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Asha Srinivasan Dyadic Affinities for Tuba and electroacoustic accompaniment

Commissioned by the following consortium: Stephanie Frye, lead commissioner Genevieve Clarkson Marty Erickson Joanna Hersey Fritz Kaenzig Mary MacKinnon Deanna Swoboda Anonymous member

Duration: 10 minutes

2013


Notes to Performer Program notes On the tail of a blossoming gesture in the electronics, the tuba enters with a gentle, meditative dyad, Bb and C. At first these two pitches seem to have little affinity, Bb being posed as a stable tonal center and C as a contrasting unstable tone above. In the middle of the piece, however, the relationship of stable-unstable is reversed when the accompaniment poses C as the new center, making Bb an unstable tendency tone below. The other notes, first sounding above Bb and then C, are identical in each section, but shifting the tonal center creates new modal hierarchies, revealing unexpected affinities between the two regions. Thus, the simple and modest two-note opening sets up the pitch framework of the entire piece. The piece also explores the different timbres of the tuba, its singing quality, its dark, deep bass, and its rhythmic agility. The electroacoustic accompaniment complements and contrasts these characteristics by providing a diverse soundscape in which the instrument is embedded. The accompaniment also sets the mood for each section, transforming from calm, sparse textures to a fuller, more dramatic background, and finally to a heightened melodic and rhythmic climax, before cascading back down to an unsettled tranquility.

Tuba notation: multiphonic: sing diamond notehead, play regular notehead flutter tongue prominent, noticeable vibrato, more so than would be the norm

Electronics notation: full textural crescendo, a prominent build harsh pitched noise gesture; this is a very specific sound that often acts as a prominent cue and will have a quick attack, decrescendo and slow crescendo into the release, as demonstrated by the hairpins.

Page turn setup: The score is laid out such that page turns are possible after pp. 2, 4, 6, and 9. Therefore, p. 1 will be on the left and p. 9 must be attached to p. 8, opening as a foldout, with p. 10 on the back of p. 9 (double-sided). Page turns are indicated with a "page" symbol.

Notes regarding the electronics The electronics are intended to be played back as one fixed track. The performer will need a stopwatch or similar time-keeping device. The composer can provide a software application that will display time and metronomic LED. The application can also be used to provide a click track using a multi-channel audio interface and headphones. The tuba need not be amplified in general but the loud sections of the electronics should fill the hall completely and the electronics should not be under-mixed. This is especially true at the beginning, where the tuba should sound like it is emerging out of the electronics, and circa 8:33, the final climax, where both elements should be full and dramatic.


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Dyadic Affinities Asha Srinivasan

Tuba

percussive/noise

Electronics pitched/drone

2

Tba.

Ele.

Ele.

Ele.

 quiet tone in the background



ppp

pp

mf

 

22"

17"

 

36" (as an afterthought)

  

p

    

mf

(p)

 

swell gesture - longer

pp

              

mf

 





 3               p

ppp

(quiet tone continues)

3

 

57"

3

p

mf

  

 

    

 f

wooshing bass noise

   

bass drone



  

rattling pitch

 

 

wavering detuned low pitch

p

etc.   

 

ambient bass sounds and high sounds swirling



 

quiet whistle melody   

 



 

 

 

 

high woosh

rattling pitch

 

 

   

54"

pp

(light spattering of sticks etc.)

pp

gong hit

 



40"

  

 

                      

               

   

more firmly

rhythmic pattern leads to downbeat

   

bass tone creeps in

swell gesture



  

Tba.

   

  

8

11 sec.

11" gently, blend with the mood of electronics

 6

Tba.

0" q=60

   

1'09" distantly, darkly

 

3         

 

  

 

 

 

p sub.

poco

(quiet tone becomes more prominent)

 mf

mf

©2013 by Asha Srinivasan, USA (ASCAP). All rights reserved.


10

Tba.

Ele.

Ele.

