What determines
the process of transformation?
When something
or somebody undergoes a transformation, does that thing or that person realise that ‘yes, the transformation is in progress’?
Like many
questions, this one is not that easy to answer. For that to happen, we need to transform ourselves.
Let us look at
this very interesting episode. Thirumangaiyaazhwar,
one of the 12
Vaishnavaite saints, goes to a temple in ThiruindaLur,
a place near Nagappattanam and looks
at the Lord.
Words start oozing out from his mouth. Words which are not ordinary; words which are poetic.
‘’Once upon a time you were white in colour-
as white as the milk. Then you assumed the dark colour(of the clouds). You were golden in colour and you also had
the hues of blue. So, tell me now- What is your real colour? I want to see it
here.’’
முன்னை வண்ணம் பாலின் வண்ணம் முழுதும் நிலை நின்ற
பின்னை வண்ணம் கொண்டல் வண்ணம் வண்ணம் எண்ணும் கால்
பொன்னின் வண்ணம் மணியின் வண்ணம் புரையும் திருமேனி
இன்ன வண்ணம் என்று காட்டீர் இந்தளூரீரே.
பின்னை வண்ணம் கொண்டல் வண்ணம் வண்ணம் எண்ணும் கால்
பொன்னின் வண்ணம் மணியின் வண்ணம் புரையும் திருமேனி
இன்ன வண்ணம் என்று காட்டீர் இந்தளூரீரே.
Generally (or traditionally), Lord VishNu is identified with Blue
or Black(AaNdaaL calls him ‘Aazhi
mazhai kaNNa’ and ‘KaNNan enum karuntheivam’). Occasionally, poets have
associated Him with gold and this
had to do more with the heart and less with his ‘complexion’.
But, here is one poet who calls him ‘white’. Is it
just to sound different or is there any other meaning?
White
is supposed to be pure (no, I am not talking about complexion or the colour of
the skin of mortals). White colour
is also associated with innocence and goodness. Golden colour is associated with compassion, courage and wisdom
while Blue symbolises confidence,
intelligence and truth. What is Black
then? It symbolises fear and ignorance.
Now, read the poem again. White, Black, Gold and
Blue. Note that he asks finally as to what colour is His true colour.
Does the Divine
transform Himself? Or do we –mortals-
transform ourselves? How does this ‘so called’ Transformation happen?
Yes, I have gone back to the question I asked in the
beginning and yet I don’t have an answer. But I do feel that certain things
happen within me when I read such poems. It could be because of the beautiful rhyming words of Tamizh. It could be the vibrations
which these words give. It could be because of the emotional upheaval. It could be because of the thirst to know the inner meanings. It could be because of the questions raised by the poet. Or it
could just be because of the poetic
beauty.
Whatever it is, I get transformed.
If great poets like Thirumangaiiyaazhwar had the power to create magic with simple
words, some great music composers had (and have) the power to transform us
with some simple music.
Needless to say ILaiyaraaja
is a living example.
Now, let me clarify on that ‘simple’ part. By ‘simple’,
I don’t mean ‘easy’. Nor do I undermine the intricate complexities inherent in his music.
Composing music for film songs is not as easy as it
is perceived to be. But what distinguishes a genius from others is the ability to create compositions which sound
simple and yet have hidden complexities.
The song
I have taken up on this special day
is an example.
‘Suvvi Suvvi’ from ‘Swati Mutyam’(1986) is a song which is
very pleasing to listen to. If you take out the beginning, it sounds simple.
There are certain other features of the interludes
too and I shall touch upon these soon.
But is it simple?
The composition is based on Madhyamavati, a classical
raga. This raga is supposed to be
a very auspicious raga which is
capable of driving away all evils. I am not going to get into the details of
the sequence in the movie and how aptly the Maestro chose this raga
for this situation. My objective here is different.
The tune which sounds very classical in the beginning, changes colours and sounds folksy
in the interludes and then it is a mix
of classical and folk in the charaNams.
How does this transformation happen?
Let us first look at the beginning.
It starts with SPB
humming something. That ‘something’ finally turns out to be Madhyamavati. He first goes to the taara Shadja (upper ‘Sa’), has difficulty
in touching the mandra shadja (lower ‘.sa’)
and finally is able to touch that with the help of the person who is a music teacher.
