Shadja-maalika: Modal Illusions

Asha Srinivasan Shadja-maalika: Modal Illusions for wind ensemble Miniature Score (Transposed) Commissioned by: Lawrence University, WI, Andrew Mast, conductor (lead commissioner) Detroit Symphony Orchestra Civic Wind Symphony, Ken Thompson, conductor Trinity University, TX, James Worman, conductor Kansas State University, Frank Tracz, conductor Arkansas State University, Tim Oliver, conductor University of Texas-San Antonio, Donald Miller, conductor University of Missouri-Kansas City, Steve Davis, conductor Concordia College, MN, Scott Jones, conductor University of Wisconsin-Fox Valley, Mark Sackman, conductor

Duration: 15 minutes 2011

Transposed Score Instrumentation Flute 1/Piccolo Flute 2 Flute 3/Alto Flute Oboe 1-2 English Horn Bassoon 1-2 Clarinet in Eb Clarinet in Bb 1-2 Bass Clarinet in Bb 1-2 Soprano Saxophone Alto Saxophone Tenor Saxophone Baritone Saxophone Trumpet in Bb 1-3 (straight and harmon mutes) Horn in F 1-4 (mutes) Trombone 1-3 (1-2 mutes) Bass Trombone Euphonium Tuba 1-2 Timpani Percussion 1: Large Cymbal, Medium Cymbal, Finger Cymbal (suspended and free), China Cymbal, Tam-tam, 2 Temple blocks (high and medium), Snare drum (snares on and off) Percussion 2: Vibraphone, Glockenspiel, Crash Cymbal Percussion 3: Marimba, Bass Drum, Glockenspiel Percussion 4: Bass Drum, 2 Congas (high and low), 4 Toms, Hi hat

Notation General: mf ± The plus/minus symbol is used to show that fluctuations of dynamics should happen within and around this dynamic level. Grace notes are always on the beat or as close to the beat as possible (not applicable to unpitched percussion). Trill notes are marked with a small notehead in parentheses and end points are marked with a small tick. Trills are generally downward, starting on the note above. Slash through the stem means “as fast as possible”, or a.f.a.p. Complex meter groupings: Mm. 173-220: groupings for the additive meters have been shown in parantheses as well as in the beaming of the music. Exceptions include the long notes in m. 196 (see parenthetical rhythm below) and m. 216, where (3+3+3 sub-group) shows a juxtaposition of 3+3+3 against the conductor’s 2+2+2+3. Parenthetical rhythm: Mm. 196-209: Trombone 3, Bass Trombone, Euphonium, Tuba 2, and Marimba have long notes that follow a larger metric pattern. The actual durations of the long notes have been shown with the parenthetical rhythmic values placed above, in order to facilitate the reading of these parts. Feathered beams are used to show an accelerando within the group of notes. When there are only 2 beams, this means a slower final rhythmic value; when there are 3 beams, this means the final rhythmic value should be as fast as possible. Percussion: r.s. + B Vib. slur slow to fast swish

!

rimshot on snare drum dead-stroke Conga: bass tone Vibraphone: for slurred passages use pedal freely gradually move from slower to faster rolls Crash cymbals: a single stroke of the cymbals rubbed together and let go. dampen

In general, rather than marking mallets and beaters, a description of the sound is given so that the percussionists can choose their own mallets and beaters accordingly.

!

Composer’s note Pronunciation of title: ˈSh!d/j!/ - ˌmA/lɪ/kA Shadja-maalika: Modal Illusions is a journey through the moods and colors of various Indian ragas, or modes. The title is a play on the word Raga-maalika, an Indian musical form where the music traverses many ragas within one composition while keeping the same shadja, or tonal center (“Do” in western music). Conversely, in Shadja-maalika, (literally, “garland of shadja”), the tonal center itself is shifted to bring about the modulation to new modes. At pivotal points, a new note seemingly outside the mode appears and gradually reveals itself as the true tonal center, implying that the previous harmonic hierarchy was an illusion. The opening motive in the bass clarinet is the common thread, recurring frequently to confirm and highlight the unique characteristics of each new mode. As with much of my recent work, Shadja-maalika blends a melodic and rhythmic structure influenced by the Indian tradition with Western harmonic and formal concepts.

