All Dark Is Now No More

From Wind Repertory Project
James M. David

James M David

Subtitle: Passacaglia canonico e granulare

General Info

Year: 2014
Duration: c. 8:50
Difficulty: V+ (see Ratings for explanation)
Publisher: James M. David
Cost: Score and Parts (digital) - $150.00


Full Score
C Piccolo
Flute I-II
Oboe I-II
Bassoon I-II
B-flat Soprano Clarinet I-II-III-IV
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III-IV
Horn in F I-II-III-IV
Trombone I-II-III-IV
Tuba I-II
String Bass
Percussion I-II-III-IV-V, including

  • Bass Drum (medium)
  • Bongos
  • China Cymbal
  • Crash Cymbals
  • Crotales (low octave and high C)
  • Chimes
  • Doumbek (or Djembe)
  • Marimba (4.3-octave)
  • Ribbon Crasher (or Tambourine)
  • Shekere (or Cabasa)
  • Sizzle Cymbal
  • Splash Cymbal
  • Suspended Cymbal (medium)
  • Tam-tam (medium)
  • Tambourine (2)
  • Triangle (small and large)
  • Vibraphone
  • Wind Chimes (bamboo and glass)
  • Wood Block (small and large)
  • Xylophone



None discovered thus far.

Program Notes

All Dark Is Now No More (Passacaglia canonico e granulare) for wind ensemble and electronics is a meditation and exultation on light, darkness, and shadow. The title is taken from James Dickey’s poem Sleeping out at Easter which, for me, is an exploration of the metaphysical connection between humans and nature found at the moment of sunrise. The lilting quality of this phrase is imitated in the primary motive first heard in low reeds and euphonium. The Italian subtitle refers to the underlying structures of the work. The first word, passacaglia, refers to the fact that a repeating bass line is used to create numerous contrapuntal variations. “Canonico,” or canonic, implies that many different types of canons are employed against the original bass motive. Finally, “granulare” refers to the consistent use of granular synthesis in the electronics, which breaks apart large sounds into many segments that are then rearranged into algorithmic clouds of digital chaos. My goal was to show a gradual movement from darkness to light in two broad sections (an adagio followed by an asymmetric allegro) culminating in a final explosion of light and shadow.

- Program Note by composer


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State Ratings

None discovered thus far.


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