I consider to be a loose embodiment of miracles. It is structured around various events that happen on a daily basis, and on beliefs that people structure their entire lives around. I will refer to these miracles as the sun, time, and divine gifts.

The sun is the center of the first movement And the Clouds Part, which is built on an ascending scale in the flute and a series of seventh harmonies in the vibraphone. The piece moves always up and forward until the last phrase when the clouds finally move to briefly show the celestial face of the sun, only for it to be covered up by a light rain.

Time is always present in our lives; always in the back of our mind telling us that it is almost up, or that we will run out. This movement was written to represent the static and relentless ticking away of a clock, using a fade in and a fade out to show that time never really had a starting point, nor does it look like it will ever stop. It simply is.

The last two movements are to approach the struggle of a divine power that may or may not be present on our planet. Confirmation is written as a conversation between an internal and external force that starts out quite unsteady, but then seemingly moves towards resolution. The movement segues into Divine Love, which embodies a more unsettling aspect of a divine presence. Again, the music moves towards a more stable harmonic passage and seeks resolution at the climax of the movement. The flute slowly descends to the same concert D that it entered on at the beginning of the piece, tying it together. The vibraphone, however, concludes with a questioning harmony that simply asks, “is anything ever answered completely?” In the entirety of the composition, it is a moment of reflection:  very personal, intimate, and safe.