ILaiyaraaja's Music is Poetic..

There is poetry in everything.

If only we are able to understand and appreciate the poetry in what we see, what we feel and what we experience, our life will be more beautiful.

One need not be a poet to do this. In fact, one does not have to be even a writer.All it requires is an objective view with a sense of aesthetics.
This does not mean that if one takes a poetic view, the problem will be solved automatically. Or that one can take an escapist route, live in a Utopian world and let things pass. One will certainly have to deal with a problem, and find a solution.

At the same time, there are things in the world that are beyond our control. Events that happen just like that. Episodes that unfold before us without our being prepared for them. Happenings that make us strongly believe that Life is very unfair to us.

Now, think!

The things, events, episodes, happenings cannot change. But the way we look at them is in our hands and this can definitely change.

What happens if we look at the hidden poetry in an event?

The cause or the effect would remain. But we become more refined. More mature. More affable.

One finds such happenings in Literature.

In my previous post, I mentioned as to how two small girls sang a poem when they were confronted with a personal tragedy.It is not that this emotive outflow directly helped them tide over the crisis.But it did give them solace.

It is also a fact that the poem brought them a lot of laurels.(as per history, they were later married off to King Deiveegan in a place called Thirukovilur and lived happily ever after!).

Now have a look at this poem from KuRunthogai written by MiLaipperum Kandhanar :

சுடர் செல் வானம் சேப்பப் படர்கூர்ந்து
எல்லறு பொழுதின் முல்லை மலரும்
மாலை என்மனார் மயங்கியோரே
குடுமிக் கோழி நெடுநகர் இயம்பும்
பெரும்புலர் விடியலும் மாலை
பகலும் மாலை துணையிலோர்க்கே

‘Only the dim witted say it’s evening when the sun goes down
And the sky reddens when misery deepens
And the mullai begins to bloom in the dusk
But even when the tufted cock calls in the long city and the long night breaks into dawn
It is evening; even noon is evening to one who has no one’.

The girl waits for her lover to return.And she pours out saying ‘to me everything looks like evening in the absence of my lover’.

Look how poetically she describes her misery.

There is poetry in waiting. There is poetry in longing. There is poetry in misery.

There is of course poetry in music.

In this Blog, we have been seeing the hidden beauties in ILaiyaraaja’s music.
All of us know his natural ability to compose melodious tunes.
But what sets him apart is the way the he deals with human emotions in his compositions.

Though each raga has an emotion attached to it, it is not the ragas alone that matter here.It is the way, they are used and applied (especially in film music).
ILaiyaraaja is a Master in this art and this makes his compositions sound more poetic.

The composition we are going to see today is about a complex relationship. It is sung by a woman who is caught between two worlds-one that gives her pleasure and the one that gives her pain. A case of pain being a pleasure and pleasure being painful. She is driven by an overriding sense of guilt, but still she seems to revel in the situation.

The composition is ‘Ennullil Engo’ from ‘Rosappoo Ravikkaikari’(1979).

It is based on Dharmavathy, a raga known to evoke nostalgic feelings and a sense of yearning.

It is the 59th melakarta and its structure is
Sa ri2 ga2 ma2 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma2 ga2 ri2 sa.

If one changes the variant of ‘ga’, it becomes Kalyani, a totally different raga in terms of the emotions it invokes.

That is the beauty of music..

I had mentioned about the way the Maestro’s uses the ragas.
Just to quote an example, the same Dharmavathy was used in ‘MeeNdum MeeNdum Vaa’(Vikram)- a very romantic song.

In ‘Ennullil Engo’, he avoids the use of ‘ri’ and ‘dha’ in many phrases making it sound like Madhuvanti(loosely the Hindustani counterpart of Dharmavathy).
He does apply one more technique to depict the character and we shall see this later.

Let us look at the composition.

The rich tone of Sarod surrounds us and the Violins surge forth with energy.The Santoor now smiles the flute exuding sensitivity.

This prelude prepares us for the feast waiting for us.

The pallavi in the crystal clear voice of Vani Jayaram is redolent with melody.
The first part is simple until the words ‘En KetgiRathu’.It then oscillates gently giving us a very different feeling.

The pause between the Pallavi and the first interlude is brilliantly conceived and executed.

The violins then play with a yearning tone. They become enticingly energetic when the Flute joins and takes glittering flights. It is height of ecstasy as we hear the violins, the swirling flute and the succulent tone of the Santoor.

The CharaNam is delightfully layered.

We see and hear the melodic tint in the first two lines.This is followed by a plethora of sangatis giving the nuances of the raga with wonderful shades of musicality.

The second interlude is a masterpiece.
The Flute gives an array of arresting patterns.As we begin to lose ourselves in the lightning flashes, we are led to a world of sheer magic.

The Shruti changes and the ‘ri’ is taken as a base to give a completely different ragam-Chakaravagam.We have discussed this concept of Gruha Bedam in this thread.
The Maestro has used it extensively in many compositions and I think he used it for the first time in this song.

I also feel he must have used it to depict the emotional upheaval of the character.

Sparks of ingenuity!

Dharmavathy is back with the puissant sound of the sitar followed by the dazzling santoor.

It is a composition captures the entire gamut of human emotions with unfettered musical acumen.

I yearn to hear more and more of your poetic music..

என்னுள்ளம் எப்போதும் ஏங்குவது உனது இசையினைக் கேட்டிடத்தான்..

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ILaiyaraaja's Music- Subtle..and Graceful!

‘That month in that white moonlight,
We had our father and no one could take the hill.
This month in this white moonlight,
Kings with drums drumming victory have taken over the hill,
And we have no father’.