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Shadja-maalika: Modal Illusions Asha Srinivasan

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ff

ff

fff

fff

fff

(

6

!$ "

(

6

7 -8 6 0=

(

(

(

(

(

(

(

(

fff

8 2 -= 0 fff 7 2-8 0=

7 86 0= 7 -8 6 0=

(

(

(

(

(

(

(

(

(

(

(

(

2*

)

(

(

(

(

Tam-tam

)

(

(

(

! 7 )

(

7

8 2-= 0

7

fff

' +'$

(Lg. Cym.)

(

#

(

$

(

"'

-. 0=

2+

+

(

6

'

0= -8

(

-

6

(

!

2 -. 0=

0

$

"

7

0= 2-8

1

ff

ff

Eng. Hn.

*$

1

p

! 6 2 0-= 7 2.

6

fff

(

6

7

(Tom-toms)

-

p

----6

20--= 2.

fff

f

0-= 7 - 6 .

6

6 f

q=80

poco rit. ) To Vib.

0-= 7 -- 6 .

------''

pp

)

6 ;

)

mf

7 ;

(

(

(

(

7

)

p

3

p

p (senza pedal)

Vibraphone

)

7

6

&- ,- - - - &- - - *

3

6

* -$

p

3

------7 ---6 ---- 3

6

3

2 -%8

-$

! 7 )

(

(

(

(

(

(

(

(

mf (grace notes on the beat and also at mf)

(

7 - - - ---7 3

2 -%8

)

3

mf

(

6 ------ ---7 6 7 --------- ) 6

;

*

pp

)

14

! Fl. 1 & Fl. 2 #

(

(

(

#

(

(

(

111

Fl. 3

" !

(

/ !

(

(

(

(

(

117

( (

(

(

(

(

(

(

(

(

(

(

(

(

(

delicately

distant

2- *

(

-2 - *- 2 -

** $$

--

(

(

(

(

#

(

(

(

(

(

(

(

(

(

(

(

(

(

(

$

(

(

(

(

(

(

(

(

(

(

(

(

(

(

! #

(

(

(

(

(

(

(

(

(

(

(

(

(

(

Cl. 1 & 2

#

(

(

(

(

(

(

(

(

(

(

(

(

(

(

B. Cl. 1 & 2

"#

(

(

(

(

(

(

(

(

(

(

(

(

(

(

! #

(

(

(

(

(

(

(

(

(

(

(

(

(

(

A. Sax.

#

(

(

(

(

(

(

(

(

(

(

(

(

(

(

T. Sax.

#

(

(

(

(

(

(

(

(

(

(

(

(

(

(

Bari. Sax.

"#

(

(

(

(

(

(

(

(

(

(

(

(

(

(

! #

(

(

(

(

(

(

(

(

(

(

(

(

(

(

Tpt. 3

#

(

(

(

(

(

(

(

(

(

(

(

(

(

(

Hn. 1 & 2

#

(

(

(

(

(

(

(

(

(

(

(

(

(

(

Hn. 3 & 4

#

(

(

(

(

(

(

(

(

(

(

(

(

(

(

Tbn. 1 & 2

$

(

(

(

(

(

(

(

(

(

(

(

(

(

(

Tbn. 3

$

(

(

(

(

(

(

(

(

(

(

(

(

(

(

B. Tbn.

$

(

(

(

(

(

(

(

(

(

(

(

(

(

(

Euph.

$

(

(

(

(

(

(

(

(

(

(

(

(

(

(

$

(

(

(

(

(

(

(

(

(

(

(

(

(

(

!$ "

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

Eng. Hn.

Bsn. 1 & 2

Eb Cl.

Sop. Sax.

Tpt. 1 & 2

Tba. 1 & 2

Timp.

