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Asha Srinivasan Dviraag for flute and violoncello

Commissioned by the Flute/Cello Commission Circle Terra Voce - Elizabeth Brightbill, flute; Andrew Gabbert, cello Exorior Duo - Michelle Cheramy, flute; Nathan Cook, cello Brownard Duo - Jennifer Kennard, flute; Eileen Brownell, cello Keowee Chamber Music - Kate Steinbeck, flute

Duration: 8 minutes

2009


Notes to the Performer Program notes: Dviraag is a fabricated word taken from the Sanskrit prefix "dvi" meaning "two" and the word "raag" loosely meaning "melodic mode." The pitch material for this piece is entirely based on a combination of two complementary pentatonic modes. The primary rhythmic material, introduced towards the beginning by the cello, was derived from a Carnatic vocal exercise I fondly remember learning as a child, in India. Of all the beginner’s exercises I learned, this one always stood out as being surprisingly challenging and unusual in its subdivisions. This exercise has become the basis for an exploration of intricate rhythmic subdivisions grouped into salient short phrases that recur throughout the piece in various contexts. Mode, register, intonation: This piece only uses these ten pitch classes: C Db/D F/F# G Bb/B, and the two modes are: Mode I: C Db F G Bb and Mode II: C D F# G B. The modes are also fixed in register, starting in the cello's lowest range and alternating as follows: (middle C=C4) C2-C3: Mode I, C3-C4: Mode II, C4-C5: Mode I, C5-C6: Mode II, C6-C7: Mode I With regard to intonation, it might help to think of the half-steps as functionally significant. For example, F# and B lean upwards to G and C and Db leans downwards to C. When necessary, enharmonic spellings of certain notes were used for ease of reading, however the "function" of the notes remains the same. Rhythm and Meter: The rhythmic nature of this piece necessitates the use of meter sometimes simply as a grid and sometimes as a means of highlighting the phrases. In most cases, the downbeats do not necessarily indicate a natural accent. The meter shows a general pulse and phrase groupings show melodic and rhythmic emphasis. In mm. 80-107, specific metrical changes show the small phrases as well as the gradual truncation of the larger phrases, as indicated by the 2/8 and 1/8 bars. Each new phrase encroaches on the previous one, entering "too soon." Tempi: All tempi are relative. Suggested markings need not be followed exactly as long as overall proportional relations are maintained in order to create an effective musical structure. Notation: For clarity's sake, dashed slurs are used to indicate short phrase groupings that are often unclear because of rests or rhythmic placement. Flute: flz. pizz.

Flutter tongue A short percussive attack that might resemble a string pizz. A key click that is lightly articulated by speaking the syllable "t" (light tonguing, with a clear key click) Speak the notated syllable into the flute. The two syllables used are "Ka" and "Cha." Both should produce a slightly varied but strongly percussive sound. A slash line through the beam of a set of notes indicates that the runs should be as fast as possible. This allows for some flexibility as it is acceptable to execute the run slightly slower as necessary, as long as the basic gesture is still preserved.

Cello: pizz. secco

An abrupt, dry pizzicato sound, rather short and with a woody quality.


Dviraag Asha Srinivasan

 Flute  Violoncello

Like a flourish, a triumphant call q=ca. 80

  

        7

f

ff

             

6

p

Vc.

3

ff

    





p



  

flz.

Strict q=ca. 98-104

 Vc.  

t

t

 

               f

 

 Fl.     6

Cha

mechanically, like a clock

  

pt

t

vigorously, raucously

  

               

ff

t

 

pizz.--------------------------------|

  

   

t

 t

             

 

 

 t

    

t

t

f

  

Ka

 

fff

deliberately



section duration: ca 30 sec.

ord.

sfz

  Fl.   

ord.    3        

ff rushing forward slightly

2

Vc.



                     Fl.   3 mf



    

t

 

p

5

      

f

pizz.------------------------------------------|

  

  

     

                                            

©2009 by Asha Srinivasan, USA (ASCAP). All rights reserved.


2

ord. 5 pizz.-----------------| pizz.-----|                                     Fl.               p mf 10

Cha

Vc.

Ka

                                                      mf ff

 Fl.  



14

Vc.

  

         

mf

                                              

          Fl.  17

lyrically, sweetly (in contrast to cello)

                                   

p

f

Vc.

mf sub.

sfz

                  

pp

f

f

   Vc. 

pizz.

     secco

p

arco ord.

    

mf

24                 Fl.  3

  

3

 

    mf

  

sul pont.

