Raga Cha (2006)
duration 9:00
flute quartet, flute choir, or solo flute and cd (EA)
Raga Cha is a transcription of an improvisation by Derek Charke. It is not based on any authentic Raga, but rather attempts to emulate the sound world through the use of various extended flute techniques. It is repetitive and meditative in character. The title ‘Cha’ is derived from the primary technique used to produce most sounds in this work, whereby the flutist must enunciate the word ‘cha’ to produce the desired effect. One of the flutes acts as the tabla, this is accomplished by singing and playing at the same time. Alteration between a low and high pitch is achieved, not by changing fingerings, or pitch, but by changes in vowel sounds and a sudden increase in air pressure, adding higher harmonics. Another flute takes on the role of drone, acting as the Surpeti (Swar peti) or Shruti Box. Two more flutes provide variations on a simple, descending, natural minor scale. Each part has its own distinctive rhythm, that taken as a whole sounds rather complex. A hemiola rhythm, 2 against 3, opens the piece. Later still 3 against 4 is introduced as the piece builds in complexity. Two thirds of the way into the piece the tonic changes from C in the dorian mode, to E-flat lydian. Further still the tonic changes to G in an aeolian mode, ultimately returning to, and ending on, the original C dorian.See the companion work: Raga Saat
Listen to the entire work, performed by Derek Charke
Instrumentation
Several different arrangements are possible. This list shows the combinations that have been used. There are other possibilites.
1) 4 C flutes
2) 2 C flutes & 2 alto flutes
3) 2 C flutes, 1 alto flute & 1 bass flute
4) 2 C flutes & 2 bass flutes
5) Any sized flute ensemble using any combination of C flutes, alto flutes and bass flute(s).
6) solo flute and tape. A CD is provided with parts 2, 3 and 4, you perform the first flute line.
Information concerning all instruments
Double-tongue all 8th and 16th notes using T K. Tonguing should be audible.
Triangle Up Note Head - Toneless Attack: A residual tone which is almost all attack. Articulate sharply with the tongue while keeping lips relaxed and slightly parted. Pitch component should be audible. As a side effect random harmonics will sound. Experiment with varying the harmonics.
Diamond Note Head - Aeolian: Breathy sound containing a pitch component.
Information concerning individual parts
Flute 1 (C Flute)
Tone production as described in ‘Toneless Attack’ above.
Also acts as a drone except when the line contains the melody.
Flute 2 (C Flute)
Unlike the other instruments you must use an ordinary sound throughout.
Use circular breathing if possible otherwise take quick breaths at the end of the measure, never at the beginning.
Flute 3 (C Flute, Alto Flute or Bass Flute)
This part acts as a drone.
Tone production as described in ‘Toneless Attack’ above.
Be sure the first note of the measure has a strong pitch component. The other two beats should include more harmonics in the sound.
Flute 4 (C Flute, Alto Flute or Bass Flute)
This parts acts as the Tabla
Sing throughout (except for the very last two measures)
Square Note Head - Sing written pitch (down an octave for male performers!)
The goal is to emulate the sound of a tabla. Start the sound with a forceful attack while singing in unison with the flute (down an octave for men). Follow this with a higher pitch on the release. The release is to be articulated with a sudden release of air. Harmonics will sound. The overall effect will be a low attack sound followed by a high sounding release.
An octave doubler (pitch shift down an octave) can be added to the effects to add a low end to the sound.
Amplification
(1) Version for four flutes:
Whenever possible this piece should be amplified. Each of the four flutes should be miked with two overhead condensor microphones. One microphone should be placed above the lips, the other above the foot joint. Some reverberation should be added to the mix.
(2) Version for solo flute and tape:
The ‘tape’ part is actually two sound files, 1 stereo mix containing a recording of flutes 2, 3 and 4, and 1 mono mix containing a click track. These are to be imported into any sound editing software that can play back multiple channels, such as Pro-Tools. Channels 1 and 2 will go to the speakers, channel 3 with the click will go to headphones.
An alternate version consisting of a mono mix and click, mono mix in the left channel and click in the right will allow for rehearsal, but should not be used for performance. The solo flutist then performs the Flute 1 part. The solo flutist should also be amplified with two condensor microphones. This is mixed with the ‘tape’ part and balanced so it sounds as if there are 4 flutes.
To create the tape part yourself you will need to record each part seperately and then bounce this down to a stereo mix. A click track with at least 2 measures lead in should be recorded as a mono file that matches literally the start of the stereo audio file.
Example of the solo flute and tape version:
2 examples of the 4 C flute version, the first example is unamplified, the second example is amplified: