ILaiyaraaja - The Multi- layered Musician

What defines a complete artiste or a complete poet?

Is it the aesthetics in their works?

Is it their knowledge and command over their subject?

Is it the way they express themselves?

While all these are necessary and are intrinsic to an artiste or a poet, there is something more which gives that completeness. In fact it is this X factor which differentiates a great artiste or a poet from a normal artiste or a poet. It is this factor which shows us the difference between ordinary and extra ordinary.It is this factor which makes the works of such people eternal. This factor is the Magnitude or Extent or to put it succinctly the Dimension.

We mortals are either uni-dimensional or two-dimensional. Some among us are three-dimensional. We do not go beyond these three dimensions because of various reasons, reasons which would need a detailed analysis and therefore are not relevant here. But there are few people who go beyond these 3 dimensions. Such people are complete and the more we read or listen to their works the more we learn.

AaNdaaL was one such poet.

If her 143 verses known by the name Naachiyaar Thirumozhi combine eroticism with Bhakti, the 30 Thiruppaavais stand out for their esoteric value. What is common between these two works which of course are part of Naaliyira Divya Prabandham is the beautiful and chaste Tamizh language.

Look at this Thiruppaavai:

மாயனை மன்னு வட மதுரை மைந்தனை

தூய பெரு நீர் யமுனைத் துறைவனை

ஆயர் குலத்தினில் தோன்றும் அணி விளக்கைத்

தாயைக் குடல் விளக்கம் செய்த தாமோதரனைத்

தூயோமாய் வந்து நாம் தூ மலர்த் தூவித் தொழுது

வாயினால் பாடி, மனத்தினால் சிந்திக்க,

போய பிழையும் புகுதருவான் நின்றனவும்

தீயினில் தூசாகும்; செப்பேலோர் எம்பாவாய்.

This can be translated as- Pray with flowers with a pure heart to the One who is an epitome of Maya, the One who ruled Mathura on the banks of Yamuna, the One who was the radiant lamp of the cowherd clan and the One who cleaned the womb of His mother- with your lips singing His songs and your mind focused on Him and all your sins will disappear like cotton in the fire.

That is if we look at it at a superficial level. But a closer look suggests many things and I am giving just some of these here.

The very beginning is deep. ‘Maaya’ is illusion. Is the Divine illusory? Is it not Omni present and Omni potent? AandaL gives us the answer. Surrender yourself to that power with a focussed mind by offering flowers. Flowers here denote pure love and thinking. What will happen then? Your sins will be burnt. Generally we say it will all be washed away. But here she says it will be burnt. Can you make out the difference? If not now, think about this later.

Notice also as to how cleansing runs as the undercurrent. Look at the contrasts too. Yamuna water and the fire. And then the line on singing with your lips and thinking with your mind. How many of us are focused while we sing? And see how singing precedes thinking here.

But the clincher according to me is the use of the word Mainthan. Sometime ago, I mentioned the difference between Mainthan and Magan in Tamizh. While the latter is just a son, the former not only protects his parents but also the entire family and even the entire society. This is what AruNagirinathar meant in the line Maintha varuga Maganae ini varuga in the Thiruppugazh 'Thonthi sariya' which was quoted by me in one of my earlier posts.

AaNdaaL and AruNagirinathar- Multi Dimensional.

But this has not stopped with just the 8^th Century and the 10^th Century. Our land has seen people who are multi dimensional with that X factor because of which their works are eternal.

ILaiyaraaja is one such artiste.

Each and every composition of his has many gems hidden inside and the more one digs, the more treasure does one find. This is not just because of the kind of ragas he has used. This is not just because of the kind of instruments he has handled. This is not just because of the way the compositions are structured. No doubt it is a combination of all these but beyond this there is that X factor which makes the compositions shimmer like the full moon on a clear sky.

The special song of this special day is one such composition. What makes this more special is the fact that it is based on a raga which itself can be called Multi Dimensional because of its not following a particular structure and yet having a unique identity. And that is why it is loved alike by the commoner and the cognoscenti.

The name of this raga is Sindhu Bhairavi and the composition Oru NaaLum Unai Maravaadha from Ejamaan(1993) shows the different dimensions of this raga in a matter of 6 minutes. But most importantly it shows us an array of emotions and feelings.

Take the beginning. It starts with the chorus singing a kind of Viruththam in the higher octave to welcome the new bride and the groom. If the bells backing the chorus show us the auspiciousness of the occasion, the tune here itself sounds like the veda mantram. But it is the akaaram towards the end which is the clincher. It sounds sa pa Sa  the sequence of swaras rendered by a classical musician before the shruti alignment.

The entire chorus section goes without percussion but the fact that it follows ta ki ta/ ta ki ta/ ta ka cannot escape the ears of a trained musician or even anybody who follows music with a passion.

If the prelude sans instruments has this hidden magic, the Pallavi is no different.

The first part of the first line uses just two swaras pa and dha and yet one feels the raga. The third line goes ascending and the fourth line continues the ascent albeit touching the higher octave notes of  Sa Ri and Ga. This raga is defined by the alien notes and one of the alien notes peep in like the sun amidst white clouds in the sky when the chorus hums in the end.

This is as far as the technical details are concerned.

But look at the emotions and feelings hidden inside. One feels the yekkam, thaabam, the surrender and finally the fulfillment. The percussion taking a pause in between suggests how one should take a pause if one has to surrender himself or herself.

The conversation between the chorus and the instruments- first the strings and then the flute- itself makes the beginning of the first interlude intriguing. The first time the chorus sings, the strings reply with vigour. The second time, the vivacious flute joins the strings and we see a blend of intuition and expression.

It is veda mantram again with the strings playing in higher octave with great discernment. In fact, this piece can be called the leitmotif of the composition.

We see the ascent and the descent in the lines of the CharaNams in which the higher octave notes romance with the mid octave notes. The first part of the CharaNams shows us compassion while the second part shows Love. The third part symbolizes complete surrender.

ILaiyaraaja- the Master of all forms of music comes to the fore in the second interlude. The multiple sets of strings combine with the flute and the guitar to give us a glimpse of Western Classical Music. If this gives us serenity, the leitmotif which follows symbolising the veda mantras soak us in spirituality.

