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Asha Srinivasan Janani for Saxophone Quartet and Piano

Orignal version commissioned by the Sequoia Chamber Players

(2008, rev. 2009)


Notes to the Performers The word Janani is traditionally used to address the Goddess figure and means life-giver, or mother. This piece is lovingly dedicated to my mother and uses two Indian ragas, or modes, that are indirectly related to her; the first is called Lalitha, her name, and the second is called Ahiri, her favorite raga. The piano opens with a drone-like gesture and the alto sax begins a quiet exploration of the first mode in the alaap-style of Indian music. As the piece progresses, new pitches enter and there is a gradual shift to the second mode with a new tonic. After a pregnant pause, the alto sax begins an exploration of the second mode, though this time with an intense rhythmic energy that is subsequently sustained by the ensemble. Soaring above the rhythmic layers, the soprano sax sings freely while continuously heightening the intensity until all instruments join together for a rousing finale.

Notation Accidentals carry through the measure. Often, I've given extra accidentals to aid the performer and I've provided an abundance of natural signs to aid in reading awkward intervals such as Augmented seconds, etc. (I decided to err on the side of caution.) Since most of the piece is heavily modal, many accidentals remain the same. You might find this rule useful: From mm. 1-40, the notes are E F G# A C D#. (E is tonic) From mm. 54-147, the notes are F# G A# B C# D E. (F# is tonic) (There is a transitional period between mm. 40-54 where the notes shift from one set to the other.) Intonation is critical with a modal piece such as this. The saxophones should use the piano as a guide when possible. Here are some hints: From mm. 1-40, G# and D# should be on the sharper side leaning towards the A and E respectively, and the F should lean downward to E, with E and A acting as stable tones. From 54-147, A# leans toward B and G and D lean downward to F# and C# respectively, with F# and C# acting as stable tones. Glissandi should begin on the first note and move to the second with a deep and deliberate motion. M ultiple meter: In mm. 79-85, the bari sax and the left-hand of the piano are in a simple 3/4 meter while the other instruments are in a complex meter pattern (7/8, 8/8, etc.). While the bari and piano parts are still notated according to the overall complex meter pattern, vertical dashed lines are used to delineate the actual 3/4 grouping. In the piano part, since the right hand is still following the irregular meters (7/8, etc.), a composite rhythm has been included in the parts to assist with the combination of the multiple meters. This occurs again briefly at mm. 102-106 (piano only).


Symbols Play inside the piano.

Use the fingernail (on the strings inside the piano).

Play until a rest or a note change.

Dashed slur, used to show phrase markings despite articulation changes or rests.

P ad lib. +

Piano: use pedal as appropriate. Slap tongue


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Dedicated with love to my mother Asha Srinivasan (2008, rev. 2009)

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