Ele.

p

 

 

 



1'41"

  

1'45"

1'49"

     

f

   continues to m. 20  bass drone - full texture

1'53"

dolce

mf

 

3

 

p

1'57"

            p

mf



5



 

        bass hit

 



mf

poco

noise

  

  





    

2'31"



               

  



(ppp)

2'34"

  

2'21"

ff



  

    

2'37"



 



legato here

  

mp

 

 

     

f

   

percussion

 TACET - (Resonance only)



2'43"

              f

 

2'40"

3

bass hit



         

harmonies sustain over

 

2'17"

noise pulses at q. at first staccato

quiet hit p

  

              sfz



      

2'28" solidly

3



      

  

  

rattling pitch

bass drone continued

2'13"

smooth synth harmonies

2'25"

2'09"

    

f

   

growing in texture

2'05"

2'01"

    

mf

noise

        

f

 

1'37"

 

 

    3

 

1'33"

      

1'29"

swell gesture - bigger

   

27

Ele.

pp

 

2

1'25"

   

high sparkling noises

Tba.

sing

   

21

Tba.

1'20"

       5

  

14

Tba.

1'15"

 

ppp

  


3 34

Tba.

Ele.

    

3'04"

 

                    

2'52"

mf

p

     

   



   

 

transforms into a bubbling background texture

                      

   

            

(molto vib. on A)

3'12"

echo  

  

    

  



  

 

harmonies sustain over

slow dramatic build

3'28" very dramatically

                             fff

42

     

synth harmonies

3'08"

         

     

    

3'24"

Ele.

3

mf

f

Tba.

3'00" (molto vib. on G)

2'56"

        

    

 

  

39

Ele.

2'49"

pp

Tba.

2'46"

3'16"

3'20"

   

       

    

     

         

 

      

3'32"

   

  whistle melody

  

 

     

full texture

  

 

     

  

 


4

20 sec. 3'38"            3         ff 5  3'34"

47

Tba.

Ele.

   



 

p

soft swell

  

noisy woody harmonic

4'22"

 

ppp

4'26"



o a e o a e o ae oa

 

   

p

p sub.

f

high swell

4'46"









4'50"

(low noise mass continues)

4'54"

4'58"

 

percussive

       3

low hit

   

pp

(quick vowel alterations)

3 3 3                    3 p p    low hit

  

4'34"

4'30"

(fade into straight tone, 1/2 valve gliss at end)

(noisy textures continue)

  

stuttering tones in background



 

4'02"

 

        





low noise mass

mf

3'58"

sharp hit with echo

4'18"

mf

4'42"

3'54"

morendo

 

 

  

p

4'38"

3'50"

full texture holds then fades

4'14"

        p 

3'46"

Electronic interlude: moving from pitch to noise, timbre shifting

high tone holds

(gradually move to multiphonic)

63

Ele.

 

ppp

Tba.

 

4'06" 4'10" (as if part of electronics)

55

Ele.

 

  

 

Tba.

3'42"

soft ring

 ppp


5 69

Tba.

Ele.

5'02"

5'06"

 

5'23"

  

p 3

  

5'43"

+ stuttering textures

5'35"

5'39"

5             3

pp

shift from Bb drone to C drone (recontextualizing tuba's pitches)

5'47"

mf

high sparkle   

  

5'50"

f

        3

 

quick pitch swell

 

5'56" dolce, longingly

5'53"

      3

mf

poco

smooth synth harmonies

  

 



               

  

 

   

sharp hit with echo

p

            3

mf

mf

3

5'31"

    

mp

    

5'27"

tentatively

       

 



p sub.

79

Ele.

Bb drone, high and low

Tba.

  

3

      

 

 

5'19"

harsh pitched/noise gesture

74

Ele.

   

5'15"

p

Tba.

5'11"

  

    

 

5'59"

      pp

mf

  

         

quick pitch swell

 3



scratchy noise

(texture creeps in and grows)






                   3                        

85

Tba.

Ele.

6'05" building in urgency

6'02"

5



 

3



low drone texture getting fuller

ff 3

 

 

high noise accumulation

6'20" broadly   

 

6'23"





noise hit

6'35"



    

    

f







  



 

6'43"

6'47"

f percussive

 

swell gesture returns

     

harsh pitched/noise gesture - Bb



 



+ cluster chord



6'39"

5

mf





     



6'29"

f

scratchy noise texture getting fuller



3

(ff)



bass hit

6'32"

        

6'26"

high noise accumulation + high swirls

 

bass noise rumble



6'17"                 

95

Ele.

f

G - rattling pitch

  

Tba.

