Laya Raaja- 1

The great poet AruNagirinathar describes the dance of the peacock:

தீரப் பயோததி திக்கும் ஆகாயமும்
செகதலமும் நின்று சுழலத்

திகழ்கின்ற முடி மவுலி சிதறி விழ வெம் சிகைத்
தீக்கொப்புளிக்க வெருளும்

பாரப் பணாமுடி அநந்தன் முதல் அரவெலாம்
பதைபதைத்தே நடுங்கப்

படர் சக்ரவாளகிரி துகள் பட வையாளி வரு
பச்சை ப்ரவாள மயிலாம்.

‘Seas and Oceans, Eight directions (Dishas), the sky, and the earth (bhoo loka) rotate with force; Thousand locks fall from the heavy, fire-spewing hot hoods of the fear stuck Adisesha and the other serpents as they tremble with fear; The huge ChakravaaLa mountain breaks into pieces; All these happen when the peacock-with the green and coral hued feathers- takes its beautiful flight and dances.’

This verse is part of the Mayil Viruththam composed by the poet where he rhythmically sings the beauty of the peacock dance.

If one recites this-which I feel is the best way to do- one can notice that it follows a pattern of 5-beat cycle.

Even as I write this, I hear a reverse horn of a car which again follows the 5-beat cycle. Now, what are this 3 –beat,4-beat, 5-beat, 7-beat etc.,? You would have noticed these time and again in my posts and also terms like avartanam, khandam, misram, tisram and some letters like ta , ka ki ta, dhi, mi.. And of course the two words ‘Laya Raaja’ repeated ad nauseum..

Though I do explain about these in my posts, I felt the need for a simpler explanation along with examples to unravel the mystery. As far as I know no other film musician has explored the taLaas and the various patterns and one of the basic reasons for his compositions standing out even after so many years is this aspect.

On the World Music Day, it gives me a great pleasure to start this new series where I plan to take up some very special compositions where the taaLa plays a very big role. Though there are hundreds of songs with intricate patterns, I have chosen 8 songs

As usual, it will be one song per post where I shall try and explain the Laya aspect in a simple manner. These posts will be slightly different from my usual posts since the emphasis will be more on the laya aspect and less on the melody aspect with the description of the latter will be brief.

What is Taalam?

Simply put, it is a repetitive  rhythmic phrase with a time interval. In a typical classical scenario, the rhythm is maintained by ‘hitting’ the thigh, counting with fingers and turning the palm. Let us look at a very popular taaLam, the Adi taaLam.

We first hit the thigh with our palm, count 3 with the three fingers, hit the thigh, turn the palm and perform the latter part of hitting the thigh and turning the palm yet again. At the end of this small process, we would have counted 8 beats. These 8 beats are called as aksharaas. Therefore, the ‘Adi taaLam’ has 8 aksharaas.

While the major groups and how each taaLa is derived will be explained gradually in future posts, I shall try and define the 5 different jaatis.

They are-

 Tisram- 3 beats with the beats generally depicted as ‘ta ki ta’

Chatushram-4 beats-ta ka dhi mi

Khandam- 5 beats-ta ka ta ki ta

Misram- 7 beats- ta ki ta ta ka dhi mi

SankeerNam-9 beats- ta ka dhi mi ta ka ta ki  ta.

Now, let us understand that the aforementioned terms are not ‘taaLams’ in the literal sense and are only different ‘jaatis’. These jaatis combine with 7 major taaLams to give different taaLams.

For example, the Adi taaLam is Chatushra jaati triputa taaLam since it combines with ‘Triputa’ and follows the ‘Chatushra jaati’.

More about the classifications in the forthcoming posts.

However, before moving on to the description of the song of the day, let me define three other aspects-kaalam, maatras and aavartanam.

Kaalam is the speed(loosely translated) and if it is in slow speed, it is ‘keezh kaalam’, in moderate speed, ‘madhyama kaalam and in fast speed, ‘mel kaalam’. The number of beats in the ‘mel kaalam’ will be double that of ‘keezh kaalam’.