Our thoughts are organised. Our body is in alignment with the mind. We feel cleansed.We feel the inner power. We feel the inner joy. We feel the water. We feel the fire. We feel the air. We feel the earth. We feel the infinite. 

We stop feeling anything and everything.

PS: This post was written exclusively to celebrate the 6th Anniversary of the Group on FB- ILaiyaraaja- The Master and was read out to an invited audience on zoom on the 4th of October 2020 as part of Raaja Deepam -10.  

https://www.facebook.com/groups/1507214112852552
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ILaiyaraaja and SPB- Musicians of the Millennium

One of the ubiquitously used terms in English is – Made for Each Other. This is more common in weddings where people use this even before the couple begin their journey. Is Made for Each Other real? Is it possible to one being made for the other? Is it fair? How can somebody made for the other? What happens to their individuality? Most importantly, is it not the contrast which makes life more beautiful?

Before commenting on that, let us see what Kavi Chakravarti says. 

 It is the ‘Sita Swayamvaram’ and Rama breaks the bow in a micro-second. The entire city of Mythila erupts with joy. A section of people make an effort to compare the beauty of the couple. 

 To see Him, she needs one thousand eyes. He needs one thousand eyes every time He sees her. 

 தம்பியைக் காண நங்கைக்கு ஆயிரம் நயனம் வேண்டும்;

 கொம்பினைக் காணுந்தோறும் குரிசிற்கும் அன்னதேயாம். 

தம்பியைக் காணீர் என்பார்; தவமுடைத்து உலகமென்பார்; 

இம்பர் இந்நகரில் தந்த முனிவனை இறைஞ்சுமென்பார். 

 At the face of it, the poem sounds very simple. But look at the second line closely and it will suggest one thousand meanings. If it was just ‘kaaNumpothum’(காணும்போதும்), it would have been just an ordinary line. But a subtle modification ‘kaaNumthoRum’(காணுந்தோறும்) changes the entire complexion. Every time He sees Her, He would need one thousand eyes! 

 And this is what is Poetic Beauty. 

 So, does Kamban suggest that Sita was more beautiful than Rama? Are they then not Made for Each Other? 

 Far from it. When somebody acquires one thousand eyes every time he looks at a particular person, who is greater? At the same time, if this is because of the other person, then who is greater?

 Kamaban makes us think and make us wonder in amazement.

 The relationship between ILaiyaraaja and SPB was like this, the only difference being that the role kept changing. At times, Raaja sir becomes Rama and SPB sir becomes Sita. And at times, the roles are reversed. Yet what this suggests is that one complements the other. If the composer knew what this singer is capable of, the latter knew what was in the mind of the former. The output is there for us to see. No other pair in the history of Indian Film Music has given the kind of compositions this pair has given. Needless to say, it is a matter of pride to all of us. With these words, let us look at one such composition.

 The film ‘Kaadal Oviyam’(1982) would have been a trend setter if only the story was good(that is if at all there was one) and the presentation was different. This did not happen. But each and every song is a gem and even after 4 decades the songs sound as if these were recorded yesterday.

 Take ‘Poovil VaNdu Koodum’ for example.

 Based purely on Mohanam, the composition is soft, sedate and subtle. It starts with the akaaram which has a catena of swaras. the facile movements combined with the tonal smoothness make and indelible impact. What follows is something incredible. The ankle bells sound the first line of the Pallavi, not in swaras but just in jatis. The two tarangs-Tabla and Jala- combine to create flowery musical expressions. The violin caresses us in Mohanam with the Laya Raaja nodding his head in appreciation and making the mrudangam sound only the ta and dhi of ta ka dhi mi and leaving the next ta ka dhi mi totally blank. Yes silence is musical! 

 With melodic finesse, the veeNa plays the first line of the Pallavi. 

 The finely etched Pallavi in the golden voice of the genius shows the glowing facets of that beautiful raga called Mohanam. The mandra stayi swaras towards the end shine like the reflection of the full moon on a river. It is a sawaal-jawaab between the mrudagam and the ankle bells-jalatarangam first and between the tabla and veena next which makes the first half of the first interlude scintillatingly brilliant. The aesthetic flourishes and the rhythmic nuggets give us images of a Goddess in a South Indian temple festooned with radiant jewellery and fragrant garlands. The flute which sparkles with brilliant patterns seems to adore the divine spectacle. The subtle change in the percussion- which first plays with kaarvais and then plays all the syllables- gives the spectacle a special aura. The veena plays briefly and leads us to the first CharaNam. 

 The plethora of different prayogas in the dulcet voice, make the elegant passages with tapering phrases look graceful. If the first segment has the spontaneous spirit, the second segment is exuberant. The third segment is rousing with the singer touching the higher octave with consummate ease. The second interlude is a distinct mix of colours. Yes swaras have colours and in the hands of a genius artist, the colours shimmer with an unmatched radiance and that is what happens here. 

The veena in combination with the bells sounds a set of swaras. The percussion responds in chatushram in melkaalam. This happens twice. After this, the veena sounds 4 times briefly and each time the percussion responds with ‘ta ri ki ta tham’. The tabla alone sounds now playing ta ka dhi mi four times. The violin enters and with the tabla in the background, moves with a calm demeanor. The veena interjects now and then. The serenity is ineluctable and it feels as if we are watching the flow of a river. Not only are we watching but we are also swimming. As if to drench us with this divine serenity, the twin-flute moves with poetic intensity. If one ambles across, the other skitters.

 It is transcendental rendering Time and Space meaningful and meaningless.

 One thousand eyes, one thousand ears and one thousand years- don’t we need all these to appreciate the two geniuses?

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ILaiyaraaja – The Enchanter

If I say that human life follows a pattern, that the Universe follows a pattern, I will be stating the obvious.

How important are patterns in life? Doesn’t following a pattern make our life mechanical? Should we have patterns or should we break patterns?

