A guide to understanding and performing Saundaryalaharī 1 - 5: The Players Guide
This guide is intended to provide a resource for performers of Saundaryalaharī 1 – 5 to understand the concept of Saundaryalaharī as it applies in this series of works.
The Sricakra of Saundaryalaharī
Background and theory of the Saundaryalaharī
Inspiration for the works is based on an 8th Century Indian literary work in Sanskrit written by Adi Shankara called the Soundarya Lahari or Saundaryalaharī (Sankskrit: सौन्दर्यलहरी) meaning "Waves of Beauty”.
They are based around the spiritual/graphic formation of the Sricakra, which defines and arranges the verses from outside to inside. Each verse contains a meditative poem in Sanskrit that establishes a spiritual/philosophical reference to the structure of the Sricakra. These poems refer to concepts of universal sociality and spirituality that affects many things, including the sources creativity.
The ancient text of the Saundaryalaharī has been translated and commented upon hundreds of times over the Centuries. For these works, I am primarily applying the concepts and commentaries found in the books by Nataraja Guru and Guru Nitya Chaitanya Yati.
This mystical and information-rich content is embedded in the form of 100 enigmatical verses. The first part of the Saundaryalaharī (verses 1 – 41) is called the Ānandalaharī and the second part (verses 42 – 100) is called the Saundaryalaharī, with the whole of the work called the Saundaryalaharī.
The works utilise signal modified electronics and interactive visuals using video synthesisers and/or Pixivisor software, which translates image into sound and back again – providing the opportunity for the music to have a “feed forward” loop in order to regenerate musical materials within a composition. Other practices are also employed, including the use of digital projection software, audio synthesis and electronic music techniques – ultimately in use with live instrumentalists via traditional and aleatoric notated score materials.
The outputs of this project allow the exploration, through music, sound, and visuals – both online and in performance – of the non-verbal or proto-linguistic creativity and structuralism found in these ancient texts.
The personal motivation of Saundaryalaharī
My personal story with the Saundaryalaharī goes back to the origins of my name, as given to me by Guru Nitya Chaitanya Yati before my birth. Having such an unusual name with a lot of meaning shaped me from an early age to seek to understand Guru Nitya. When I was 21, I saved up enough money to go to India and live with him for many months at the Fernhill Gurukula in Ottacamund (Ooty), the Nilgiri mountain town in the South of India. While living there with the Guru, and toward the end of my stay with him, I was introduced to the Saundaryalaharī in his daily discourses. He was just then publishing the first edition of his commentary on the Saundaryalaharī, at that time, the first 41 verses of the Ānandalaharī.
I became interested in the structural concepts of the Saundaryalaharī and the Sricakra, as they represented a sort of architectural concept that could be used to understand the order of the verses as well as being a sort of proto-linguistic metaphor that ultimately represents the cosmic principles therein. The triangular building blocks of the Sricakra also stood out to me as working particularly well with serial compositional methods. There are 3 sides to each triangle, 4 upward triangles and 5 downward triangles. Moreover, the spiritual metaphor engages the number 2 as representing the challenging metaphor of duality and the unifying number of 1 as representing the Absolute or God. Similar constructs are seen with the Pythagoreans with the structure of the Tetractys (which represents the number 10 as a construction of sequential layers of 1, 2, 3 and 4). The chromatic scale also carries a relationship here, as 12 tones minus the triangular Tetractys of 10 leaves 2, which once again reminds us of the concept of duality.
The compositional elements of the Saundaryalaharī are represented in these interplays of sacred geometry in evolving ways, as a sort of dialogue within the works. It’s perhaps too complex to write about here and I’d be happy to show how these works were constructed if anyone were interested.
The ways I’ve explored these concepts are not intended to be thought of as purely scientific or mathematical. Rather, I have embraced the challenge that Nataraja Guru postulated in his commentary on the Saundaryalaharī, in that deeper understanding of the Saundaryalaharī requires a proto-linguistic approach, one that does not require endless talking or writing about and instead only uses the interplay between audio and visual arts to communicate. Furthermore, the Saundaryalaharī’s proto-meaning consistently refers to the concept of reciprocity as the source of all unified understanding. The triangles in the Sricakra support this metaphor as the entire structure is self-repeating, returns upon itself and is placed in the shape of a vertical infinity symbol.