A maatra is a sub division of the aksharaas. For example, the 8-beat Adi taaLam can be subdivided into 16, 24, 32 and so on..

An avartanam is one taaLa cycle.

The first song in this series is a very popular song and there is a reason behind choosing this song.

‘Aaagaaya VeNNilave’ from ArangetRa veLai (1990) has a very intricate pattern. Two different taaLas are used simultaneously. The vocals follow a particular TaaLa while the orchestra and the percussion follow a different TaaLa with the two meeting at specific points. This is called as ‘cross rhythms’ and ILaiyaraaja is a master in this concept. I have already discussed this concept in my posts on ‘EndRendRum Aanandame’ ( http://rajamanjari.blogspot.in/2008/04/laya-raja.html), ILa manadhil ( http://rajamanjari.blogspot.in/2009/12/laya-raja-ii.html ), Innum ennai enna seiyya pogiRai ( http://rajamanjari.blogspot.in/2008/09/ilaiyaraaja-majestic-musician.html ). But now with some understanding about the taalams and the beats, I am sure you will be able to appreciate this better.

Though the post is on taaLam, I must make a mention about the raga too..

The composition is based on Darbari Kaanada, a raag adapted from the Hindustani system. While it is difficult to confine the raag to a structure, let me give the text book definition-

ni2 sa ri2 ga2 ri2 sa ma1 pa dha1 ni2 Sa/ Sa dha1 ni2 pa ma1 pa ga2 ma1 ri2 sa.

It is very closely related to the Carnatic Music Kaanada and the basic difference is the use of the variant of the swara ‘dha’. Kaanada has only the ‘dha2’ while Darbari uses both the ‘dha’ s with the ‘dha2’ used sparingly.

Let me first explain the TaaLa part in the composition.

Yesudass renders ‘Aagaaya veNNilaave’ and it follows the Rupaka taaLam- one of the 7 major TaaLams- in chatushra jaati. The total no.of beats is 6/cycle. After 2 cycles, the sympathetic strings sound for one aavartanam. It is the turn of Uma RamaNan to complete the first line which again lasts for 2 aavartanas. The strings from the keyboard play for one avartanaas. So, it is 6 cycles of rupakam in keezh kaalam.Note that there is no percussion until now.

The guitar takes over with the backing of the percussion which plays ta ka - -, that is Chatushram with the dhi and mi left as blank. This goes on for 12 cycles after which we hear the bells. This latter part of bells follows Rupakam.

12x4=48 and during this phase if we put the Rupakam, it lasts for 4 cycles- 6x4=24.

Now, is there a mismatch?

Not really. The Rupakam part is in keezh kaalam while the chatushram beats in percussion is in the mel kaalam. Remember that beats in mel kaalam is equal to twice that of the ones in keezh kaalam.

So, what we have is 3+3+1 cycles of Rupakam in keezh kaalam and 12 cycles of chatushram in mel kaalam which is 6 cycles in keezh kaalam.

Total no. of beats if we assume everything to be in slow speed is 42(7x6)+24 which is equal to 64. In other words 8 cycles of Adi taalam!

The interlude follows chatushram pattern only and the magic starts in the CharaNams.

The vocals follow Rupakam(in keezh kaalam again) while the percussion follows chatushram in mel kaalam.For every cycle of Rupakam, we have 3 cycles of chatushram, the only difference being that the latter is in mel kaalam.

Therefore 3x4=12 divided by 2 and there the equation is balanced J.

The guitar in the prelude is salubriously soft and moves with gaiety.

The ravishing single violin goes on beautiful trip in the first interlude even as the group of strings plays different sets of notes. The group of strings now charts its own territory in lower octave while another group of energetically felicitous strings play in the higher octave. The sharp flute like sound gives a copious musical imagery in staccato while the subtle bass guitar nods its head.

