Dynamics: Most of the music that I compose is meant to be played in some kind of medium intensity dynamic and without significant dynamic changes. Most often I intentionally do not write out the dynamics, but instead let it be something that the performer can work with in the space in an intuitive way. This is also the case for this piece. I want the full sound of the bells to come through, in all its complexity, while neither being perceived as particularly loud or soft. The sound of the bells in each individual chord should blend together as much as possible, for every chord to be perceived as one unified sound; timbrally balanced yet harmonically complex.

Durations: The onset of every chordal sound is marked by the notation of the pitches to be played without further specification of how long a particular chord is held. This is because every chord should decay naturally in its own full duration without being actively silenced by the performer. The notation of durations between the onsets of the chords are instead given entirely by the structure of shifting time signatures.

Instrument specificity: The first and current version of this work was composed specifically to be performed on the carillon at Rockefeller Memorial Chapel at the University of Chicago. For future realisations on other instruments the score will have to be adapted for the sonic characteristics of the instrument. In a way similar to how the current version was composed, a future version would be recomposed by me, after listening closely to the harmonic interactions of the particular sounds and combination of sounds of the bells of the given instrument. Most, if not all, of which are entirely unique with their own set of limitations and possibilities.

—Ellen Arkbro