Well, whether one likes or not, it is an undeniable fact that patterns are intrinsic part of the Universe and are inextricably linked to our lives. The sun rising in the east and setting in the west is a pattern. The onset of different seasons is a pattern. Sleeping during the night and getting up in the morning is a pattern. Blinking eyes is a pattern. Breathing is a pattern. Heart beating is a pattern.

While all this is true, it is the propensity to break patterns which gives rise to creativity. If people were happy with the patterns, we would not have seen any invention in this world. So, this takes us back to the questions in the second paragraph. My answer would be- While patterns are an ineluctable part of our life, breaking the patterns and in the process setting new patterns are what we should aim for.
And that is how many creative works were born..

Take Kamban for example. As all of you know, RavaNa’s brother KumbakarNa was known for his sleep. At the same time, he was a great warrior and his services were badly required to fight Rama’s army. How to wake him up was one of the many quandaries of RavaNa. He sends an army of people to carry plungers, sticks, drums and many other tools. His rationale? The sound from all these would wake his younger brother up from the deep slumber. That RavaNa himself was in deep slumber is a different issue.

Such a sequence is not difficult to describe for somebody who goes by the sobriquet ‘Kavi Chakravarti’. He could have simply gone by the usual way of composing a verse using rhyme words and similes. But Kamban being Kamban, he breaks the pattern and sets a new pattern:

உறங்குகின்ற கும்பகர்ண உங்கள் மாய வாழ்வெல்லாம்
இறங்குகின்றது இன்று காண் எழுந்திராய் எழுந்திராய்
கறங்குபோல வில் பிடித்த காலதூதர் கையிலே
உறங்குவாய் உறங்குவாய் இனிக் கிடந்து உறங்குவாய்.

Simply translated, it means ‘Get up you KumbakaraNa. Your game is over. Now you go and sleep in the hands of Yama’s messengers’.
As per Hindu mythology, Yama is the god of death and it is believed that he, along with his messengers, throw a rope around the neck of the person who is destined to die and thus the body dies.

Here, sleep is used as the LCM and this is not something you don’t expect from Kavi Chakravarti. But Geniuses are too dangerous. They will catch you off guard suddenly and without any warning.

Ulakkai is an ethnic tool used to crush solid things. This was one of the major tools used by Ravana’s battalion for waking his younger up. Now, the entire verse is composed in such a way so as to remind one of the ulakkai and its movements.

Listen to my recital here:




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New pattern breaking the old pattern..

When ILaiyaraaja was explained about a situation where the hero passes through a forest, gets mesmerized by the beauty of nature and sings with spontaneity, he came up with a tune. But being a nature enthusiast and most importantly being a person who loves different patterns and one who enjoys coming up with new patterns thus challenging his creativity, he decided to use just the percussion in the two interludes.
The result?

A composition with patterns not seen in film music before..

‘ILa Nenje Vaa’ from ‘VaNNa VaNNa PookkaL’ (1991) shimmers with percussive patterns showing us the beauty of rhythm and the brilliance of Laya Raaja.

I am going to slightly deviate from my usual way of describing the song in this thread, by writing first about the melodic aspects in the Pallavi and CharaNams and then list out the patterns in the prelude and the interludes to help you appreciate this unique composition in a better way. By the way, I too love breaking patterns!

The composition, based on Suddha Dhanyasi starts with Yesudas rendering the first few phrases. The flute follows him with panache. First time it plays, there is that majestic touch. Second time, there is that elegance and grace. On the whole, it pierces the heart.
The Pallavi in ateeta eduppu-with the song starting before the taaLa cycle, is subtle, soft and playful too with the swaras sa, ga, ma, pa and ni jumping with joy, the kind of joy one sees on a child’s face while playing. The flute too acknowledges this, and spreads joy.
The lines in the CharaNams are finely etched and are inundated with rich, imaginative ideas. The flute follows the vocals after each line. It is mellow. It is zestful. It is lucid. It is sizzling.

And now for the Laya part. The composition is set in Misram , which is 7 beats/cycle(a k a 7/8 in film music parlance). It goes as ta ki ta/ta ka dhi mi- 1 2 3/1 2 3 4. The Maestro has played around this,weaving intricate patterns and conceiving and executing variegated patterns on different percussion instruments. He also changes the kaalam(speed) at times in the first half, at times in the second half, at times in the second part of the second half and so on.

Let us now look at the prelude. The first half of the prelude, which has the vocals and the flute, goes without percussion as if to prepare us for the treat which is to follow.

1. The drums play ta ki ta ta ka/ta ka dhi mi – It is ta ki ta/ta ka dhi mi. However, the last 2 syllables are in mel kaalam (fast speed).

2. It now plays ta - / ta ka dhi mi/ta ka dhi mi/ta ka dhi mi- with the first 3 subdivided into 6 maatraas –leaving a gap for the second maatra- and the second 4 being subdivided into 8 (4+4).

1. and 2. are repeated twice.

3.dhi taam ta taam/ta - ta ka ta ka ta ka – again 6 and 8 in mel kaalam.

This pattern goes on 8 times. A new percussion enters during the 5th and 6th giving a special effect and this is replaced by a melodic percussion which plays with a stress during the 7th and the 8th.

The Pallavi then starts in ateetam.

The pattern backing the vocals is the same as pattern 1, except for the addition of rhythm guitar.

Interlude 1

4.ta ka dhi mi - -/ ta ta ta – ta ta ta –

5. ta ka dhi mi ta ka/ta ta ta – ta ta ta –

The drums play the first part which is again 3 subdivided into 6 leaving two kaarvais(gaps). Tuned tabla plays 8 maatraas leaving the 4th and the 8th as kaarvais.

The difference between 4. And 5. is that the first part has no kaarvai in the latter..

Now pattern 5 is played 4 times after this.

6. ta ki ta/ta ki ta/ ta – ta -/ - - - -

7.ta ki ta/ta ki ta/ta – ta -/ ta - - - -

Now the Raga Laya Raaja enters the fray with the Tabla Tarang playing in Suddha Dhanyasi, each time playing different sets of swaras.

8. Pattern 5 is repeated twice.

9.ta ka dhi mi ta ka/ta ka dhi mi ta ka dhi mi- twice by Tabla Tarang in pure Suddha Dhanyasi.- Raga Laya Raaja yet again.