In the second interlude, the tenderly melodic guitar gives a delicate profile and even as it is one, the second guitar takes over making imaginative forays. It is then the two sets of strings again with one set playing in the higher octave and the other one in lower octave lighting up beauteous niches with the final piece unfurling a vista which is alluring and enchanting.

…and we see the shimmering full moon in its glory!

ILaiyaraaja's Music and Emotions- IX- Shantam

Recently when I went to a place known for its spiritual contours and divinity, I meditated. I meditated whenever I felt like it and this was surely not the usual 20 minute meditation I do at home everyday though the method was the same. I felt the vibrations, I saw a glowing light and I felt calm.

I feel the same calmness when I read poems/verses of great geniuses who of course must have always been in this state of calmness which can also be called as a Blissful state.

Look at the following verse written by the child prodigy Thirugnanasambandar:

தேனினும் இனியர் பால் அன நீற்றர்

        தீங்கரும்பனையர் தம் திருவடி தொழுவார்

ஊன் நயந்துருக உவகைகள் தருவார்

        உச்சி மேலுறைபவர் ஒன்றலாது ஊரார்

வானகம் இறந்து வையகம் வணங்க

        வயங்கொள நிற்பதோர் வடிவினை உடையார்

ஆனையின் உரிவை போர்த்த எம் அடிகள்

        அச்சிறு பாக்கம் அது ஆட்சி கொண்டாரே.

‘Smeared with the milk-like ashes on his forehead, He is sweeter than the Honey, and is as tasty as the sugar cane. Covered by the skin of the elephant, His all encompassing figure that covers the Earth from the Heaven makes us melt, gives us bliss’.

This simple description of the Almighty, gives me calmness and peace not least because of the beautiful, apt tamizh words, similes and the way I visualise the description ( I am not getting into the inner meanings of the poem now).

‘What exactly is this calmness? Is it the Mind at peace? But can mind ever be at peace?’

I know these are the questions in your mind. The only answer from me would be

‘Can you define and explain hunger, thirst or even pain?  Likewise, Calmness must be felt and can never be explained’.

In a way, it is subjective too because what gives me peace and calmness may not have the same effect on you. Everything in this world is subjective and this includes my posts since I share what I feel about his music. But I am objective too because I back up the posts with sound reasoning, by giving the structure of ragas and taaLas and explain as to how wonderfully he uses the techniques to bring out the essence of classical music in film songs.

The debate of subjectivity and objectivity will continue forever like the debate regarding the existence of God and surely my aim is not to get into any debate here.

In my previous eight posts in this series-ILaiyaraaja’s Music and Emotions-, I took up songs which according to me give a particular feeling or emotion. I also consciously avoided the traditional Navarasas. This series comes to an end today. I am aware that many more emotions could have also been covered but I have the feeling of fullness now. I prefer to call this fullness as calmness and peace.

Moreover, today is a very special day and is there a better way to celebrate the day than with a composition which makes our mind very calm and peaceful?

Though there are many compositions, I am taking up ‘Mandiram idhu mandiram’ from Aavaram poo (1992) because of some reasons.

1. It is based on a very rare raga not used by any classical musician so far.

2. The way the raga is used.

3. The percussive patterns especially in the second interlude.

4. The very simple but very melodious orchestration and arrangement.

5. The dynamic voice of Yesudass.

Carnataka Khamas is a shaadava raga-with 6 swaras in the ascending and descending. It is a very interesting raga too because it is very close to a very popular and traditional raga and shares a part of its name too. Khamas is a name many of you must be familiar with and it has a devious structure in the ascending with the ‘sa ma ga ma’ phrase while the avarohana has all the 7 swaras. Carnataka Khamas on the other hand is plain dropping the ‘ri’ totally. In terms of the structure, it is closer to yet another popular raga Bahudari, which in fact as the same arohaNa(ascending) but drops the ‘dha’ while going down.

