22-minute chamber concerto for two percussionists, string quartet and piano. Choreographed for The Queensland Ballet by François Klaus. Score and parts are included. Above Ground’s opening movement contrasts the earthy power of drums with the lithe suppleness of mallet percussion; the ensemble likewise changes emphasis between high- and low- pitched passages. There is a particular focus on the bowed vibraphone, producing a magical sound that conjures for me both the 18th- century drawing-room glass harmonica and mid-20th-century electronic arcana. When two people manipulate four bows around this rather small instrument, a peculiarly fascinating dance also results. The bowed vibraphone continues into the second movement, where sustained melodic lines take precedence. They are soon deposed by the reappearance of drums, taking us through the unsettlingly driving cross-rhythms favoured by South Indian musicians, accompanied by intersecting melodies that would be quite at home in a 70s cop show. I hope the piece conveys my enthusiasm for the expressive and ecstatic power of percussion music. Above Ground is dedicated to Karak’s Kevin and Kerryn with admiration and affection.