As I mature as a composer, I have become increasingly starved for well-sounding, fully-resonant music which surrounds me and allows me to get completely lost in a sea of sound.
This is exactly what I wanted to happen in Resonances for Four Percussionists and Sinetones: I imagined a resonating space where an array of pitched and non-pitched percussion instruments, as well as the somewhat unrelated sinetones ebb and flow. In my theoretical imagination, I could simply construct a resonating environment by controlling (or designing) the various degrees of consonance between the co-existing pitched percussion and the sinetones.
The pitched percussion instruments, therefore, are a medium to put this imaginary idea to the test.
In overall compositional design, the harmony between the percussion and the sinetones start off consonantly and then go on their separate ways. At a certain point the sinetones fall off and completely clear the path for the sound of the acoustic instruments.
After a rigorous, somewhat machine-like cacophony of wood sounds the two meet again and move forward to a long-awaited moment of resonant space at the end.