Asha Srinivasan Keerthanata for soprano saxophone, alto saxophone, and electroacoustic accompaniment
Transposed Score
Commissioned by Saxophonists Sara Kind and Jesse Dochnahl, lead commissioners Alex Sellers, co-commissioner
Duration: 9:45
2012
Acknowledgements This commission was funded in part through a Lawrence University Distinctiveness Grant, a Fox Valley Community Arts Grant and Kickstarter pledges. Many thanks to the following donors: Craig Dahl Sarah McKnight Dannel Espinoza Kim Reece Jan Faidley Jonathan and Marianne Klein Meg Dochnahl James K. Budelman Mary & David Kind Kurt Zentner & Sons, Inc. Ming-ching Chiu Joo Won Park Sara Dochnahl Hugh Norsted Bill and Sylvia Carpenter Gene Hardin Mark H. Whitnall
Notes to Performers Program notes: The title Keerthanata is a play on words combining the keerthanam form in South Indian music with the Western term sonata. The melodic structure of Indian music known as raga often has a different ascending and descending form, often with zig-zags in the scalar pattern. The mode I invented for this piece models these aspects, with all twelve pitches grouped in complementary sets of characteristic chromatic gestures. After the strident introduction establishes the mode, the piece closely follows the pallavi structure of a typical keerthanam, where an easily discernable refrain is repeated several times, with each variation becoming more elaborate. At the height of the activity, a second line is introduced, receiving its own variation treatment. The electronic percussion in this section resembles the intricate subdivisions created by Indian percussion instruments and the atmosphere is playful, with the saxophonists trading repetitions and then coming together in a heterophonic duet. After the pallavi, the piece settles into a calmer, improvisatory-like section with a modal exploration in the soprano, with the alto taking the role of percussion. Later a rhythmic exploration begins with both instruments playfully dueling on the familiar refrain, with ever increasing rhythmic subdivisions. The final rhythmic section is closely modeled after the svara kalpana style of improvisation often found in South Indian concert pieces. My piece endeavors to highlight the drama of this style with a full active texture swirling around the lively saxophone interplay. The very last climactic declamation mimics the makutam, the rallying finish typical in svara kalpana, after which the piece subsides with final restatements of the refrain, gradually melting into the persistent drone. Much of Indian classical music is highly emotional and serious, which is also true of my music, but here I wanted to share the light, energetic aspect of Indian music and thereby infuse my own music with some frivolity! Many thanks to the I-Park, Wildacres, and Yaddo residencies for providing peaceful and inspiring environments in which to complete this piece.
Notation: grace notes
always place grace notes ON the beat, unless specified otherwise
bisb.
bisbigiliando: rapid timbral trill
timbral variation
svary timbre with alternate fingerings, or embouchure when alternate fingerings not possible
+
slap tongue tongue suction: a slap tongue with tone using mid/back of tongue suction with reed, or normal slap tongue with as much percussive sound as possible random fast keyclicks, choose keys that project the best and use air if needed local dynamics nested within larger shape phrase grouping for articulated passages 1
pedal cues for triggering a new electronic section when using the pedal version.
Multiphonics: Alto saxophone multiphonics taken from Daniel Kientzy's Les sons multiples aux saxophones. #67
#78
Notes regarding the electronics: There are two versions of the electronics available. One allows the use of a foot pedal to trigger audio files and the other uses a click track for synchronization. In the score, the circled numbers refer to pedal hits in the pedal trigger version. Set-up: 1) Pedal trigger version - Microphone amplification for each instrument - MIDI or USB Pedal - Stereo audio out from the computer to the PA system - On-stage monitor for the performers to hear the electronics if not audible with the speakers - Max software running the "keerthanata_patch.maxpat" - Free download of Max Runtime at www.cycling74.com 2) Click version - Microphone amplification for each instrument - headphones for one or both players - Multi-channel audio interface connected to a computer and to a PA system - Either use Max software running the "keerthanata_click.maxpat" - Free download of Max Runtime at www.cycling74.com Or, load the audio files "keerthanata_electronics.only.aif" and "keerthanata_click_only.aif" into a sequencer software for playback - Stereo audio out, channels 1 and 2 sent to the PA system, and click track out, channel 3, sent to the perfomers' headphones.
