Composer’s Note:

This rippling arpeggio etude uses only the “white keys” of the marimba. The title, suggesting the contrapuntal weaving and braiding of the four mallets, is taken from a poem by my departed friend Lee Sharkey. In the poem, she addresses her cellist husband, describing “that music you played each night to resolution, and traveled on in braided streams that distanced, neared, and distanced.”