What a musical transformation!
What happens during this process is that we are
exposed to different facets of Madhyamavati.
But it does not stop just with this. He attempts to climb up again. This
successful attempt covers the entire gamut of the raga. It is an exponential
curve which finally culminates in a pure classical
rendition of the raga by the teacher (Janaki
touches new heights here!). The jiva
swaras of the raga- ‘ri’ and ‘ni’- form the undercurrent of this exposition in which brigas flow like a cascade and where the
melody pulls us like the gravitational force.
The first line of the Pallavi is reminiscent of a telugu
folk song.But the same line when rendered the second time, glistens with classical hues with some added sangatis. The mesmeric flute and the translucent bells appear in between and make it
more attractive. Towards the end, we literally hear the ripples.. ripples of
music.
The ripples continue in the first interlude as well.
That the Maestro
is adept in using natural sounds is a well known fact. And yet what he does
here is unusual and unthinkable. He starts the interlude with the strings which play with a passionate
charm. Then he sounds Madhyamavati
with water and the kudam(vessel used for carrying water).
Is a raga possible with water and a vessel? Yes, if it a jalatarangam.
But here, he does tarangam with jal without the help of any proper
musical instrument.
Raaga
Raaja joins hands with Laya Raaja with the ‘water’ and the ‘kudam’ sounding in tisram. He gives the ‘kaarvai’ too.
The water first sounds ta –
dhi – ta (3 broken down to 6 with the 2nd,4th and the 6th
being silent) and the vessel
responds in the same pattern.
The pattern then changes to ‘ta ka dhi - - -‘.
It is ‘ta ka
dhi mi ta –‘ then and finally ‘ta ka
dhi - - -‘.
That is the Maayajaal
of Raaja Jala Tarangam!
The interlude
is then inundated with a flood of melodious phrases. The humming of SPB to the backing of the strings is sublime and sumptuous while
the sitar/keys/flute melody is
sensitive. The three instruments sound different combination of swaras in their unique way. The sound
from the keys is dainty, the one
from the sitar is imperious while
the raga from the flute is classical, showing the
beauteous niches of Madhyamavati.
The lines in the CharaNams have an intense emotional base. But these also abound
with rich musical sentiment illuminating the raga in the process. The mid
octave notes dominate the lines with the jiva swaras playing no small role yet again. The taara shadja (upper ‘Sa’) appears in the second and third
line with the taara rishabham(upper ‘Ri) appearing only twice in the fourth
line. This indicates the poise and also is in keeping with the sequence.
Another point to be noted here is the absence of any
melodic instrument backing the vocals-which is again not usual in his CharaNams. The bass guitar alone backs the vocals in a very subtle tone. The flute appears towards the latter half
of the CharaNams, between the 5th and the 6th lines.
Percussion plays the Tisram in madhyama kaalam
in the first 6 lines while it plays
in the mel kaalam(faster mode) in the
7th line. However, here
again there is a contrast with the tempo of the vocals slowing down when the line is rendered the second time .
This time the percussion instrument
is totally absent and the rhythm guitar
alone backs the vocals.
The Nature
Lover does it again in the second interlude.
It starts with the subtle fading away of the flute sound. Almost simultaneously, the sound of the bells(the ones tied around the neck of
the cow) follows in Madhyamavati. A
special soft and malleable sound from a stringed
instrument follows. We are enveloped by the melody from the flute which makes swirling sancharas in Madhyamavati. In fact, all these three sound together-sans percussion- taking us to empyrean
heights.
The sitar
takes over and sounds with expressional elegance. No, it is not the sitar alone. There is the sound from
the strings too which play in higher octave with musical sensitivity.
The sitar falls silent after two tisrams and the strings and a single
stringed instrument caress us like feathers. This happens twice. The strings then aquiver with pleasure,
bringing out the dignity and grace of Madhyamavati
and Tisram in the process. After two ‘ta ka
dhi mi/ ta ka’ s played literally
by the group of strings, the sharp percussion plays ‘ta ka dhi mi/ ta ka’ twice.
Transformation at its best!
What determines the Transformation?
I am sure this cannot be answered even by Thirumangaiyaazwaar and ILaiyaraaja..
..because the answer lies in their works!