Perc. 1

Vib.

"

"

!

'

mechanically - keep steady and dry simile 2 -%8 2 -%8 2 -%8

#) AB *

-$ 2 - - 2- -2-$ 2 -%8 . !6 7 . . !7 6 6 7

(3+2+2)

Mar.

Perc. 4

" !

( 2.76

/ ! %2- -

- -2-

6

n

@ -%

- - 2- -22 -%8 2 -%8 .7 6 7 . 6

%2- -

- - 22 -%8 .76 7 .

- -2-

(

-$ - 2 *$- 2 -. *

(

poco

6

-%8

(

pp

6

6 6 2- *

#

Ob. 1 & 2

@ -%

-= 2 -%8 - - 2 .76 7.7 .

p

2 -%8

- -2-

6

3

poco

(

- - 22 -%8 7 . .7

-= 2 -% - - -$ 2 . 7 .

$

(

(

(

(

(

(

(

(

(

(

(

(

(

(

"'

(

(

(

(

(

(

(

(

(

(

(

(

(

(

15

! Fl. 1 & Fl. 2 # Fl. 3

#

Ob. 1 & 2

#

Eb Cl.

"

B. Cl. 1 & 2

"#

! Sop. Sax. #

(

( 6

(

-%8

&- p

1. playfully

8 7 7 8 6 -= & -=

6

%8 p

(

%8 -

*

6

(

Fl. 1 to Picc.

6

3

mf

6

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

(

7

6

= =8 > =8 > -8 7 -. =-. =. = p mf

8 7 -=

( ,*

p sub.

(

p sub.

f

7 = = 27 2 - - =. p-sub. = =

6

( 6

(

8 7 7 & -=

- - - 2-= 6

2-

1.

7

8 6 -=

- 2- - $ -

2p

f

6

2- - 7 7 mf

mf

1.

> > 8 >&- > = & - & - & -= = mf

(

p sub.

**$$

(

6

6

2-$ - =

mf

=8 &-. 7 6 =

playfully

(

% ,-2-

%8 &-

8 6 -=

- - &(- 2- 2 .

2.

7 6

% ,-2-

8 7 -=

(

(

soli (with A. Sax.) 1.

3 -8 -$ &- &- - -%8 &- &- $ &6 6

3

mf

a2

(

7 -

1.

,-&-

mf

(

7

7

p

-$ 2 - 2 - - -%8 2 - 2 - $ -

.

-$

6

-&-

7 7

mf

(

soli (with Bb Cl.)

(

-$

2.

-

(

(

(

(

(

#

(

(

(

(

> $2- -= 6

"#

(

(

(

(

(

(

(

(

(

! #

(

(

(

(

(

(

(

(

(

Tpt. 3

#

(

(

(

(

(

(

(

(

(

Hn. 1 & 2

#

(

(

(

(

(

(

(

(

(

Hn. 3 & 4

#

(

(

(

(

(

(

(

(

(

Tbn. 1 & 2

$

(

(

(

(

(

(

(

(

(

Tbn. 3

$

(

(

(

(

(

(

(

(

(

B. Tbn.

$

(

(

(

(

(

(

(

(

(

Euph.

$

(

(

(

(

(

(

(

(

(

$

(

(

(

(

(

(

(

(

(

!$ "

(

(

(

(

(

(

(

(

(

T. Sax.

Bari. Sax.

Tpt. 1 & 2

Tba. 1 & 2

Timp.

Perc. 1

Vib.

Mar.

Perc. 4

"

!

mf

-

p sub.

-$ - = 6

7

&.

mp

8 6 -=

(

(

-$

f

7 8 &- 6 & -= & -= & -=

(

#

A. Sax.

C B

(

(

3

8 7 7 8 6 -= & -=

7

-

(

(

mf

- - - 2- 2 .

(

a2 -%8 - - 2 - - 2- 2- -7 &-.

. 7 6

/ B

e=e

*$

mf

(

( 1.

