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!

Natana Raaja- Part V

Repetition is a interesting concept.

I am not referring to the repetition of empty rhetoric from our politicians nor am I referring to the shameless ‘Breaking News’ on the Television channels.

This is purely a thread for classical elements, a fact I am sure regular followers of this Blog know very well.

Yes..I am referring to the concept of Repetition in Classical music. Though one finds it in all major classical forms,’repetition’ in carnatic music is somewhat unique. Most of you who have listened to a Carnatic music concert must have noticed that the vocalist (or the instrumentalist) repeats a line (the number of times varies from Kriti to Kriti).A careful listener would have also noticed that each time the line appears with some additional quality. This additional quality is called as the ‘sangati’, a term I have used quite often in this thread.

Apart from this, the performer also takes up a line in one particular kriti , keeps repeating it and then starts singing swaras with the line repeated again at the end of each swara segment. This is called as the Niraval in carnatic music. Here again, the line would sound different , each time it is sung.

Let us now look at a very interesting verse:

kazhumala mudupathik kavuNiyan katturai
kazhumala mudupathik kavuNiyan katturai
kazhumala mudupathik kavuNiyan katturai
kazhumala mudupathik kavuNiyan katturai


கழுமல முதுபதிக் கவுணியன் கட்டுரை
கழுமல முதுபதிக் கவுணியன் கட்டுரை
கழுமல முதுபதிக் கவுணியன் கட்டுரை
கழுமல முதுபதிக் கவுணியன் கட்டுரை.

All the four lines identical..

Would you believe me if I say each line carries a different meaning?

The words have to be split to get the real meanings.

The first line is split thus:

kazhumal amudhu padhikka uLNee an kattu urai- You are born from the filth and die filthily.

Second line:
kazhu malam udhu padhi kavuNi ankaN thu urai- Pray to that Lord who removes the Maya, KaNmam, AaNavam(the impurities)

Third line:
kazhum alam amudhu padhi kam uNiyan kattu urai-The Lord who is in the guise of a mendicant is like the nectar and it is not easy to realize him(possible only for the ‘initiated’)

Fourth line:
kazhumalam mudhupadhik kavuNiyan kattu urai- Chant the verse about the Holy place Thirukkazhumalam(a.k.a. Sirgazhi) composed by Sambandar (who is from the Kaundinya gotra) .

This must be one of the best ever written poem/verse in Tamizh. As some of you might have guessed, this was written by Thirugnanasambandar- whose mastery over Tamizh language is amazing (and whose ‘palindrome’ verse was quoted in my second Natana Raaja post in this Blog).

Just like music and poetry, there is repetition in dance too. In a Bharatanatyam recital-mainly in the varnam piece- a single line will be repeatedly sung by the vocalist and the dancer would narrate a story in abhinaya generally related to the Lord on whom the song is composed. This is called as ‘sanchaari’.

In keeping with the objective of the thread, let us see the other three classical dance forms of India now.

Today’s Natana Raaja composition also shows us some facets of Kathak. More about this later. Before that, let us also briefly look at the two other classical forms-that appeared in the first Natana Raaja post in this thread.

They are Odissi and Manipuri.

Odissi, as the name suggests originates from the state of Orissa and is one of the most graceful dance forms.The movement of the head, chest and the pelvis-called as the Tribhangi- forms the core of this dance form.

Odissi is supposed to be one of the oldest dance forms and like Bharatanatyam, this too was mainly practiced by the Devadasis also called as Maharis.Over a period of time, two more types of schools emerged.Gotipau-where young boys dressed up like women and danced and Nartaki-which was essentially a Royal court dance.

Like the other dance forms, Odissi too has the pure dance item called as ‘Pallavi’where there are graceful movements of the eyes, neck, chest and the feet finally reaching a crescendo. There is an abhinaya piece as well-which is generally an Ashtapati of Jayadeva.


Manipuri is a subtle, graceful and unique dance form. Manipuri dancers do not wear ankle bells and also touch the ground very subtly while dancing. Devotion is the key in Manipuri dance. Delicate rounded movements mark this beautiful dance form.

Time now for the Natana Raaja composition of today. As mentioned earlier, it reminds one of a Kathak performance particularly towards the end.

The song is ‘Gokulame Needhira..’ from Chakravyham(Telugu-1990).
It is based on Darbari Kaanada, a Hindustani Raag.

This Raag was adapted from Kaanada of Carnatic music first by Tansen. There is of course a lot of difference between Kaanada and Darbari Kaanada in the way they are sung- though in principle there is a similarity.

The structure of Darbari Kaanada is: sa ri2 ga2 ma1 pa dha1ni2 Sa / Sa dha1 ni2 ma1 pa ma1 pa ni1 ga2 ma1 ri2 sa .

However, like most of the Hindustani raags, this raag is also defined more by the prayogs and pakads than by the Aroh/Avaroh.
The Gandhar(ga) plays a very major role in giving the raag its special flavour.It is a very special ‘ga’(called as ati-komal gandhar).
Moreover, the occurrence of repeat swaras- as double or triple combinations like sasasa ninini papa..-is a special feature of this Raag.

Let us now look at the composition.

Ankle bells, Pakhawaj..Flute .. We enter the world of delicate imagery.
The leisurely floats of Sitar, the elegant flute and the circular motion of the Violins prepare us for the ethereal experience.

The humming of Chitra is beguilingly soft. It is a tryst with melody even as the subtle patterns of the Raag Darbari are rendered..

The first line of the Pallavi itself creates a reposeful ambience.
The line ‘Gopika maanasa chora..’ moves with a chiseled refinement while the last line which is an interplay of octaves is an exquisite glow of finesse.

One sees a clear stream of music in the first interlude the flute plays with sensitivity with the ankle bells as the undercurrent and the violins giving the melodic essence of the raag. The rhythmic cycle is clearly delineated by the pakhawaj.

The CharaNams are full of joyful phrases.

The first line is soaked Darbari .One hears the perpetual mellowness of the Raag in the lines that follow.. The raag moves with gay abandon but at the same time without any maudlin frills.

The last line that depicts the circular motion (spin) in a Kathak performance is a marvel.

When the Pallavi is rendered again after the first CharaNam, it is embellished with the resounding tabla and the salutary tonal modulation is mesmerising.

The second interlude is dominated by the vocals with Chitra singing the swaras and Mano singing in ‘akaaram’. The diligent weaving of swaras rendered with considerable panache and felicity of expression giving us the light and shade contrasts of the Raag shows the musical brilliance of the composer.

The second charanam is followed by some beautiful melodic phrases.

First we hear the melodic strains of the violins playing the leitmotif.

Then we have Mano singing the swaras and we see the Kathak patterns in the percussion and the ankle bells.

The swara singing picks up with the swaras covering the entire spectrum of the Raag with the triple combinations (sasasa papapa ninini..)

It is a rhapsody of sorts.

Next is the turn of the violins again.

The phrases that follow show us the beauty of Kathak in a matter of seconds.

We see the gracious patterns in an orderly progression.
It is like a stream flowing in a mountainous terrain that finally cascades like a gushing waterfall.

The melting last piece of the violins in the end says it all..

Gokulame mee Sangeetam…