Inspired by early fragments of music from Judea and Syria, this version of Salomé features an array of percussion instruments and voices. Dominated by an assortment of drums, tambourines, castanets and cymbals, the percussion battery also includes the Sistrum (a small instrument with bronze jingles used in dances and religious ceremonies in ancient Egypt), Djembe (a traditional skin-covered African drum) and Tibetan Singing Bowls. A large amount of the percussion writing is derived from 'wazn', the fixed rhythmic patterns that are the building blocks for Arabic music from earliest times. Most wazn are in unusual time lengths such as 10, 13 or 19 - each constructed out of smaller units of long and short beats. The Prologue and Epilogue are both built around the rhythm known as aqsaq sama'i, a 10/8 rhythm structured here in a mirror form of 3 + 2 + 2 + 3; whilst Eyes of Amber revolves around a 7/8 rhythm (dawr hindi). How Strange the Moon Appears, elaborates on the aqsaq a 'raj rhythm (a sequence of 4 + 2 + 3) and in The Beating of Vast Wings], an 11/8 rhythm (al-'awis) underpins the musical structure. The texts for the vocal lamentations are taken from Psalms 1 and 2 (generally ascribed to King David) and sung here in both Hebrew and Latin. A Greek hymn from the early Byzantine church provides the basis for The Red Blasts of Trumpets and throughout the work, wordless vocal improvisations weave through the different aural textures of imagined place and time.