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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

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