Scored for two violins and double bass, Ajna employs echo and canonic techniques to reflect the literal translation “to follow” (Saraswati, 1996:116). The Brow Chakra governs the process of growth, which is reflected in the primary melodic material (see below).
Organically derived melody, violin 1 bars 9-11, Ajna.
This theme centres on the pitch of A, gradually expanding out from it in all directions.
All the pitch material in this piece is derived from this melody.
Premonitions (fragments of the primary theme that are introduced before the initial statement of the theme it its entirety) mirror the chakra’s connection with psychic elements. Second and sixth intervals are utilised throughout the piece, representing the chakra position and lotus petals respectively, while the associated pitches A and C# are employed as drone material (F has been omitted due to the composer’s aural predispositions). In reference to the mantra, the performers are instructed to glissando between all notes, while the suggested dynamic (sfz pp) has been utilised.
The form on Ajna may be described as such:
| Section | Length | Description |
| A | 8 bars | Drone with premonitions |
| B | 3 bars | Introduction of gesture |
| C | 13 bars | Development of gesture |
| D | 7 bars | Contrast section |
| E | 3 bars | Gestural conclusion |
| F | 8 bars | Drone with echoes |
Fiona Pennisi-Mitchell 