  

arco

 ord.           p

sul pont.

pizz. secco

 21                           Fl. 

Vc.

           

pizz.--------------|

    



   

         

  

arco ord.

 

mf

f

 ff

   

      

      f

 

 

      


3

27               Fl.   

ff

 

       Vc.  ff

pizz.

p

           Fl. 

          

      

            

p

f

p

at the frog

 Fl.  35

Vc.

 

f

p

ff

 Fl.   41

Vc.

With urgency

  



mf

ff

         

   

mf

f

 

    

   pp ord.

       pp

mf

3

 

   

 

mp

 

p

f

3

3

sul tasto

      p

3

3

 

   

ff

Suddenly relaxing q=72

     sul pont.

 

f

p

sffz p

mf

   

mp

arco

                                    Vc.   6 pp

f

p

      3    3    3          

       

mf

      ff

arco ord.

non arp.

          

31

pp

 

3

   

mp

 pp

ord.

 

n

       

 

ord.

sul pont.

let energy dissipate



   

 

(quickly transition to harmonic)

3

pp

3

ord.

3

3

      

n


4 Ossia: if B foot joint is not available

         

3 3 3 3   Fl.                 5

Vc.

sharply, as if interrupting, and in tempo aggressive delicate

mf

sharply, interjecting

 50                 Fl. 

Vc.

5

mf

    

3

 

  f

 



58

p



 

f



    

   

dolce e espr.

 3

mf

        

p3

     



3

poco rit.----

 Fl.   Vc.

        

mf

 

p

mf

 Fl.  

3

molto legato e cantabile

 

54

Vc.

5

p

3

3

mf

                  

mf

            dolce e espr.

mf

 

    f

    

pp

   



   

p



p

  

 



mp

      

mp

3

              

5

6

     

 

p

p

 

  


molto espr. e cantabile   Fl.            63

Meditative, Rubato q=60

mf

Vc.

 

 Fl.    

 

pp

     



f

3

p

  Fl. 

delicately

ppp sub.

 

mf

3

 

p

3

p

3

3

 

 

  



     f

pp

   



  

f

  

3

 

3

mp

 

     pp

 

p

          

  

 

mf

deliberately

3

3

mf

Più mosso q=80 (e=160)

    

   





mf

 

n

 

 

                 

p    

 

   

      

               

 

 

       

mf

 

 

 

f

poco accel.

           

p

q=74

mf

ppp

85

mf

Playfully

                           (mf)

                                                              p

94

Vc.

                

 

 

p

Vc.

 

3

            mf



poco a poco accel.

                   

3

Vc.

   

      

mf

 Fl.  

77

 

 

 

73

Vc.

  

 

69

Vc.

5

poco a poco accel.

                                                      

103

Vc.

f


6

q=ca. 92-96

   Fl.  

 

  

f

Vc.

                 

(picking up immediately from cello)

108

mf

 

   Fl.    113

f

f

 

mf

f

                Fl.    

 Fl.  119

 

 

  

mf sub.

q=ca. 98-100

     

116

f

               

    Vc.   

Vc.

                    mf

       

                  

6

         

     

poco accel.

p

6:4

    mf sub.

   

   

           

f

        

  

ff

                       

         

    

f

 

mf

 

mf

3

           f



      

                              



     Vc.       

                            

f

123

ff

                                   Vc.                Fl.  

  

f 3

       

    




126   Fl. 

Vc.

7

 3

(still energetically)

  mf

3

 



  

        

(still energetically)

  

  

  

mf (match flute dynamics)

        Fl.                         Vc.  130

q=ca. 104-108

Fl.

  

Vc.

 

Vc.

f

                          (ff)

                                                 ff 

   

 

     

  





                                        

 

                                       

    140

Fl.

             

f                                 

6

ff

   Fl.    

                

          

137

Vc.

              

Drivingly poco accel.

134

         

   



 

 

                

  


8

143       Fl. 

 

       

                           fff

                                      Vc.                  fff     146              Fl.                        Vc.                   

                Fl.          fff 149

f

   Vc.  

          

f

 

    

  fff

                       fff

f

              f

fff

    

                      153                                     Fl.   f

        Vc.        f

fff

    

   

    

fff

                                    156          Fl.   

sfz

Vc.

  

                                                    sfz

 

ffff

 

    

ffff

Profile for Asha Srinivasan

Dviraag, for flute and cello  

Please visit www.twocomposers.org/asha/works.php for purchasing info.

Dviraag, for flute and cello  

Please visit www.twocomposers.org/asha/works.php for purchasing info.

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