3

soft hit

6'14"

3

89

Ele.

6

6'11"

3

3

  

Tba.

6'08"

 

  

harsh pitched/noise gesture - C



  

    

    

pitched pluck, getting gradually closer



 



 


7 Tba.

Ele.

high whistle





  

        

  

 

    

  

3

p

      





  

3

f

               (establishing q=90) 3

   

  

 

p

3

7'39"



  

3      3            

      

3

3

3

               

    

7'45"

      mf

  

 

 3

 3

glassy chord (only prominent pitches shown)

   

 

f

  

3

3

     

3

  

3



3

 

3

ff

      

 

3

3

7'47"

7'49"

                     f mf mf

(off-beat noise added to pulse)

    

  

       

  

 

resonant hit

(pitched pluck becomes the beat)

   

(high whistle)

3

3

7'43" K <q = q > (q=90) 3 broadly

3

f

(high whistle)

3

     

mf

3

3

7'35"

     

3

  

mp

3

 

3

3



7'23"                   

     

   

  

 

7'19"

7'31" with a sense of urgency

7'27"

 

mf

     

f

3

mf

p

C drone stays prominent until m. 107 where it starts to get noisy

7'11"



   

3

mf

(electronic percussion already in q=90)

112

Ele.

 

 

Tba.

3

       

7'07"

  

noisy texture creeps in and grows

109

Ele.

7'03"

      

f

Tba.

6'59"

7'15"               

105

Ele.

6'55"

5

mf

Tba.

6'51" molto espr.

        

100

     



 

ff

  

   


7'51" poco a poco legato

117

Tba.

Ele.

  

Ele.

f

Ele.



                

                  

 

 

 

 



 

 

     synth line

    

8'09"

p

  

continues in the background to m. 130

        

   

           synth line - broken

  

   

reverse bell

glassy chord

                                   ff



  

  

3

3



synth line



       3

 

3

 

pitched plucks - following synth line

 

8'15" vigorously

                            f f 

8'12"

 

reverse bell

8'07"

               

 

8'04"

  

 

      f

 

              

8'20" 8'23"                                                

128

Tba.

p         

f

soft bass pattern delineats half-measure

p

         

 

reverse bell

126

Ele.

8'01"

   

  

f

    



8 7'59" emphatic accents, sync with electronics

7'57"

    

synth low tone

Tba.

  

122

Tba.

7'55"

     

     

7'53"

8'17"

ff

   

  

 

   

 

sf

 

 (irregular)  



mf

 

  



       

 

 


page insert foldout - tape to right edge of page 8 and open out

9 131

Tba.

Ele.

8'28"   8'31"                                           

8'25"

134

Ele.

Ele.

Ele.

   

fff

  

  

big build

8'39"

8'36"

f

          

full drone texture holds (C and Db prominent at multiple 8ves)

   

 

mf

ff

    

 

8'57"               mf sub. 3

ff

8'55" suddenly relaxing

high noise swirls in and out

 

   

poco

  9'00"

    mf

  

  p

8'52"

fff

  

high noise + bass hit

low textures ebb

 

 

small build

 

9'04"

9'08"

q=60

         

f

     bass swells and ebbs

sfffz

  

(percussive)

  

 

  

harsh pitched/noise gesture

poco

high noise accumulation

  

fff

8'47"

8'44"



   8'41"                                     

       

   



  

8'33" marcato

mf

8'49"                                     

142

Tba.

 

         

138

Tba.

   

half-measure bass pattern becomes bassier and more prominent to m. 130

Tba.

   



ff

   

 

    

 

mf

 

  

slightly pitched noise gesture

high texture fades also

 

slow pulsation of low drone cluster


10 147

Tba.

Ele.

 

155

Ele.

 

mf



   

 

p

  



9'32"

 mp

scratchy noise in background

9'36"

   

  

resonant bass

 



p

 

9'28"

9'24"

9'40"

dolce, inwardly  

    mp

p

  slight build

Tba.

9'20"

slightly pitched noise gesture

151

Ele.

9'16"

3        

p

Tba.

9'12"



9'44"



pp

 

falling gesture



9'48"

poco

unpitched bass rumble

9'52"

 

9'56"

ppp

 

 

TACET - (Resonance only)

 10'00"

Profile for Asha Srinivasan

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