On Pastel Skies (for percussion quintet)

on pastel skies was “commissioned” (more in this case called for) by the young composers 2026 summer competition fit this team after a poem about the serene atmosphere of the Midsummer afternoon

So, on a bright summer day it shall be:
The great sun, my partner in joy,
Shall make, amid the satin and the silk,
Your dear beauty lovelier still;

The sky, all blue, like a tall canopy,
Shall quiver sumptuously in the long folds
Above our two happy brows, grown pale
With pleasure and expectancy;

And when evening comes, the breeze shall be soft
And play caressingly about your veils,
And the peaceful stars looking down
Shall smile benevolently on man and wife.

The gestation of this piece (initial thought, even before the entry of the first note) was an image of a dreamy Florida sunset over the Gulf of Mexico with this image the piece will transport you to another dimension of into the pastel pink, orange, and red opalescent skies

instrumentation

xylophone (doubling on glockenspiel and crotales, /w large zill bell attachment

vibraphone I /w sus  and Z.bell and dull metallic object (something like a Burma bell)

vibraphone II /w sus and Z.bell and dull metallic object (something like a Burma bell)

Marimba I /w sus and temple blocks

Marimba II /w Chimes, sus and temple blocks and large, vibrating drum ( tom or surdo ect.)

On Pastel Skies.pdf

Entry: On Pastel Sky

Average Score: 9.5

Review:

I generally do not much to say about this piece. My only concern is that why is mallet percussion players switching to non-mallet instruments. Usually, non-mallets require a different staves. You also church bells as part of the ensemble. I am not sure if mallet percussionist would be able to play them (?). Those runs and rolls seem seems to fine. There is no issue there. I can say this was highly creative piece with different textures, harmonies, and themes. The overall structure is intro (Hymnal) then quasi rondo happening. That was fun to listen to. You went above meeting what was expected. Mallet percussion mixed with non mallets creates beautiful orchestral sounds and colors. This is usually out side my taste, but...hey...I thoroughly enjoyed. Please write more mixed ensembles in the future. It is started to grow on me.

kvothe.

18 minutes ago, Kvothe said:

My only concern is that why is mallet percussion players switching to non-mallet instruments. Usually, non-mallets require a different staves. You also church bells as part of the ensemble. I am not sure if mallet percussionist would be able to play them (?)

I’ll answer those two questions/appeal them

Anyways, about mallet players being able to play unto percussion is a existing thing, especially in the marching arts (which most of the mounting options are based after

The church bells you were referring to were tubular bells (in America. We just happen to call those chimes.). The score indicates that they should not be damping in ring until they stop naturally by this methodology. If they do have a pedal, the pedal should be pressed down at all times and not be dampened

trap stands and or mallet bags should be available for all of the performers, allowing the use for switching between yarn ,acrylic and also chime mallets

Hopefully this could clear things up thanks

And I’m glad you enjoyed the peace. This was really fun writing. (especially in four in the morning on a flight home.)

The truth is, it’s a surprising, original and captivating piece.

Two things strike me – though they’re more questions than anything else, as my experience with percussion is very, very limited.

One is the speed with which the percussionist changes instruments (or mallets). Sometimes it seems to happen in ‘zero time’. Is that possible? I suppose it must be down to the layout of the instruments and the mallets?

The other is that in many sections the vibraphones and marimbas play in unison or an octave apart – is this due to the acoustic volume of the instruments? It sometimes sounds a bit overloaded, but I imagine that’s down to the virtual instrument as well.

It’s certainly a very good lesson on percussion.

As for the connection with the poem, well, I don’t know – I’m one of those who think that music doesn’t describe anything.

To me, it sounds lively and cheerful, and, in a way, the instruments do remind me of a sunset on the coast.

The score is explained very well.

As a listener ... just a fun piece!

Mark

.

2 hours ago, Luis Hernández said:

Two things strike me – though they’re more questions than anything else, as my experience with percussion is very, very limited.

with me changes, I usually have those as suggestions the ensembles I have been with useing mallet instruments we had mallet bags which allowed us to drop stuff in and quickly pull stuff out

With the octaves, I think that’s just purely for texture reasons sometimes I’ll have a single player use an octave grip with runs sometimes