So, these works incorporate audio-visual systems in their compositions that can self-generate (to various extents) and feed back to either the performers, the electronics, or both.
The compositions should be rehearsed with this in mind. They are a search for a link between the structure, meaning and power within the Saundaryalaharī. For this reason, they are also rather simplistic and basic in notation, and there is a lot of blank space on the page. This is for the performer to listen, watch, and search for sound, search for meaning in the next note or gesture, or just sit in silence. There are no fixed rules.
Rehearsal methods and improvisation
The Saundaryalaharī method can be described as a collective search for sound. By working together with the proto-linguistic notation and reactive, reciprocal audiovisual systems, a new synthesis between improvisation and static, controlled performance can be developed.
As much as is reasonably possible, rehearsals should be designed to take the time necessary to understand the structure, repetition, imitation, and consonant/dissonant relationships that exist in the scores. Care should be given in the rehearsals and the performance to understanding the meaning of the empty space utilised in the score (specifically between horizontal phrases) and to developing good communication between musicians for playing these passages clearly. There may be the mutual decision to use silence in these passages. Because there is a lot of room for interpretation and improvisation, it is important to discuss the intention and understanding during rehearsals. Performances should happen, as is normal in professional practice, with command of the pieces and an intuitive awareness of what they mean.
Sound and the visualisation of sound are also very important in Saundaryalaharī 1 - 5. The audiovisual systems employed will need quite a lot of tweaking to get to “feel right”. In particular, if you are using envelope followers, it may take some experimentation to produce the correct feedback to generate responsive visuals for the instrumentalist(s) to improvise to. The works are intentionally composed with space to promote creativity and response in developing sound. They are not to be played in a fixed or unchangable way. However, the conventional music notation and score design for the acoustic instrument parts are to be understood and played as written.
About the electronics notation in the scores
The scores of Saundaryalaharī 1, 2 and 3.v1 are notated with the electronic performance indications from the premiere performances superimposed over the suggested improvisation “activation zones”. The performance indications are suggestions only in case that the performers would like to use these premiere performances as a basis for their own improvisations. The construction of the audiovisual electronic systems can also vary. There are many ways to interpret these works and each performance should take a unique approach to developing its own audiovisual electronic system.
Concepts of the works and implementation of the electronics
Each of the premiere performances has devised various solutions for developing an appropriate, reciprocal audio-visual system. Diagrams of the systems used in those performances are shown here.
Saundaryalaharī 1 concept
Saundaryalaharī 1 represents the first exploration into the Sricakra by beginning with a horizontal view of the structure in a harmonically vertical set of simple tones. The Sricakra is then explored in diagonal cross-sections of increasing complexity. These eventually become more and more emotionally reactive as they descend eventually to the bottom of each of the rows, leading to a fortissimo at the “end of the line”. Through each exploration of the distance of each “pathway” through the Sricakra, as a sort of a web, we return to a vertical set of simple tones. Toward the end of the piece, the serendipity of the Sricakra conflicts with the personal response through a succession of repetitive block chords, transitioning between soft and loud. This is resolved to a dissonant but mysterious chorale using as its the basis of the transitional, earthly tone of D. From this reflection, the Tetractys emerges and is continued by a calm recapitulation of the vertical set of tones for the last time.
Saundaryalaharī 1 implementation
Electronic instruments used in the premiere: Elektron Machinedrum (MD), 2 iPads with Pixivisor software (one set to send, one set to receive), Eurorack modular synth rack with the following modules: Mutable Instruments Clouds, Mutable Instruments Peaks (LFO), Make Noise Maths (LFO), Bastl Grandpa, Toppobrillo Multifilter, Deopfer A-149-1 RCV, a projector, two loudspeakers (stereo main outs), and a small 8-channel mixer (an opt. second house mixer/monitoring for larger venues).
This performance used a “linear” reciprocal audio-visual system with the software Pixivisor (https://www.warmplace.ru/soft/pixivisor/). This iPad software translates images from audio signals and vice-versa. The electronics system mixes the incoming microphone inputs from the two pianists along with an audio signal from an Apple iPad running the software Pixivisor set to “send mode” through the electronics, and processes them. The iPad with Pixivisor set to “send mode” is programmed with images of the Sricakra. A mixer then distributes the mixed signals to a second iPad running Pixivisor set to “receive mode” and re-translates them back into visuals to project to the players (and the audience).