2-

n

(

( 6

6

21.-

(

(

6

Flute

6

n

$

#

(

--

! #

Cl. 1 & 2

(

)2*)2* ** $$

#

Eng. Hn.

Bsn. 1 & 2

125

&-

mf

p sub.

3

f

2-$ - =

6

mp

-&- - 2-= 6

2-

mf

mp sub.

f

7

- 2- - $ -

2p sub.

f

/ B

e=e (

'

#

6

2 -%8

7

( -$

-%8

2-= -%8 . 7 . 7

( - 2-

- - 2 -%8 - 7 .

( 2-= . 7 . 7

( %2- -

-

- - 2-

( -= 7 . 7

2 -%8

- - - -%8 2 - .

( - 2-

-%8

- - -

( -

2-

- - -%8 - - -

( 2-

- -

(end 7/8)

$

(

(

(

(

(

(

(

(

(

"'

(

(

(

(

(

(

(

(

(

C B

16

! Picc. # 134

Fl. 2

Fl. 3

Ob. 1 & 2

Eb Cl.

"

Sop. Sax.

Bari. Sax.

Tpt. 1 & 2

#

(

(

(

(

#

(

(

(

(

&- -

-

& -%8

-= . > - 2-=

p sub. pp

7 > - 2-=

& -%8

--

-

6$

8 2-%

swell

-= 7 .

swell

-

1.

2 -%8

2-%2-

7 -$

%8

6$

2- - 2. .

2-

swell

2-

% 2 - 2 - 2-

-$

swell

)

2 -%8

2 -= .

7

-= 2- - -2&- 2 - -= -= -= >-7 .

poco a poco legato

.

*

. 7

poco a poco legato

2- $

% 2-2-2-

2- -$ .

2-= .

*$

p

7

8 >-7 -= -

(

- - 2> - - 2- 7 6 .

)

(

f

f

- -

7 &- - 2- - 2-= 6 $

= >2- - 2- - - - -

7 E - - 2-= 6 $ -

7

2- 6 $ &- - - - =

>2- - - - - -= -

2-%2- -

72-%8 -$

swell

poco a poco legato

7 -%8 - $

2-= 7 .

% 2- 2-2-

swell

2-= .

7

> -= 7 -8

)

(

- -

(

(

)

6

3.

6$

$ $

Tba. 1 & 2

$

!$ " !

'

# $ "'

6

7 >2- 2-= 6$

6$

(

C B

S.D. (& Cyms.) snares off

2 -%8

-= 7 .

- -

p

6$

8 -=

7

-

-$ ''

ppp

-

( (

6

7 >2- 2-= 7 6$

1.

8 -=

p

- -

6

6

-= .

6$

6

8 -=

6$

8 -=

p

pp

6

8 -=

6$

6

7 E 6$

8 -=

(

2 -%8

-= 7 .

- -

p

7 '-$ ' ppp - - - -%8 -

( (

6 6$ - - 2-= 6 (

2 -%8

-= 7 .

- -

( (

+

mf

-

-

*$

+

-

*$

+

mf

-

(

mf

(

(

(

6$

7

(

(

(

(

(

(

6$

-3 -=

mf

7 2-= 6 $

-

7

Med. Cym. (stick)

;$

-3 -=

mf

-$ '' p

( (

6

- -= -3

e=e !

- - - -%8 -

- -

pp

poco a poco legato

>2- 2- - 2-=

mf

(

2 -%8

f

3 = 7 - -

7 8 -=

-= 7 6 .

6$

6$

8 -=

7 '-$ ' ppp - - - -

p

p

mf

p

(

(

(

6

mf

)

(

6$

- 2- -2-= 7 - - $ .

f

#

8 -=

+

p sub. mf p exaggerate dynamic changes

> - - -8 7 6

1.

p

-= 7 7 - - 2-,- -= 7 . . .

f

(

6

6

(

f soli (duo with Cl.; unis. with Mar.)

)

)

6$

p

f

(

-= .

mf

2-= >2-

- .

