A major goal of this project was clarity: the rhythmic complexity of Tigran’s writing, especially his signature 5:4 patterns, can be notoriously difficult to read. To address this, the score primarily notates subdivisions in groupings of 5, 10, and 15, allowing performers to more intuitively grasp the natural pulse rather than being forced into constant mental shifts within strict 4/4. This choice not only aids readability but also helps performers internalize the asymmetric groove that defines the piece.

Musically, the score opens with soft, ethereal metallic sonorities, and performed with softer mallets, establishing a fragile atmosphere.

As the arrangement progresses, the marimba takes a central melodic role, weaving through dense rhythmic textures set against metallic punctuations. The overlapping macro-phrases are a defining feature—sections marked “4 against 5 (16ths)” and “9 against 5 (8ths)” demand constant ensemble awaremess. Later passages build toward dense, layered metallic ostinatos with shifting accents, giving the work its signature energy. Dynamic contours are equally dramatic, with quick and drastic swells, sudden molto ritardandi, and cadential gestures that reset the momentum for each new section.

The arrangement’s climax brings all six instruments into sharp rhythmic unison before dispersing again into fragmented textures, echoing the tension-and-release of the original while maintaining its own distinct identity. The notated mallet changes (from soft to medium-hard, rattans, and even hard plastic for glockenspiel/crotales) add another layer of orchestration, ensuring timbral contrast is as important a structural device as rhythm or harmony.