Interlude 2

10.ta ta ri ki ta taam/ ta ka ta ka ta ka ta ka

11.ta ka ta ri ki ta taam/ta ka ta ka ta ka ta ka

Again the same division but played differently.

12.ta - - dhi ta -/taa taa dhi taangu( 4 times)
Now, the Pakhawaj and the Jaalra enter giving that classical touch.

13.ta - dhi mi ta - /ta ka dhi mi ta ka dhi mi (twice)- Drums.

14.ta ka dhi mi ta ka/tarikita ta ka tarikita ta ka

Played 4 times but the instrument in the second half alternate..

So, going back to the questions, should one allow patterns to exist or should these be broken?

Enjoy the patterns..and break the patterns. Life will then be full of patterns..




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ILaiyaraaja – The nonconformist

Questioning the status quo..

Is it good or is it bad?
Is it right or is it wrong?
Is it sacrilegious or is it sacramental?

Well, it is next to impossible to pass any judgement on this as many things in this world are subjective. Even things which have to be dealt with objectively have now become subjective with the social media playing no small role in this. With the space for free thinking and taking a neutral view shrinking by the second, the line between good and bad, between right and wrong and sacrilege and sacred is blurred now. A blur which even a very powerful lens cannot set right. The incapacitation of free thinking individuals would surely make George Orwell turn in his grave.

I write this not just because I am dismayed by the happenings around me of late, but also because of something specific which happened around one and half months ago in the Tamizh land. It all started with a Group questioning a set of devotionals hymns in praise of one particular God. Though I haven’t watched the video(nor do I intend to watch it anytime in the future), I have an idea of the gist of what the Group said. Unsurprisingly, the right wing reacted and this triggered a slanging match. Now, a third Group emerged and it said the God under reference was always a tamizh and that it was the ‘Aryans’ who imposed their beliefs and thoughts on the Tamizh people.

Sadly enough, all the three groups are wrong.

First and foremost it baffles me to find a language colour being given to God. Isn’t the Divine Force above everything? Secondly, what an individual or a set of people believe should be considered as faith as long as it does not affect or hurt others’ sentiments. Thirdly, and most importantly, in the absence of historical documentation, it is literature which acts as the barometer of culture and beliefs prevailing during those days and what is mentioned in literature should be respected by one and all. As a person who has studied Tamizh literature – Sangam literature in particular- let me tell you that Muruga was part of people’s life in the Tamizh land even 3000 years ago. He was the Lord of the Kurinji land, one of the five lands. He was worshipped no doubt, but tamizh people also considered him not just as a God but as somebody in flesh and blood like us.

One of the earliest works in Sangam Literature , ‘Pari paadal’, written somewhere around 500 BC, describes as to how his two consorts –VaLLi and Devasena- quarrelled with him out of sheer possessiveness and here is a sample:

இகலின் இகந்தாளை அவ்வேள் தலைக் கண்ணி
திருந்து அடித்தோயத் திறை கொடுப்பானை
வருந்தால் என, அவற்கு மார்பு அளிப்பாளை
குறுகல் என்று ஒள்ளிழை கோதை கோலாக
இறுகிறுக யாத்துப் புடைப்ப
ஒருவர் மயில் ஒருவர் ஒண் மயிலோடு ஏல
இருவர் வான் கிளி ஏற்பில் மழலை
செறி கொண்டைமேல் வண்டு சென்று பாய்ந்தன்றே
வெறி கொண்டான் குன்றத்து வண்டு.

Devasena first chides him for ignoring her. Muruga goes after her and falls at her feet. Pacified by this act, Devasena offers her breasts to him. Suddenly VaLLi emerges and unable to bear this sight, ties Muruga’s hands, and hits him with her garland. Now, the peacocks take sides with one set attacking the other with rage. The bees perched on the flowers adorning VaLLi’s hair aggressively attack the ones sitting on Devasena’s hair. This is how a poet by name KuRumbhootanaar describes the scene.

An objective (underline this word) interpretation of this verse suggests the following:

1.Muruga ‘existed’ in the Tamizh land more than 2500 years ago.

2.He was considered as a man with flaws and not the one who was infallible. But he was also God and this means that people did not have any qualms in taking liberties with him and that it was not blasphemous to consider Gods as humans.

3.Devasena was not somebody who was a ‘creation’ of a particular clan and she existed as Muruga’s consort in Tamizh literature.

4.Eroticism was part of poetry and therefore culture in the Tamizh land and people were comfortable with this without attaching any taboo to this.

Let me clarify that I have placed things as they are and my bias or faith play no role in this. Finally, the verse I quoted says it all, in terms of aggression and instigation and let it be understood that this verse was chosen intentionally. And the verse has relevance to the song of the day as well. But before that, I must also explain the relevance of this episode in this forum.

While questioning the status quo has to be encouraged, what should be put down is the objective and also doing it just for the sake of doing. As a musician, ILaiyaraaja has time and again questioned the status quo for all the right reasons, albeit through his works. People who follow the posts here regularly know that he has used ragas considered to be sad in happy situations and vice versa. He has done many more but what is amazing is that though he has redefined the boundaries, he never crossed the border. The output is there to see and it fully justifies the act. What one gets to see are not just some unknown dimensions in music but also some beauteous shades of music.

‘Yaari Gaagi’ from the Kannada film ‘Bharjaari Bete’(1981) is a disco club song. As per the sequence that is. But what the Maestro did here would make Edward de Bono proud. First, he used a pure classical raga called PantuvaraLi for this sequence. Secondly, he used classical percussion instruments like the mrudangam in one of the interludes. Thirdly, he did the unthinkable. What that ‘unthinkable’ is, will be explained soon.

Before that, let us see the composition from the beginning.

With rumbling blustery, the drums move in chatushram as ta ka dhi mi ( 1 2 3 4). After six 4’s, the bass guitar enters and plays with equal ferocity. After a while, the magic is unravelled. The bass guitar plays to a cycle of three 4’s making it rupakam in the slow speed, while the drums continue in 4’s. The electric guitar prickles while the distortion guitar glides. The saxophone moves with sprightly variations. Isn’t this a labyrinth?

