The Light WithinPerformance Notes The Light Within ts scored for alto flute, bass clarinet, percussion (one player, vibraphone and crotales}, piano, vioin, ‘cello and an “aura” of electronically processed Sounds derived from recordings of the instruments. ‘The aura is exactly 11:44 in duration. Running time is shown (at 6-secend intervals) in the score and parts. The performers begin and end with the aura, Coordination with the aura requires use of a olick track. Audio files of the aura and click track are available from: jla@alaska.net ‘The “live” instruments should be amplified and mixed with the aura to create a utified field of sound. This field {einer quadraphonie or stereo) should as broad as possible, saturating the listening space and enveloping listeners. The performers should be seated in an arc, near the center of the sonic field, in this disposition: Main Speaker Main Speaker Piano Percussion Subwoofer Subwooter Viotin Alto Flute Man Speaker Bass Ciarinet ‘Cello Main Speaker Speakers should be situated close enough te the performers to blur the distinction between the aura and the instruments, and between the amplified and “live” (pre-amplified) sound of the instruments. Abgh-quality sound system is essential. Because of the sttong low frequency content, a subwoofer speaker 1s required, (Two are preferable.) Near-field monitor speakers are also recommended for the performers. ‘The music should be full throughout, but should played with no vibrato. Dynamics should be balanced so that all sounds in the air at any moment are (as far as possible) of equal loudness. Wind and string articulation shouid be soft, with each written tone emerging from and receding back into the overall texture, in subtle "hairpin” crescendos and diminuendos, ‘he writen notes aro longer than the alto flute and bass clarnatcan play ina single breath (witout crouar breathing). Players should breathe ad lib, as frequently as is necessary and comforlable. String bowing should be strong and free. The aura is composed from recorded tones stretched to many times their original duration, which magnifies smal irregularities within the sounds. These "imperfections" In the recordad tracks, together with the how changes and audible breaths of the "live" performance are integral to the music, animating and enrichening its colors and textures. The piano should play arpeggios, rising and falling, ad lib, throughout. All percussion sounds should be rolled. Three and four-note chords should be pleyed as ripple rolls Dyads and single tones should be played as tremelos, Mt Crotales are not available, Orchestra Bells may be substituted.Score in ato ont oats 90 The Light Within {commissioned by the Seattie Chamber Players and the Calfornia EAR Unt) Jobn Lutner Adams 24} cron varsonane cos rough | peng, nant ing, ghoul (ee carer? eb toad