Page turn setup Page turns are intended to be executed at p. 2 (with p. 1 beginning on the left-hand side) p. 3 p. 5 p. 7 p. 9 p.10 Blank pages have been inserted in order to facilitate page turns. Since both performers each read from a score, the page turns do not necessarily work equally well for both instruments. Therefore, short passages may need to be memorized in order to make the page turns indicated above possible. indicates a quick page turn
Keerthanata Asha Srinivasan
Intro
Soprano Saxophone
q=110
1
Alto Saxophone Electronics
Cyclic/Like a wheel spinning
1
Percussive
f bass hit
Drones, ambient textures
p
11
f
p
f
p
high hits
Bell hit
quiet reverses
distorted imitation
3
mp
3
f
3
f
3
3
f
f
mf
(gradual transformations of pitch regions)
mf
Alto Sax.
still legato
Elec.
noise woosh swell
mf
* Circular breathe, if possible Alt: staggered breathing
f
ff
f
bell texture continues
5
©2012 by Asha Srinivasan, USA (ASCAP). All rights reserved.
5
ff
3
shrill scream
ff
f
(scoop)
ff
mf
17 Sop. Sax.
f
etc.
f
Bell delays
Elec.
3 Alto Sax. 3 3 3
etc.
3
f
Drones
f
mp
noise crackling texture
Sop. Sax.
*
coming out of the electronics molto legato *
Pitched
p f p f p molto legato
Sop. Sax. 22
mf
mf
Alto Sax. scoop
Elec.
mf
mf
p
Sop. Sax.
Alto Sax.
sfz p
f
3
bass hit (shrill scream) Elec.
high pitched perc.
3
32
Elec.
3
ff
3
5
ff
2
mf
fff
fff
mf
ff
(pitch cluster fades out)
3
vib. ord.
bass hit pitch distortion texture continues
noise crackling texture
ff
Refrain with variations A tempo h=60
mf sub.
mf sub.
3
bell texture still continues and builds
38
Elec.
ord. vib. Sop. Sax.
Maestoso, Molto Rubato
Alto Sax.
3
3
3
Sop. Sax.
3 3
3
Alto Sax.
3
mf
5
f
poco accel.
3 3
pitch cluster builds
3
mf
Building in urgency 28
p
(pitched perc.)
mf
soft bright pluck
mf
p
2
≈ 0:21
(distortion textures)
noise texture overpowers
hi perc
bass
wispy lines in the distance
3
Refrain, Var. 1 (sync with electronic percussion throughout this section )
Sop. Sax.
46
p
Alto Sax.
Elec.
Elec.
Sop. Sax. 52
Alto Sax.
Elec.
f
Lightly, playful exchange
p
mf
molto espr.
(trill slow to fast)
p
molto espr.
behind beat slightly dolce
3
p
mf
3
p
p sub.
f
3
f
p
p
Var. 2
54
Elec.
chattering lines, more pitched, still distant
p sub.
f
Sop. Sax.
Alto Sax.
bass & Eb gong
behind beat slightly dolce
p
mf
Sop. Sax.
mf
p
49
Alto Sax.
behind beat slightly dolce
mf
pp
mf
3
p
mf
This space left intentionally blank to facilitate page turns.
4
Sop. Sax. 56
Var. 3
Alto Sax.
Elec.
Sop. Sax.
f
p
f
mf
mf
f p
dry perc. continuous
etc.
overlapping drones, distant
3
slow to fast
f
sfz
sfz
3
sfz
1 2 Bb__ 3 4 6
sfz
mf
wild vib.
mf
1 2 Bb __ 3 4 6
timbral variation p
mf
mf
bisb. wild vib.
p
1 2 Bb __ 3 4 6
bisb.
p
3
1 2 Bb__ 3 4 6
timbral variation
p
3
sfz
p
f
sfz
62 Sop. Sax.
3
3
slow to fast
f
Elec.
