The underlying structure of Black Angels is a huge arch-like design which is suspended from the three “Threnody” pieces. The work portrays a voyage of the soul. The three stages of this voyage are Departure (fall from grace), Absence (spiritual annihilation) and Return (redemption). The numerological symbolism of Black Angels, while perhaps not immediately perceptible to the ear, is nonetheless quite faithfully reflected in the musical structure.

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These “magical” relationships are variously expressed; e.g., in terms of length, groupings of single tones, durations, patterns of repetition, etc. An important pitch element in the work -- descending E, A, and D-sharp -- also symbolizes the fateful numbers 7-13.

William Blake 'The Good and Evil Angels', 1795/?c.1805. William Blake At certain points in the score there occurs a kind of ritualistic counting in various languages, including German, French, Russian, Hungarian, Japanese and Swahili. There are several allusions to tonal music in Black Angels: a quotation from Schubert’s “Death and the Maiden” quartet (in the Pavana Lachrymae and also faintly echoed on the last page of the work); an original Sarabanda, which is stylistically synthetic; the sustained B-major tonality of God-Music; and several references to the Latin sequence Dies Irae (“Day of Wrath”). The work abounds in conventional musical symbolisms such as the Diabolus in Musica (the interval of the tritone) and the Trillo Di Diavolo (the “Devil’s Trill”, after Tartini). Henry Fuseli Satan Starting from the Touch of Ithuriel's Spear 1779. The amplification of the stringed instruments in Black Angels is intended to produce a highly surrealistic effect.

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This surrealism is heightened by the use of certain unusual string effects, e.g., pedal tones (the intensely obscene sounds of the Devil-Music); bowing on the “wrong” side of the strings (to produce the viol-consort effect); trilling on the strings with thimble-capped fingers. The performers also play maracas, tam-tams and water-tuned crystal goblets, the latter played with the bow for the “glass-harmonica” effect in God-Music. Sinfonietta Riga Black Angels for string quartet was written as a response to the Vietnam War. The work draws from an arsenal of sounds including shouting, chanting, whistling, whispering, gongs, maracas, and crystal glasses. The score bears two inscriptions: in tempore belli (in time of war) and 'Finished on Friday the Thirteenth, March, 1970'. Black Angels is primarily written for (in Crumb's words) 'electric string quartet.'

Though generally played by amplified acoustic instruments, the work is occasionally performed on specially constructed electronic string instruments. The music uses the extremes of the instruments' registers as well as extended techniques such as bowing on the fingerboard above the fingers and tapping the strings with thimbles. At certain points in the music, the players are even required to make sounds with their mouths and to speak.

Arsis4 Each of the string players is also assigned a set of instruments to play throughout the piece. Some of the equipment requires specific preparation, such as the crystal glasses, which are tuned with different amounts of water. Violin 1 • maraca • 7 crystal glasses • 6' glass rod • 2 metal thimbles • metal pick (paper clip) Violin 2 • 15' suspended tam-tam and mallet • contrabass bow (for use on tam-tam) • 7 crystal glasses • 6' glass rod • 2 metal thimbles • metal pick (paper clip) Viola • 6 crystal glasses • 6' glass rod • 2 metal thimbles • metal pick Cello • maraca • 24' suspended tam-tam, soft and hard mallets • contrabass bow. Black Angels, on the other hand, is a work of frightening intensity, where Jimi Hendrix and Pierrot Lunaire shake hands with the devil. Composed during the height of the Vietnam War, and 'finished on Friday the Thirteenth, March 1970 (in tempore belli)', Crumb's most celebrated work (which inspired the founding of the Kronos Quartet) was originally scored for amplified string quartet whose players are also required to bow glasses, shake a maraca and at a climax strike a tam-tam. It is presented here in a composer-approved 'expansion' for quartet and string orchestra. Part of the effect of the original, particularly in live performance, comes from watching the players not only negotiate fearsomely difficult effects, such as bowing on the wrong side of the left fingers (creating viol-like tone quality), but also playing their array of percussion instruments and chanting in several languages; that heated atmosphere of intimate frenzy is lost when these labours are divided among a larger group.