Moreover, if one does the graham bedam on this raga, it gives rise to three more ragas- one very popular, one somewhat popular but more in films and one very rare raga. The very popular raga is Sriranjani which is of course obtained by taking the ‘pa’ of this raga as the aadhaara ‘sa’. The somewhat popular raga is Saaranga TarangiNi (‘ni’ as ‘sa’) and the very rare raga is Vilaasini(‘ma’ as ‘sa’).

Because of its closeness with popular ragas, many people wrongly attribute songs composed in Carnataka Khamas to Khamas, Bahudari and Sriranjani. This is where very close listening and familiarity with the structure and real bhava of carnatic ragas help. One of the most popular songs in this raga composed by the Maestro is Koottathila kovil puRa (Idaya Kovil).

Mandiram does have a couple of accidental notes in some phrases and also gives the flavour of some other ragas in just one or two places, but I feel these were done intentionally in keeping with the mood of the sequence. On the whole, it follows Carnataka Khamas not just as a scale but as a raga.

The composition does not have a prelude and comes to us straight like a free flowing Cauvery. The subtle sound of Jaalra at each ‘thattu’ in the 8-beat adi taaLa is exhilarating. So is the akaaram of Yesudass in a pure classical style for one and half avartanaas at the end of the Pallavi.

Rhythm and melody alternate with each other in the first part of the first interlude. This sprightly session makes us realise yet again as to how creativity and innovativeness if used properly and appropriately can bring immense joy.

The percussion sounds ‘Dhin thaam - - - ta ka dhi mi ta ka ’ twice- 32(16x2) maatras in one avartanaa. Blending the mellifluous with the dexterous, the strings and the keys show the glowing edifices of expression. The percussion is totally absent in this imaginative exploration that lasts for two aavartanaas. The percussion joins the Veena now which shows a beautiful musical imagery. It is then the turn of the flute to play with melodic subtlety and also incisiveness. Finally, the chorus sings with great sobriety and takes to the CharaNam.

The CharaNam has some simple and fascinating passages. The two ‘akaarams’ –one in the middle after ‘saayalil mayile’ and the other one at the end - are beguilingly musical. The first one even gives some shades of Desh. The second charaNam has two different sets of ‘akaaram’ The humming of the chorus as the lines are rendered and the two different patterns of Chatushram played by the percussion at the end of each line-sounding ta ka dhi mi/ta - - - are refreshing.

The second interlude is an apotheosis of rhythm. It is in fact an exercise too.

The Tabla sounds Dhin ta a a a - - - ta ta aa ta ta aa( 3+4+3+3+3)-played 4 times in two aavartanaas-totally 64 maatraas, 32(16x2) in each aavartanaa..The gentle sitar along with the very subtle flute peep in now and then heightening the experience

The strings now weave wafts of gentle breeze. What follows now is more intriguing. The strings and percussion alternate with each other.

After 19 maatraas in ‘mel kaalam’-played by the strings without percussion, the Tabla sounds

 ta – dhi- ta ka ta ki ta ta ka dhi mi

The strings play again, this time with a slightly different set of swaras and the same pattern is repeated by the Tabla.

Strings with a new set now and after 13 maatraas, the percussion sounds

ta ki ta ta – dhi – ta ki ta ta ka ta ki ta ta ka dhi mi (3+4+3+5+4=19).

And this happens twice. Therefore it is 13(strings) plus 19 twice which is 64 maatraas again in one aavartanaa.

Note that in the previous pattern, 19 are played by the strings and 13 by the percussion and this is reversed in the one that follows this.

The strings now play for 7 maatraas and the percussion sounds

 ta ka dhi mi ta ka ta ki ta

The strings-yet again with a new set of swaras- play for 7 maatraas and it is

ta ka dhi mi ta ka ta ki ta

7+9=16.

The 9 maatraas( ta ka dhi mi/ta ka ta ki ta) pattern is a classic sankeerNam pattern.

Energetically felicitous!

Laya is a state of mental quietude. It is stillness.

Carnataka Khamas and intricate Laya.

A mantra which gives Shantam..

Om shanti shanti shantihi.