The labyrinthine pattern slowly organizes itself with the chorus showing some simple images in Pantuvarali which gradually becomes ornate with the keys backing the chorus in a unique style. The fact that the chorus too hums in ta ka dhi mi/ta ka dhi mi/ta ka dhi mi cannot be missed. So is the fact that the lead guitar doing the same, adding that mystical charm. The seamless transition to the Pallavi , what with Janaki joining even as the guitar completes the last ta ka dhi mi, is amazing. The vocals move with musical awareness maintaining the cardinal aspects of PantuvaraLi, at the same time being flamboyant. The guitar backing is the icing on the cake.

The call and response between the electric guitar and the bass guitar in the first segment of the first interlude is a delightful treat. If the electric guitar is laced with clarity, the bass guitar replies with buoyancy. The saxophone plays with a sense of angst and realising this, the bass guitar too goes with this flow. The latter sounding only the ‘ta ka dhi mi’ leaving the next two syllables blank, makes it all the more exciting. The lead guitar enters again and in its inimitable style plays the three 4’s- the leitmotif – twice. The CharaNams are intriguing to say the least.

If you recall my introductory lines about this song, there was a third point which I said would be elaborated later. This of course calls for some technical explanation. In many of my previous posts and also in my presentations (in person during Geetanjali and through virtual medium during Raaja Deepam), I have explained the concept of Gruha Bhedam. Put simply, it is the shifting of tone, keeping one of the swaras in a raga as the base sa. This tonal shift gives another raga. There are also some conditions and rules. The raga after this shift should be a valid raga. But one has the liberty to play around too. One can drop a swara and make it a valid raga. One can add a swara or two and make it a valid raga. It all depends on the innovativeness and the brilliance of the musician/composer. Needless to say, ILaiyaraaja has done wonders in this aspect carving a niche in for himself.

As per theory, only one valid raga can emerge if Gruha Bhedam is done on PantuvaraLi. If the ‘ni’ is taken as the base, one gets Kanakangi. However, in the Hindustani system, if the Moorchana(Gruha Bhedam is known by this term in this system) is done on the swara ‘pa’ on Puriyadhanashiri-the equivalent of PantuvaraLi, it gives – sa ri1 ga3 ma1 ma2 pa dha2 ni3 Sa- which is raag Lalit. The carnatic system generally does not allow two ‘ma’s. Raaja sir has even done this shift from Lalit to Puriyadhanashri and vice versa in two different songs. What these two songs are, have been described in my sessions and therefore need no explanation or even a mention now. But in ‘Yaari Gaagi’, Raaja sir does the unthinkable. He does Gruha Bhedam on ‘pa’ and drops the second ‘ma’(ma2) and ‘pa’. But he also drops the ‘ri’ in the arohaNam. Thus, we get Vasanta, a well known raga. This happens in the second segment of the CharaNams.

It goes back to PantuvaraLi in the last line.

Innovative improvisation conceived and executed with a touch of brilliance and with a dash of aesthetics!

It is the tani aavartanam between the drums and the mrudangam which steals the show in the second interlude. The thunderous sound from the western instrument is complemented by the resonating sound of the percussion instrument from the southern part of India. The long flute and the bass guitar which follow the rhythmic fireworks, make it intriguing with their effervescent melody.

Being a rebel is not bad.
Being a revolutionary is fully justified.
Questioning the status quo is not sacrilegious.

But do it wherever needed and whenever needed with sensibility and sensitivity. Hope the three Groups are listening!


Check this out on Chirbit

ILaiyaraaja - The Joyous Musician

What is Happiness?

Is it hidden anywhere or is it there everywhere?

As per psychologists, Happiness in an increased activity in a brain centre that inhabits negative feelings and fosters an increase in available energy and a quieting of those that generate worrisome thoughts.

But this is just theory.

Let us see what a poet whose verses are not just spiritual, not just philosophical, not just poetic but are also down to earth, says:

வானோ? புனல் பார் கனல் மாருதமோ?

ஞானோதயமோ? நவில் நான் மறையோ?

யானோ? மனமோ? எனை ஆண்ட இடம்

தானோ? பொருளாவது சண்முகனே.

Well, here that great poet called AruNagirinathar raises many questions as always. Is it the sky? Is it the water? Is it the earth? Is it the fire? Is it the air? Is it perceivable by one’s wisdom? Is it me? Is it my mind? Is it the one which conquered me?

It is an indisputable fact that poems and verses are subject to many interpretations. Here, though the poet from ThiruvaNNamalai talks about the Divine, I see it as questions related to Happiness. Happiness is Divine and Divine is Happiness.

Happiness is something which cannot be explained. Have you ever seen anybody explain their state of Happiness? It just stops with their saying ‘I am Happy’. Why and How lose their meanings here.

There is an inextricable link between Music and Happiness. Both are mutually inclusive. On the face of it, this may appear to be a sweeping statement. ‘What about music which makes me cry,’ is a logical question. When we cry while listening to great music, is it out of sadness or is it out of extreme happiness?

On this special day, let us look at a song which according to me, is an epitome of Happiness.

What makes ‘Andaalalo aho mahodayam’ from the telugu film ‘Jagadeka Veerudu Ati Loka Sundari’(1990) special is the way it makes us happy irrespective of the state we are in. Based on Pahaadi raga, the composition smiles at us with a divine countenance and it is impossible for us to not to smile back.

The prelude itself is rich, imaginative and is inundated with innovative ideas. Two sets of strings sound simultaneously, with each playing different sets of notes. The two merge and as if waiting for this to happen, the flute plays pellucidly. The strings which play along, reach a crescendo. The chorus starts humming now with the strings sliding and gliding in the background.

With the soft keys backing them, Janaki and SPB start humming and we feel the incipient musicality. A seamless start makes the Pallavi beautiful. What also makes it beautiful is the rhythm. As mentioned and explained in many of my posts, the rhythm which is the backbone of any composition, is distinct in this composer’s music. The composition is in Chatushra eka taaLam, that is 4 beats per cycle. Here there are 3 different sets of percussion. While the first one, the rhythm pad, plays the first and the third syllables constantly, the second one- the drums- sound only the third syllable for every alternate ta ka dhi mi. However, it is the third set which is very special. It appears at the end of the line sung respectively by Janaki and SPB and sounds ta ka dhi mi/ta ka aa -    rather sharply. We see this pattern in the CharaNams as well. But, what cannot escape the listener’s attention is the fact that the percussion instruments sound very soft like rose petals, in keeping with the complexion of the song.

The keys pulsate with the short flute responding with poetic intensity. These caressing overtones lead to a flowery musical expression with the strings and flute combining together and moving with panache. The brush like sound acts as percussion, and plays ‘ta’once ‘ka’ once ‘dhi mi’ and this subtle pattern itself is enough to make the strings joyful as these glide and slide , fondly extricating themselves from the flute. Not the one to complain, the flute appears towards the end playing some notes in staccato.

 Note that during the strings section, the percussion sounds just twice so as to not disturb the happiness of the strings.

The lines in the CharaNams have powerful phrasings with the first two lines moving like a steady stream playing dha pa dha pa, the following lines gliding down to touch some lower octave swaras of Pahaadi and the last two lines touching the higher octave swaras going up and then coming down as Sa ni dha pa ma.

The perspicacity of the composer comes to the fore in the second interlude. The strings move with facility exuding radiance. The second set enters now and move with disciplined smoothness. It takes glides and glissandos while the first set moves enticingly sparkling, with a plethora of patterns. It is transcendence going beyond limitations of time and space.

After all, is that not what Happiness is all about?

PS: This post was read out last evening(2nd June) to an invited audience in a virtual session.

Raja4376 · Andaalalo

                       

இளையராஜா- சூரிய கிரணம்

காலைப் பொழுது இனிமையானது. அழகானது. சக்தி மிக்கது. சக்தி தருவது. நாளில் பல வேளைகள் இருந்தாலும் காலை வேளை போன்ற பொன்னான வேளை எதுவும் இல்லை. நாளின் பல வேலைகளுக்கு நம்மைப் பண்படுத்தும் காலை வேளை இசை நயம் மிக்கது.

இந்தக் கவிதையை சற்றுக் கவனிப்போம்:

தெள் விளிச் சிறி யாழ்ப் பாணர் தேம் பிழி நறவம் மாந்தி

வள் விசிக் கருவி பம்ப வயின் வயின் வழங்கு பாடல்,

வெள்ளி வெண் மாடத்து உம்பர் வெயில் விரி பசும்பொற் பள்ளி

எள்ள அரும் கருங்கண்-தோகை இன்துயில் எழுப்பும் அன்றே.

பழிப்பதற்கரிய கருமை நிறக் கண்களையுடைய மயில் போன்ற சாயல் உள்ள பெண்கள் வெள்ளை வெளேரென ஒளி வீசும் மாடங்களில், பசும்பொன் கட்டிலிலே உறங்கிக் கொண்டிருக்கிறார்கள். தெளிந்த இசை கொண்ட சிறிய யாழையுடைய பாணர்கள், வாரால் இழுத்துக் கட்டப்பட்ட முழவுகள் ஒலிக்க பாடிக் கொண்டே செல்கிறார்கள். இந்த இசையைக் கேட்ட பெண்டிர் மெதுவாகக் கண் விழிக்கின்றனர்.

தனது கற்பனைக் கண்களில் கோசல நாட்டைக் கண்ட கம்பன் தீந்தமிழில் வடித்த கவிதை இது.

கவிச் சக்கரவர்த்தி காலைப் பொழுதை இவ்வாறு வர்ணித்தால், தொண்டர்களது காலின் பொடியை அமுதாக நினைத்த இன்னொரு தமிழ்க் கவிஞர் ஒரு படி மேலே போய், அந்தப் பரம்பொருளையே எழுப்புகிறார்:

சுடர் ஒளி பரந்தன சூழ் திசை எல்லாம்.

துண்ணிய தாரகை மின்னொளி சுருங்கிப்

படரொளி பசுத்தினன் பனி மதி, இவனோ

பாயிருள் அகன்றது; பைம்பொழில் கமுகின்

மடலிடைக் கீறி வண் பாளைகள் நாற,

வைகறை கூர்ந்தது மாருதம், இதுவோ!

அடல் ஒளி திகழ் தரு திகிரி அம் தடக்கை

அரங்கத்தம்மா! பள்ளி எழுந்தருளாயே!

எல்லாத் திசைகளிலும் ஒளி பரந்தது. வான் மதியும், தாரகைகளும் ஒளி மங்கிக் கொண்டு வருகின்றன. பாக்கு மரங்களிலிருந்தும் பால் மணம் வீசுகின்றது. பூந்தென்றல் மென்மையாக வீசுகின்றது. இத்தோற்றத்தைக் காண நீ எழுந்தருள்வாயாக, என்று படைத்தவனையே, அவன் படைத்த உலகை, காலை என்னும் அதிசயத்தைக் காண எழுப்புகிறார் ஆழ்வார்களுள் ஒருவரான தொண்டரடிப் பொடியாழ்வார்.

இயற்கையின் சக்தி அது தான். மாபெரும் கவிஞர்களுக்கு, கலைஞர்களுக்கு மஹா சக்தி தரும். அது நம்மிடையே பரவி, நம்மையும் தாக்கும். ஆக்கம் நிறைந்த இந்த தாக்கம் நம்மை ஊக்கமடையச் செய்யும்.

இளையராஜா என்னும் ஒப்பில்லா கலைஞன் இவ்வுலகில் உதயமாகி 77 ஆண்டுகள் ஆகும் இந்தப் பொன்னான நன்னாளிலே காலைப்பொழுதை நமக்கு நினைவூட்டி நம்மை இன்ப உலகிற்கு அழைத்துச் செல்லும் ஒரு பாடலைப் பார்க்கலாம்.