The visual reciprocity is represented by Pixivisor’s interesting patterns and lines on a screen blended with the modifications in the image that occur due to the real-time processing of the signals. The players can be inspired from the visuals and comment musically by allowing the visuals affecting the interpretation of the score through alterations of tempo, timbre, style, etc. The large screen should be visible by the pianists, while the electronics performer uses the screen on the iPad to view the visuals.
Audio is also “recycled” via the sampled sequences created in the Elektron Machinedrum. This effect is created by setting up all 4 sample record and playback machines in the last 8 machines. The Machinedrum resamples audio from the sub mix of all the instruments (pianos and electronics), processes it and plays back in a random sequence using the built-in sequencer. At the premiere, the first 8 machines were also used for various, freely chosen sampled drum sounds. This kind of effect could also be created using a similar technique in an Elektron Octatrack, or also by using a custom live sampling patch in NI Reaktor or Max MSP. The method is not important, as long as the effect and the reactive control are similar. The modular synthesizer can be set up in any way the performer chooses (there are many modules to choose from anyway) but the principles should represent reciprocity as discussed above.
Saundaryalaharī 1 technical diagram
Saundaryalaharī 2 concept
Saundaryalaharī 2 used a simpler and “less reciprocal” system at its premiere performances, although it is conceivable that a more effective and complete reciprocal system may be used in future performances. This is because this piece represents a sort of transitional piece between Saundaryalaharī 1 and the following works. It is exploratory.
The work itself represents the structure of a reciprocal form. Its purpose is to transition to the openness of the Ānandalaharī (the first part of the Saundaryalaharī) by concentrating on the elements of the Tetractys which were introduced and developed in Saundaryalaharī 1. The Tetractys introduces itself in the same way as in Saundaryalaharī 1, but this time it is mirrored by an alternative Tetractys to gain perspective. From this, a sort of confusion of interpretation on the Sricakra is represented by sequences from the Sricakra played in a canon/imitation form. A new form of resolution is released, which is repeated at the very end as well.
Saundaryalaharī 2 implementation
Electronic instruments used in the premiere: Elektron Machinedrum (MD), Apple iPad with Pixivisor software, Teenage Electronics Op-1, a small mixer (Mackie VLZ4), and two loudspeakers (stereo main outs).
As mentioned above, the premiere did not use as complex of a reciprocal system as Saundaryalaharī 1. For the premiere performances, a portable system was used, set to create sampled sequences in the Machinedrum similar to those described in Saundaryalaharī 1. Only one Apple iPad was used in “receive mode”. The iPad using Pixivisor visualises the overall mix, although in the performance this is mostly for the audience to observe. The OP-1 used its tape track recording parameter to sample, and the organ-like tones were played and improvised upon with the OP-1s small musical keyboard. The Machinedrum sampled and sequenced the two celli in the same way as used in Saundaryalaharī 1. The two celli may use direct pickups to avoid feedback.
Saundaryalaharī 2 technical diagram
Saundaryalaharī 3 concept
Saundaryalaharī 3 (v.1, v.2 and v.3) are composed to represent a reductionist idea, and to further stimulate independent interpretation by the players through a more consequential (and visually controllable) audiovisual system, more simplistic structural symbols extracted from the Sricakra, and more space for reflection (Saundaryalaharī 3 can be as long as 45min in performance length).
The work is constructed of sequences generated from the axis in the Sricakra introduced with simple aleatory repetition, like a mantra. The scale at the beginning represents the entire coordinates within the Sricakra. It is then developed through various routes around the structure, from vertical, to horizontal, then circular in both directions. A few times, individuation is represented in little “outbursts” leading to a personal reflective repetition form made of 3 notes in a simple rhythmic pattern. This is the “dead end” of personal reflection, upon which we should return to the structural exploration at the end. The Tetractys does not play a role in these pieces as we have now already transitioned properly to the Ānandalaharī.
Saundaryalaharī 3 implementation
Electronic instruments used in the premiere: Teenage Engineering OP-Z synth/sequencer (tape seq.), Gieskes 3Trins RGB+ video synthesiser, Mac laptop with MOTU DP, NI Reaktor running Metaphysical Function, and a custom 3 envelope follower Blocks patch, Pixivisor software (set to send mode), an 8 channel audio interface (for cv and audio output), a Blackmagic Ultrastudio Mini (for video input/output and recording), a projector and two loudspeakers (stereo main outs). An optional second house mixer/monitoring may be used for larger venues. The cello may use a direct pickup to avoid feedback.
