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Written for percussion ensemble and solo flute, Clockwork by Stuart P. O'Neil plays on the timbral characteristics found in different types of clocks. Held together by the steady tick-tock of the temple blocks, the piece blends an original flute theme with two iconic clock chimes. This medium-easy arrangement concludes with overlapping ostinati at the players’ independent tempi. The effect—imagine being in a clock shop at the top of an hour—is a great opportunity to share a more contemporary compositional device with your ensemble.
Use of this product is governed by the license terms outlined here.
A simple, but effective piece of slightly over two minutes, “Clockwork” provides the opportunity to feature an intermediate flute soloist with a beginning percussion ensemble. The individual parts are basic and repetitive, in ABA form, and requiring no more than two mallets each. The only timpani challenge is pedaling one drum between B-flat, C, B-flat, and A-flat. The title derives from a “tick-tock” motive in the temple blocks, quotes of the “Westminster Chimes” and “Whittington Chimes,” a cuckoo from the flute, and a surprise ending with the various parts going their own way and winding down by the stroke of 12.
–William Moersch
Percussive Notes
Vol. 52, No. 4, July 2014
Written for percussion ensemble and solo flute, Clockwork by Stuart P. O'Neil plays on the timbral characteristics found in different types of clocks. Held together by the steady tick-tock of the temple blocks, the piece blends an original flute theme with two iconic clock chimes. This medium-easy arrangement concludes with overlapping ostinati at the players’ independent tempi. The effect—imagine being in a clock shop at the top of an hour—is a great opportunity to share a more contemporary compositional device with your ensemble.
Use of this product is governed by the license terms outlined here.
A simple, but effective piece of slightly over two minutes, “Clockwork” provides the opportunity to feature an intermediate flute soloist with a beginning percussion ensemble. The individual parts are basic and repetitive, in ABA form, and requiring no more than two mallets each. The only timpani challenge is pedaling one drum between B-flat, C, B-flat, and A-flat. The title derives from a “tick-tock” motive in the temple blocks, quotes of the “Westminster Chimes” and “Whittington Chimes,” a cuckoo from the flute, and a surprise ending with the various parts going their own way and winding down by the stroke of 12.
–William Moersch
Percussive Notes
Vol. 52, No. 4, July 2014
