Cymbal, Crash Cymbals, Snare Drum, Concert Bass Drum)
Percussion 5 (Whirly Tube [F], Suspended Cymbal, Triangle, Djembe, Kick Drum, Vibraphone, Crash Cymbals, Low Tom)
Percussion 6 (Tuned Gong [F], Large Tam-Tam, Concert Bass Drum, China Cymbal, Marimba [4.5-oct.], Hi-Hat, Suspended Cymbal)

Into the Void loosely depicts my take on an out-of-body experience. It is separated into four sections. The first section sets up the mood of the piece, and it is meant to transform the environment of the stage, performers, and audience. It should give the sense of solidarity and wonder. This section grows until the climax propels the listener into the next section which represents the journey to the void. This section weaves in and out of different tonalities and modes and there is no true sense of home.' The listener is taken through new themes and ideas until a new idea is presented. The third, percussion-oriented section appears out of nowhere and suddenly the environment is changed to an ethereal world of awe. The simple melody in the glockenspiel and the driving motor in the vibraphones present a music box effect, but the lack of harmonic changes and lydian mode still keep the music light-hearted and honest. The music builds and grows heavy as the rest of the ensemble takes over in this ethereal section. The spacious chords build and intensify the mood as previous material is repeated in a longer and more massive way. The section climaxes in a huge and resounding swell from the percussion instruments to lead way into an angelic chorale. This is what I think Heaven might sound like. The music perpetuates our perception of time as we are taken from our angelic realm to return home in the fourth section. The fourth and final section is the journey from the void to reality. Previous material is used, but the piece takes another turn for an epic coda to end the piece.

The Wind Symphony version of this piece is dedicated to Prof. Albert Lo for all the support and help he has given to me.