Prologue: Setting the Stage

Every suite needs a doorway. For Newton’s Laws Dance Suite, that doorway is Prologue - a glimmering prelude built not on spectacle, but on simplicity. The piece begins with three glockenspiels.

Every suite needs a doorway. For Newton’s Laws Dance Suite, that doorway is Prologue - a glimmering prelude built not on spectacle, but on simplicity.   The piece begins with three glockenspiels: not just instruments, but mechanical sentinels. Their tones evoke the fragile nostalgia of music boxes - delicate gears winding down, notes cascading like clockwork into silence. A theme in C major unfurls, passed from one voice to another in canon, as if the melody itself is orbiting in steady revolution.   There is no rush here, no grand flourish. Prologue holds its volume constant, a deliberate echo of the music box’s unchanging timbre. What shifts is perception: the same simple pattern, refracted through repetition, becomes something hypnotic. Time feels wound and rewound, melody circling itself like a mechanism caught between inevitability and enchantment.   This is not just an opening track. It is an invocation - a reminder that every law, every motion, every grand theorem begins with a spark of wonder. Prologue is the ticking heartbeat before momentum, the poised breath before motion breaks free.   The curtain has only lifted. What follows will bend Newton’s laws into rhythm, but it begins here, with glockenspiels winding up the wonder of what’s to come.   This was only the spark. The rest of the suite unspools in sound - streaming now, wherever the music finds you.