1990ஆம் ஆண்டு வெளி வந்த தெலுங்குத் திரைப்படமான ‘ஜெகதேக வீருடு அதி லோக சுந்தரி’ என்னும் திரைப்படத்தில் இடம் பெற்ற ‘அந்தாலலோ அஹோ மயம்’ என்ற பாடல், காலை வேளை நமக்குத் தரும் நேர்மறை உணர்வுகளை அழகுணர்ச்சியோடு தருகிறது.

பஹாடி என்னும் ராகத்தில் அமைந்த இந்தப் பாடல், மலையினின்று தவழ்ந்து வரும் காற்று போல நம்மைத் தழுவுகிறது. பஹாடி என்னும் ராகமே ஒரு வித்தியாசமான ராகம். இதனை ஆரோஹணம்/அவரோஹணம் எனும் ஒரு அமைப்புக்குள் கொண்டு வருவது இயலாத ஒரு விஷயம். ஸ்வரங்களைப் பாடும் முறையை வைத்தே இந்த ராகம் அமைகிறது. மோஹனம் என்னும் ராகத்தில் இருக்கும் ஸ்வரங்கள் இதற்கும் உண்டு என்றாலும், பாடும் விதத்தில் இரண்டும் பெரிதும் வேறுபடுகின்றன. அன்னிய ஸ்வரங்கள் இந்த ராகத்தில் கலக்கும்பொழுது இது இன்னும் அழகாகப் பரிமளிக்கிறது. ப த ஸ ரி க ப த ஸா,, ஸா த ப ம க ப த ஸ் போன்ற பிடிகள் இந்த ராகத்தை அடையாளம் காட்டும் சில துளிகள்.

பல திரையிசைப் பாடல்கள் இந்த ராகத்தில் இருந்தாலும், இளையராஜா அவர்கள் இந்த ராகத்தைக் கையாண்டிருப்பதில் ஒரு லாகவம் இருக்கிறது. நூற்றுக்கணக்கான பாடல்களை இந்த ராகத்தில் அவர் அமைத்திருக்கிறார். சுற்றிலும் மலை சூழ்ந்த கிராமத்தில் வளர்ந்து இயற்கையோடு ஒன்றிய இவர், பஹாடி ராகத்தை மனதார விரும்புவது இயற்கையான ஒரு நிகழ்வுதான்.

‘அந்தாலலோ’ வின் சிறப்பு, அன்னிய ஸ்வரங்களின் கலப்பு இதில் இல்லாமல் இருப்பது.

பாடலை இப்பொழுது கவனிப்போம்.

இரண்டு தொகுதிகளாகப் பிரிந்து, வெவ்வேறு ஸ்வரக்கட்டுகளை ஒரே சமயத்தில் வாசித்து மென்மையாகவும், சீறிப் பாய்ந்தும் வருகின்றன வயலின்கள். வானிலிருந்து வரும் ஒளிக் கற்றை போல் வரும் குழல், ஒளியினை எங்கும் பரப்புகிறது. தேவதைகள் போல் கீழே இறங்கும் கோரஸ், அந்த ஒளி வெள்ளத்தில் மிதக்கின்றன. இந்த அதிசயத்தைக் கண்டு, ஆச்சரியமடையும் பிற வயலின்கள் பின்னணியில் இசைக்கின்றன. ஒரு சில வயலின்கள் தந்திகளை மட்டும் மீட்டி, பிட்ஸ்ஸகாட்டோ என்னும் முறையை பின்பற்றி, மென்மையாக நம்மை ஆட வைக்கின்றன. எங்கிருந்தோ வரும் ஜானகியின் குரல், மெதுவாக நம்மை ஆட்கொள்ள, தொடர்கிறது எஸ்.பி.பி.யின் குரல். இதுவரை ஒரு தாள வாத்தியம் கூட இயங்காதது குறிப்பிடத்தக்க ஒன்று.

மூன்று தாள வாத்தியங்கள் இசைக்கின்றன பல்லவியில். லய ராஜாவின் லாகவம் இப்பொழுது நமக்குப் புலனாகிறது. த க தி மி/த க தி மி/த க தி மி/த க தி மி எனச் செல்லும் முறையில், ஒரு தாள வாத்தியம் த வையும் தி யையும் மட்டும் இசைக்க, அடுத்த தாள வாத்தியம் மூன்றாவது அசையான தி யை இசைக்க வரி முடியும்பொழுது த க தி மி/ த க ஆ ஆ ... என மூன்றாவது தாள வாத்தியம் கார்வை கொடுத்து இசைக்க, நம்மை அந்தரத்தில் கொண்டு நிறுத்துகிறது.

பல்லவியின் அமைப்பில் இருக்கும் ஏற்ற இறக்கங்கள், அலை போல அடித்து நமக்கும் முகமன் கூறுகிறது.

இந்த அலைகள் கவிதையின் எதுகை மோனை போல ஆடும் அழகினை முதலாவது இடையிசையின் இரண்டாவது பகுதியில் வயலின்களில் காண்கிறோம். அலைகளுக்கு எதற்குத் தாளம்? அவை ஆடுவதே ஒரு தாளம் தானே? எனவேதான், மிக மிக மென்மையாக தாள வாத்தியத்தை இசைக்கச் செய்கிறார் லய ராஜா. இடையிசை தொடங்கும்பொழுது ஒலிக்கும் இசை, காலை நேர கதிரவனின் ஒளிக்கிரணத்தைப் போல் பாய்கிறது. தொடர்ந்து வரும் குழல், புள்ளும் சிலம்பின காண் , கீசு கீசு என்று ஆனைச் சாத்தான் இசைப்பதைக் காண், என்று உதயத்திற்குக் கட்டியம் கூறுகிறது.

மென்மையான காலைத் தென்றல் போல ஒலிக்கின்றன சரணங்கள். கொடிகள் சாய்கின்றன. செடிகள் தலை நிமிர்ந்து மென்னகை புரிகின்றன. மேல் ஸ்தாயியில் செல்லும் இரண்டாவது பகுதியில், பச்சை மரங்களும், அதில் பவளம் போல் மின்னும் பழங்களும், இலைகளும், பெருமிதத்துடன் புன்னகைக்கின்றன.