> - - -. 7 6

-= 2- - - 2&-2- -= -=

*$

7 2-.

)

= > - 7 -.

poco a poco legato

(

6

p sub.

- 2-= 7

f

(

6$

1. soli (duo with S.Sax.; unis. with Vib.)

8 exaggerate dynamic changes >- - - 7 6 ) - - -

(

-= .

- - *$ .

-= 7 7 - -$ 2-2-2. .

#

p

*$

3

f

(

1.

-

,-

(

6

3

f

-= 2- - - 2&-2- -= -=

mf

(

)

( >2- - 2- - - - 2- - 2 - - - - -=

2 -- -8 *$ . 3

-= 7 6 .

(

6$

(

- 2 *$

2f

= 7 E - 2- - 2- 6 $

-= 7 .

+ (

6

2 - 2- -= >2- 2- 22-- - -- - -

&- .

8 -%

-

+ mf

(f)

7 &- - 2- - 2- 6 $ 2&- -2- - =

(

2- - - - 2.

mf

(

= $ 6 - 2 - (- 2p

139 2 * $ -

(

7-

& -%8

2-

*$

2-2 -= 7 - - 22--2- 2- 6 $ --

7 E

8 -=

7 > - - 2-= 6 $

-$

2-= . 7

0.

Piccolo

f

f

= 7 >2- - 2- 6 $

6$

2 -%2- -

( 6

2 -%8

$

& - - & -. .

&-

(

1. harmon mute, with stem

7

%8

2-2 -= $ 7 E - 26

&- - - - & .

6$

8 -=

pp

-= 7 .

72- -

(

mf

p

-= 7 .

(2.)

6

)$

#

Euph.

Perc. 4

pp

a2

6

- 2 - 2 - - -%8 2 -

p

$

"

2-2 -= $ 7 >26

8 -=

n

7

2 -%2-

swell

mf

-

$

B. Tbn.

6

soli (with Eb Cl.)

! #

Tbn. 3

swell

$ 7 -

-= 7 .

(

"#

Tbn. 1 & 2

Mar.

- & - & - - & -%8 &-

87 -= p

#

Hn. 3 & 4

Vib.

p

#

Hn. 1 & 2

Perc. 1

7

2-%8

soli (with A. Sax.)

! #

Tpt. 3

Timp.

87 -= p

p sub.

$

-$

7

!

6$

(

-= 7 .

e=e !

(

(

"#

T. Sax.

(

(

# )&** $

A. Sax.

(

#

! #

Cl. 1 & 2

B. Cl. 1 & 2

(

#

Eng. Hn.

Bsn. 1 & 2

C B

!

'' 2 -%8

> - - 2-8 7 6 2* $ 2*$

(

2*

(

7 2-8

6

mf

Lg. Cym. (stick)

>- - + -

(

)

p

-7 .

) 6

f

- -% - - - -

(

)

f

( *$

-$ -

> -= 7 -8

( Temple Blocks & S.D. snares off p

6 - 7 . 6

)

p mp pp soli (duo with Mar.; unis. with Cl.)

- 2-D 7 7 - ''. '' .

2'

D - 2- 7 '

f p sub. mf exaggerate dynamic changes soli (duo with Vib.; unis. with S.Sax.)

D 7 7 - # 2. '. '' Bass Drum

D - 7 2. '

f p sub. mf exaggerate dynamic changes

-

p

'8 ' 7 -' *' pp

p

' -'

'8 -' 7 6

mf

- ) )

D 2- 7 .

2- ''. '' p

'8 ' 2- 7 -' -$' D mf

p

)

17

! #

(

#

(

#

(

141

Picc.

Fl. 2

Fl. 3

6

-

2mf

( , -$

2 -8 ** .

6

* &- - 7 ,-

-8*

-

2-

mf

6

7 2-

2-

-

22-

2-

27 2-.

-

(

(

(

! #

(

(

= = # -. 7 7 -. - 2- - 2-. 7 2- $ p

"#

mf

p

mf

p

(

! -= 7 7 - # . . mf

mf

p

p

-= > $ .

mf

mf

p

= - - - -= 7 2-.