The reciprocal audiovisual system uses the Gieskes 3Trins RGB+ analogue audiovisual synthesizer. The articulation, dynamics and pitch of the cello were translated into cv using a custom envelope follower patch in Reaktor, and sent to the 3Trins RGB+ to control the three colours and shapes of the RGB output. The video oscillators of the 3Trins also produce drone-like sounds with controllable pitch which is returned to the audio mix. To create reactive atmospheric background and to affect the cello sound, Reaktor’s Metaphysical Function was used, developed from the preset patch “Flutter Strum”. The overall sound was remixed in the DAW through Pixivisor into the RGB+ to initiate high-speed and low-speed reactivity, which is viewed on the performance screen. The construction of this system is also discussed at the following Saundaryalaharī project research blog links:
Saundaryalaharī 3 v.2 is an online version of Saundaryalaharī 3 that allows for the system to be performed by musicians via video/audio conferencing software. The system uses Zoom as a video client and replaces the performance screen in the live version.
A recommended system includes a Mac laptop with MOTU DP, Zoom video conferencing software (currently limited to mono), and NI Reaktor running a custom 3 envelope follower Blocks patch, a Gieskes 3Trins RGB1c+ video synthesiser, a Erogenous Tones Structure video synthesiser (in the later version), A Eurorack modular synth rack with the following modules: Mutable Instruments Clouds, Mutable Instruments Peaks, Make Noise Maths, Bastl Grandpa, Toppobrillo Multifilter, Doepfer A-149-1 RCV, etc, a Blackmagic Ultrastudio Mini (for video input/output and recording), and an 8 channel audio interface (for cv and audio output). The cello may use a direct pickup to avoid feedback.
In a later version of this work, the Erogenous Tones Structure video synthesizer was introduced to provide a platform for introducing new, digitally created 2d and 3d images to be reacted against. The score to Saundaryalaharī 3 v.2 is made of a reduction of all structural elements of Saundaryalaharī 3 v.1 without substantive change, in an effort to further simplify the conceptive abstractions of the musical components of the work (and to have a short performance version of Saundaryalaharī 3). The score itself does not have audiovisual performance indications yet. Another later version of Saundaryalaharī 3 v.2 introduced aleatory to the performance by randomising fragments of the piece to be played back randomly and improvised against. Further information about this version is at the front of the Saundaryalaharī 3 v.2 score.
Saundaryalaharī 3 v.3 is also an online version using the same system as Saundaryalaharī 3 v.2, but with different slides that include chanted vocalise of (text) verses 22, 34, 52. These are the same verses chanted in Saundaryalaharī 5 v.2.
Saundaryalaharī 3 v.1 technical diagram
Saundaryalaharī 3 v.2 technical diagram
Saundaryalaharī 4 concept
Saundaryalaharī 4 for orchestra and audiovisual electronics is a large-scale orchestral work that attempts to culminate the Sricakra and Saundaryalaharī into a coherent large-scale work. The orchestration can be seen here as a sort of “community” (metaphor) in the sense that many of the fundamental musical ideas of the previously versions of Saundaryalaharī are now examined structurally and in detail.
Its form is representative of Saundaryalaharī 3 (version 1), in that it begins with aleatoric repetition, however it is then broken by larger scale symmetrical harmonic objects, which represent the intersection between the horizonal and vertical axes of the Sricakra. This creates an interplay that, after a short while recalls many of the objects that Saundaryalaharī has transversed up until now (from Saundaryalaharī 1, 2 and 3). There is also a soloistic tendency that emerges from the celli – extracted and modified from a previously unexamined work *A2 for string orchestra (2014), and expands outwards. The same three note musical conflicts from Saundaryalaharī 3 are explored with larger-scale unisoni. The tetractys returns at the end of the piece, representing the enigma of the Saundaryalaharī, followed by the Aum.
Saundaryalaharī 4 implementation
The electronics are yet unperformed, so they do not have premiere performance indications. The system should be the same as that used in Saundaryalaharī 3 v.1. The visual reciprocal system should be designed to communicate primarily to the orchestra conductor for practical purposes, however individual instrumentalists can also improvise with their “blank measure” entrances by looking at the screen, as long as it doesn’t distract them from re-aligning with the other instruments once time is again given by the conductor.