Alto Sax.
Alto Sax.
f
legato
Elec.
p
3
legato
Var. 4
legato
p
bassier lines, swells
59
mf
p
mf
f
Var. 5 Becoming dramatic
Sop. Sax. 64
ff
Elec.
3
ff
etc.
3
dry perc.
(high drone)
grace notes before the beat
p sub. f
mf
Alto Sax.
5
accents sync with electronics
3
f
3
1 2 3 __ 5 6 7
3
mf
5
Sop. Sax.
66
ff
Alto Sax.
Elec.
3
ff
p sub.
mf
grace notes before the beat
3
f
3
3
f
1 2 3 __ 5 6 7
5
3
mf
ff
Var. 6
sync with electronics accents 5 Sop. Sax. 3 fff sfz sfz sfz
Vigorously, melodramatic
68
Alto Sax.
Elec.
mf sub.
fff
3
Alto Sax.
Elec.
mf sub.
f
Elec.
f
fff
mf
sfz
mf
ff
3
3
p
fff
p
ff
1 2 3 C# __ 4 6 7
f
sfz sfz
3
5 sfz sfz sfz
dolce
dolce
ff
3
ff
ff
(+ off-beat bass pattern begins)
ff 3
(cluster)
4
Sop. Sax.
5
ff
1 2 3 C# __ 4 6 7
Counter-refrain, Var. 1
72 Boldly, brightly
Alto Sax.
sfz
f
accents sync with electronics 3 mf fff
70
Sop. Sax.
sfz sfz
p
ff
dry perc. continues for entire section
distorted drones wispy lines continue underneath
n
p
(no cresc.)
p
3
p
etc.
6
Var. 2
Sop. Sax.
74
f
3
ff
Alto Sax.
Elec.
3
f
p
Sop. Sax.
p
f
Alto Sax.
p
ppp sub.
mf
f
long woosh swell
mp
mf
3
dolce
6
f
3
ff
ff
short woosh swell
3
ff
(no dim.)
ff
f
6
ppp sub.
p sub.
f
f
C#s sync with bass hits
mf
n
5
ppp sub.
77
ff
3
p
ff
dolce
3
(no dim.)
long woosh swell mp
f Elec.
Sop. Sax.
mf sub.
Alto Sax.
Elec.
ff
mf sub.
f
f
ff
mf
short woosh swell
Elec.
3
3
bell
ff
3
f
f
ff
f
ff
short woosh swell
3
ff
(Full texture)
3
3
3
bell
3
(Full texture)
mf
3
81 3 Sop. Sax. 3 3
Alto Sax.
3
3
ff
Broadly
3
5
n
Var. 3
79
7 83 Sop. Sax. 3 3 3
mf sub.
ff
3
ff
molto espr.
3
3
p
f
swell syncs with electronics
Alto Sax.
3
f
ff
f
molto espr.
p
f
swell syncs with electronics
Elec.
Elec.
dry perc. ends
soft bass
etc.
(cluster slow fade)
p
3
mf
mf
p
f
f
playfully off-beat
p
5
Gently
pp
dolce
mf
dolce
mf
dry perc. resumes
short woosh swell f
(cluster)
Elec.
f
pp
Alto Sax.
Sop. Sax. 87
Refrain - return
f
85
Sop. Sax.
Alto Sax.
high pitched perc.
slow to fast
slow to fast
p
p
8
Sop. Sax. 90
mp
Alto Sax.
Elec.
mf
Sop. Sax.
f
pp
3
etc.
Sop. Sax. 3 3
(mp)
Elec.
ppp
p
3
granular texture
3
3
pp
3
3
3
p
3
3
p but audible
p
3
(interplay with slap-like sounds in electronics)
pp
97
mf
mf
Alto Sax.
3
mf
p
p
molto espr.
Alto Sax.
Elec.