2-= 7 2- 2- $ 2- - . .

-= . 7

&5F

-

mf

(

(

(

T. Sax.

#

(

(

(

(

"#

(

(

(

(

! #

(

Tpt. 3

Hn. 1 & 2

#

(

# )

6

2- $

senza sord. 1.

)

rip

-

# )

6

2- $

mf

-

- 2* . 2*

mf

mf

- * . * p

6

-

p

*$

*

p mf

p

-$

6

*

mf

rip Hn. 3 & 4

- 2- - .

8 - 7 7 -.

) -

6

,-

6

6

*$ *$

6

6

7

8 -

-

8 -

-

p

7

p

&* $

6

mf

(

p

mf

(

3

mf

p

6

-= 7

8 -=

mf

9:::::::::::( 7 2- - - -%- ,-8 . =

(

2* $ p

22*$ *$ 2* $

(

6

( *$ *$

mf

6

*$ 2* $

-

(

n

6

6

mf

rip

*

)

mf

- -

6

mf

(

rip

6

Tbn. 1 & 2

$

(

(

(

(

(

(

Tbn. 3

$

(

(

(

(

(

(

B. Tbn.

$

(

(

(

(

(

(

Euph.

$

Tba. 1 & 2

Timp.

Perc. 1

Vib.

"

$

!$ " !

*$

6

*$ *$

6

mf

Perc. 4

7

(

8 -8 - 7 ) ' 7) 6

8 8 - 7 - - 7 6 ( 7 .

(Temple blocks & S.D.)

D # 2-. 7 7 '- ''. ' p

D # 2-. 7 7 '- ''. '

"'

mf

(B. D.)

p

(

' 8 2- 7 2-'$ D mf

,''

8 -

(

(

mf

Mar.

)$

p

- 2-D 7 - ''. ' '' mf

p

p

6

2* $ 2*$

6

8 7 )

- -

D 2- 7 . mf

-D 7 .

D - 7 .

mf

(

)

(

' -'

7

''

''

6

To Hi hat

p --

-

p

.

)

7

D 8 - 7 ,-. D

8 7 - - ) 7 2-8 2'-

D 2- 2- - - - -. 7 '' mf

) 7

. 7

,-D .

D 7 -.

mf

. 7

8 2- 2- 2-

7

p

,+

)

6

7

,+ ,+

)

6

7

f

f

(

- - ) 6

p

7 2-8

6

(

8 '8 ' - 7 - -' D

mf

2* $

-

(

-D 7 .

7 -

-8 - - - - 7 -8 - ) D - 2- 2- - - -. 7 -

D 2- 7 2'. '

mf

2p

- 7 D

mf

(

8 D

8 -

6

- -----. 6

6 7

- 2-

-

p

7 2-8 -

8 -

mf

mf

(

p

mf

(

(

8 7 - -

- -

p

&* $

6

p

- -

7 (

&* $

&* $

6

(

(

- -

(

6

mf

-= - &- - , - 2 - - - - - -2-2&- &- &- - - - &- . 7

,-= . 7

7

(

*

p

6 6

mf

(

(

*$ *$

*$

6

p

3

(

(

mf

- - 2- 2- 2- 2222- - -.= 7 > >2- 2-2-2-

p

6

mf

2 - 2 - - - *$ 26 5

p

#

Tpt. 1 & 2

5

(

p

6

mf

2 - 2 - - - *$ &-

*$

-= 7 .

A. Sax.

Bari. Sax.

5

, *$

mf

- 2- 2- - - - &- -.= 7

6

mf

2-2- -&- *$

f

(

- 2-= ,- 7 .

,* $

(

f 3

( 2-

-

$ & - &- - *

-= > $ 2- -

-= 7 - - &- -2-2. .

- - -

(

7

,* $

5

f

$

mf

- -

2 - 2 - - - *$ &-

f

(

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mf

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p Hn. 1 & 2

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