இரண்டாவது இடையிசையில், சிவப்பு நிறப் பழமாக உதிக்கின்றான் ஆதவன். உதயத்தைக் காணும் குதூகலத்தில், பறவைகள் சிறகுகள் விரிக்கின்றன. வயலின்களும், குழலும் நடத்தும் விளையாட்டில், இன்னும் உயர உயரப் பறக்கின்றன. இந்த இசைச் சேர்க்கையில் தனது கிரணங்களை விரிக்கிறான் சூரியன்.

பரம்பொருளே கண் அகலப் பார்க்கிறான்.

அது ராஜ உதயமன்றோ?

 பி.கு.  இந்தப் பதிவு நேற்று மாலை(ஜூன் 2ஆம் நாள்) ‘ராஜ தீபம்’ எனும் மெய் நிகர் அமர்வில் வாசிக்கப்பட்டது.

Raja4376 · Andaalalo

ILaiyaraaja- The Inspiring Musician

Nothing can be more comforting than the thought of being in a comfort zone.

Well, that applies to people who are happy and content with what they do; for people who do not get disturbed -or rather do not want to get disturbed - by the status quo; for people to whom the word ‘challenge’ is an anathema; for people who do the same things again and again in the same way always.

But people who love the word ‘challenges’, are different. They love being challenged and if nobody challenges them, they challenge themselves. They look at the same things differently. They look for inner meanings in almost everything. The word ‘superficial’ does not find an entry in their dictionary, while the word ‘deep’ is found in block letters.

           KaaLidasa was one such poet. One day, he was challenged by somebody, not for debating but for composing a poem with the letters- tha tham tha tham tham

tha tha  tham tha tham tha(note that it is the fourth ‘tha’(ठ).

He came up with this:

रामाभिषेके जलमाहरन्त्याः
हस्ताच्च्युतो हेमघटो युवत्याः
सोपानमार्गेण करोति शब्दम्
ठ ठं ठ ठं ठं ठ ठ ठं ठ ठं ठः

Ramabhisheke Jalamahrantya

Hastaachyuto hemaghato yuvatya

SopaanamaargaN karoti shabdam

Tha tham tha tham tham tha tha tham tha tham tham.

During the coronation of  Rama at Ayodhya, women with golden vessel went to

fetch water. One vessel slipped out of the hand of the maiden and it tumbled

down the steps making the sound- Tha tham tha tham tham tha tha tham tha

tham tham.

          This goes to show that sky is the limit for the creativity of a genius and that the best comes out of them, when challenged. That is why, a true genius loves challenges not just because they are challenged but also because they consider challenges as not challenging. On the contrary, they consider it as an opportunity.

          Once ILaiyaraaja faced a very challenging situation.. After composing a song and writing notes for the orchestra, he found that musicians who played the strings (violin, viola, cello) were not available on the day of the recording as they had already committed playing elsewhere. So, he replaced the string section with mandolin section. He called different mandolin players (14, if I am not wrong) and made them play.

           And the output was incredible.

          ‘Pudiya Poovidu’ from ‘ThendRale Ennai Thodu’(1985) has many more highlights, but this is the topmost highlight, something like the ‘Headlines’in a newspaper. Based on Suddha Dhanyasi, the composition has that romantic slant not least because of the beats, about which we shall see soon.

          The beginning is like a glacier. The guitar strums gradually with just the percussion sounding the tisram beats- ta ki ta- in the faster mode. The second guitar starts strumming now and the duo moves with an insouciant grace. Enter the heroes now. The different mandolins vivisected by the bass guitar, bristle with melody and make an organic progression.

          The flute and the keys-which sound like flute and yet sound differently- make it more soft and sensitive while the mandolins follow with a determined countenance and play ‘ta ka dhi mi ta ka’- tisram broken down into 6 micro beats- even as the piquant percussion continues to play ‘ta ki ta’ in its own inimitable style.

          The Pallavi in the voice of SPB and Janaki is multi layered. First we have the mid-octave swaras ,pa ni sa. The mandra swaras(lower octave notes) ni. and pa. combine to give a different feel. The janta swaras (2 together) mapa gama pani complete the experience..well almost, because with this composer, nothing can end so easily. Here it is he echo- effect and the pause which give a feeling which is indescribable.

          And this is just one layer. If you remember, I mentioned about the beats in the beginning. The tabla plays the tisram beats in a unique way. 3 is divided into 12 micro-beats here and the stress is given only on the 6^th, 7^th and the 10^th beats.

          The piquant percussion meanwhile continues playing ‘ta ki ta’ with the bass guitar playing with a sense of equanimity while the mandolin group moves up like the waves in the sea.

         All these combine to make it a spectacular sight. Who said music is just aural anyway?

         Laya Raaja enters again in the first interlude making the tabla tarang (tuned tabla) dance gracefully in Suddha Dhanyasi with the mandolins nodding in appreciation. The latter take over splitting into two sets and playing two different sets of notes. This is just like how he makes two different sets of strings overlap each other. But see how a small change in instruments makes a difference to everything-from sound to feeling.

         The tabla-with its unique beats- the other percussion and the bass guitar continue to back the two sets of mandolins until the mandolins give way to the guitar and the flute. Now only the piquant percussion and the bass guitar back these two which of course play two different notes, at times even an alien note or two which make it more attractive.

          The jump from pa to the upper Sa followed by a glide in the first two lines, the sudden lower octave ni. in the third line(mayakkamallavo), the sudden appearance and disappearance of the alien note (ga3) in the following line and the echo effect in the last line, give the CharaNams, depth, resonance and most importantly an unmatched elegance.

          We involuntarily begin to sway in the beginning of the second interlude when the guitar plays softly with the percussion backing it. The mandolins are at work again. I can even call it as ‘Mandarin’ as one sees the contours of South East Asian Music here. One set of mandolins moves lugubriously giving ornate images. The other set sounds now and then with an energetic swirl.

          The tabla now joins playing those unique beats even as the mandolins romance with the keys with flourish and buoyancy. It even seems as if the instruments are giving a mystical smile..

           ...like the golden vessel which made a musical sound when it tumbled down the stairs!

Check this out on Chirbit