(like Intro)
3
94
f
p
3
mf
p
mp
mp
pp
n
(granular texture continues underneath)
Modal Exploration
Sop. Sax. 101
Alto Sax.
Elec.
3 3
mf
tongue suction
p audible but accompinamental
harmony loosely notated, very slow attack
vib. ord.
3
pp
keyclicks random pitches
f
3
mf
Alto Sax.
6
3
f
mf
gong
6
mf
distantly
pp
mp
p
p
molto
diff. timbres
+ subtle noise sweeps, scattered
104 senza vib. Sop. Sax.
Elec.
pp
percussively
3
p
3
ppp
9
synchronization less strict mm. 101-111, "fall" into harmonies loosely cantabile, molto espr.
pp
diff. timbres
6 h=75 (q=150)
poco accel.
3 3 Sop. Sax. 3
108
mf
Alto Sax.
Elec.
very delicately
p
pp
poco
mf
3
p
n
poco
p
(like Intro)
mp
simply
(high pitched perc. continues)
(granular texture continues)
Rhythmic Exploration
10
Ominously, darkly
112
Sop. Sax.
Alto Sax.
Elec.
Elec.
(out of pitched perc. texture)
ff
mf
bell-like pitched delay texture begins
pp
mf
(high bell)
(high bell)
(pluck-like)
mf
p
etc.
playfully off-beat
f
f
high bell w/delay
mf
p audible but fading into background
Sop. Sax.
mf
mf
124
Elec.
ff
bell with high pitched reverb tail
121
Alto Sax.
Sop. Sax.
Elec.
Alto Sax.
mf
117
mf
Sop. Sax. Alto Sax.
m. 116-118, timbral variation on repeated pitches
(sync with electronic percussion throughout this section )
setting up new tempo of q. = beat
This space left intentionally blank to facilitate page turns.
Reh. A
Sop. Sax. 11
127
f
Alto Sax.
f
mf
< q. = h > (h=100)
3
percussively interplay with electronics
f
mf audible but accompanimental
subdivisions in the new tempo dry perc. continues in patterns dry perc. high, soft
Elec.
all textures build
Sop. Sax. 130
Alto Sax.
Elec.
Elec.
Sop. Sax.
Alto Sax.
Elec.
142
Sop. Sax.
Elec.
* Circular breathe, if possible Alt: breathe between gestures
3
ff
explosive
+ pitch texture gradually turns to noise
3
ff prominent but accompanimental
poco
fff
Alto Sax.
*
open
f
ff mf f mf
f
mf
138
f
Sop. Sax. f Alto Sax.
mf
134
ff
exaggerate accents legato
exaggerate accents
ff
sfz
sfz
sfz
145 Sop. Sax. fff Alto Sax. Forcefully, climactic
Elec.
fff
fff
Sop. Sax.
Hit!
Sop. Sax.
Alto Sax.
Elec.
mf
fff
p echo
3
f
3
mf
mf
Alto Sax.
mf
mf
mf poco
p
mp
3
p
pp
poco
ff 3
ff
smoothly dissolving, without emphasis
3
dissolving
7
poco
pp poco
p
noise textures out, texture thins
* Circular breathe, if possible Alt: hold as long as possible, rest, and pick up at end of m. 154
3
3
ff
ff
3
poco
noise textures begin to fade out
3
ff
Coda
mf
Elec.
165
Sop. Sax.
Tenderly
ff
162
Elec.
f
3
Sop. Sax. Alto Sax.
3
p
3
ff
fff
3
ff
f
f
3
ff
Elec.
f
5
f
3
p
exact synchronization not necessary
noisy textuers continue
mf
159 Sop. Sax.
Alto Sax.
3
Drones - full
noise swell
fff
156
fff
Alto Sax. Elec.
Refrain - final return
3
< h. = h > Maestoso, Triumphantly h=66 * fff
153
12
(slow fall)
149 Sop. Sax. Alto Sax. Elec.
p
(like intro)
p
p
mf
3
mf
sweeping gestures, mildly distorted drones
dissolve into electronics long
≈ 0:17
p
p