Saundaryalaharī 5 v.1 concept
Saundaryalaharī 5 v.1 for cello and electronics, funded performance research from I-Portunus EU funding scheme, recorded in Bologna, Italy on Saturday, 13th November 2021. The performance scores and rehearsal implementation to Saundaryalaharī 5 v.1 can be downloaded here. A recorded audio performance of this work can be found here.
Nicola Baroni - violoncello and electronics (Montreal Assembly Count to 5)
Yati Durant - composition, electronics (Elektron Octratrack)
Saundaryalaharī 5 v.2 concept
Saundaryalaharī 5 v.2 is a concert version of Saundaryalaharī 5 premiered on 1st December 2022 at AngelicA, Centro di Ricarca Musicale - Teatro San Leonardo, Bologna, and on 14th May 2023 at Mercato Sonato, Bologna.
This work integrates visuals and vocalise chanting to Saundaryalaharī 5, and is dedicated to the celebration of 100th centenary of the founding of the Narayana Gurukula, Fernhill, Nilgiris, India.
The vocalise are chanted in a ‘meditational style’ on the pitch of C (sruthi). The type of chanting voice recommended is more of a ‘white’ style of voice, with only a very little bit of vibrato. The visuals are continuous, introducing the piece for a few minutes before the first vocalise, in between the short pauses of the movements, and slowly fade out at the end of the final movement.
The work is performed in the following sequence, with vocalise ragas linked in examples, for the correct interpretation:
vocalise: Saundaryalaharī (text) verse 22, raga Kanada: https://www.ragasurabhi.com/carnatic-music/raga/raga--kanada.html
cello and electronics: Saundaryalaharī 5 v.1 part 1
vocalise: Saundaryalaharī (text) verse 34, raga Kuntalavarali: https://www.ragasurabhi.com/carnatic-music/raga/raga--kuntalavarali.html
cello and electronics: Saundaryalaharī 5 v.1 part 2
vocalise: Saundaryalaharī (text) verse 52, raga Kapi: https://www.ragasurabhi.com/carnatic-music/raga/raga--kapi.html
cello and electronics: Saundaryalaharī 5 v.1 part 3
vocalise: Saundaryalaharī (text) Verse 11, raga Ananda Bhairavi: https://www.ragasurabhi.com/carnatic-music/raga/raga--ananda-bhairavi.html
Saundaryalaharī 5 v.2 implementation
Voice, Violoncello, Montreal Assembly Count to 5, Elektron Octatrack, Gieskes 3Trins RGB+, Projector, front-of-house mixer (optional) and loudspeakers
The work utilises a similar and simplified performance system to that of Saundaryalaharī 2 (link to the Saundaryalaharī 1 - 4 players guide), which adds visual reciprocity to the audio-only system in Saundaryalaharī 5 v.1. The cello integrates to the Octatrack in the same way, but with the output of the affected cello — which is also sampled using ‘Flex’ tracks — fed to the reactive audio inputs of the 3Trins RGB+ to alter visuals. The 3Trins RGB+ is ‘played’ manually and in an improvised fashion, as is the mix and ‘Flex’ track sampling of the Octatrack. The vocalist can sit on the floor or stand. The vocalise is not intended to create reactive visuals, so it is inserted into a ‘Thru’ track. Both cello and vocalise should be given a lot of reverb to create space in the overall mix, and panned widely L/R. The noise created by the 3Trins RGB+ oscillators (audio out) should be fed into the overall mix. The video out of the 3Trins RGB+ goes to the projector, while the audio out mix from the Octatrack goes to the main desk, or directly to the loudspeakers.
Electronics set up for Saundaryalahariī 5 v.2
Links
The Saundaryalahari Research Project (research between 02.2020 - )
Video of the premiere of Saundaryalaharī 1 (the password is Saundaryalahari)
Audio of the premiere of Saundaryalaharī 2
Video of the premiere of Saundaryalaharī 3 v.1
Audio recordings of Saundaryalahariī 5 v.1
(2) Video versions of the video of the of Saundaryalaharī 3 v.2 (online version)
The books Saundaryalaharī by Nitya Chaitanya Yati, and Saundaryalaharī by Nataraja Guru can be found here