அற்றைத் திங்கள் அவ் வெண் நிலவில்,
எந்தையும் உடையேம்; எம் குன்றும் பிறர் கொளார்;
இற்றைத் திங்கள் இவ் வெண் நிலவில்,
வென்று எறி முரசின் வேந்தர் எம்
குன்றும் கொண்டார்; யாம் எந்தையும் இலமே!

(English Translation Courtesy-A.K.Ramanujan)

A very simple poem indeed! But there is something in this that gives us a very different feeling; a feeling that is difficult to describe..

Let us look at the background and see as to who wrote this.

This was sung by two small girls, Angavai and Sangavai who were the daughters of a King called Paari. They were just around 8 years old when they sang this.

Difficult to believe?

This poem is taken from ‘PuRanaanooru’, -a collection of 400 verses- part of the Ettuthogai of Tamizh Sangam literature(100 B.C.-A.D.250).

‘PuRanaanooru’ talks about kings, valour, war, death etc.,

Out of the 400 poems, 16 poems (105-120) revolve around the King Paari, a privilege not enjoyed by any other king.

Who was this Paari? What was so special about him?
A King who was magnanimous, giving, kind, charitable, benevolent, munificent and noble..

It is said that once when he was going around his kingdom in his chariot, he saw a jasmine creeper lying on the way without any support. So large hearted and compassionate was Paari that he offered his chariot to the creeper(for support) and walked all the way back to his palace!

His kingdom was the ‘PaRampu Hill’, very small compared to the other great kingdoms.

However, the Hill was as wide as the sky and the pools flashed like the stars. In his Hill, fruits were crammed with segments of sweet flesh and the rich tall hill would drip with honey. The Greenland knew no lack of rains and even the bushes would flower.

Hearing the beauty and the richness of the PaRampu Hill, the ‘Bigger Kings’ decide to acquire it. They scheme, plot and capture the Hill.
Paari, whose arms were strong, whose spears were sharp and whose chariots gleamed is killed by the cunning and crafty honchos.

Now, read that poem sung by the little girls.
Does it not have an indefinable tenderness and an irresistable appeal?
This is what great literature is all about.

Subtle and Graceful!

Great Music too has such an appeal. It takes us to a new plane; a territory that is beautiful and magnificent.

Many compositions of one of the greatest musicians in the Film world are so subtle that at times they even sound very simple. At the same time, if one delves deep into it, one understands how beautiful, graceful and intricate they are.

This musician’s journey in pursuit of sublime depth of music has given us compositions that touch a very deep chord in us. This is precisely the reason for many of his songs sounding so fresh and yet every time we listen to them, we discover new hidden meanings.

Today, we are going to see one more composition of his.

It is ‘Konji Karaiyalle’ from the Malayalam film ‘Poomukhappadiyil Ninneyum Kaaththu’(1986).

The composition is based on Sindhu Bhairavi.

This Raga is special because of many reasons.
Let us look at the formal structure.
Derived from the 10th Melakarata Natakapriya,
its Arohana is sa ri2 ga2 ma1 ga2 pa dha1 ni2 Sa
and its avarohana- ni2 dha1 pa ma1 ga2 ri1 sa ni2 sa.

However, this is only on paper and it is one of the ragas that is defined more by the prayogas.All the 12 swaras can be used in this raga.

The Raga originates from Hindustani music-where it is known by the name Bhairavi. ’Bhairavi’ is one of the eight forms of the Devi.The meaning of ’Sindhu’is ‘born from the sea or the river.

Look how the name itself is very interesting.

The raga has the capability to attract even the uninitiated or the untutored.
So well has the Carnatic system adopted this Ragam that a Carnatic recital is incomplete without the rendering of Sindhu Bhairavi Raga(either as a Slokam or as part of a Ragamalika).

A subtle and graceful Raga, Sindhu Bhairavi evokes a very different feeling difficult to express.
It is not a surprise that this is one of the most favourite ragas of the Maestro. I say favourite because he has composed more than 100 songs in this raga alone.

Now, you would have understood as to why I called this a very special Raga.

Let us now look at the composition.

It has a rather unusual beginning. A plaintive violin in the higher octave joined by the viola in the lower octave and a very different and distinct whistle. Musical piece that is stirring and inspiring.

It is enlivened by the voices of Yesudass and Janaki.The pause(of 2-beats) is supple as our hearts miss a beat or two.The Pallavi brims with energy and has an evocative appeal.

The yearning continues in the first interlude with the vivacious flute etching vignettes of a beautiful sketch.It is a chiaroscuro as the zestful strings and the whistle give a discursive picture of Sindhu Bhairavi.

We see the delicate sensitivities of expression in the CharaNam.The first two lines are pulsating and at the same time delicate.Mellifluence splashes in the next two lines as the duo Yesudass and Janaki sing together.The following line sparkles in the voice of Janaki.

It is divine sound now as we hear the chiming of the bell.The strings whoosh through with the viola moulding the nuances of the raga.We see the myriad hues and the attractive flounces as the notes in sets of three are played in varying patterns.

The second CharaNam is dynamic and delectable.

The composition shows the artistic integrity.

It is an outpouring of creativity.

It traverses unexpected vistas.

Simple.. yet Attractive..
Subtle.. yet Deep..
Graceful.. yet Meaningful..

‘Moist Eyes..Melting Hearts..’

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ILaiyaraaja's Music is Divine..

At times we tend to misunderstand or misinterpret certain words. The word ‘sensuality’ is a classic example.

In the Madras Music and Dance Season in Dec 2007, there was a symposium on a very interesting and intriguing topic-‘Sensuality in Dance and Music’. One of the persons ( a senior dancer!) who gave the introduction on the first day went to the extent of defining sensuality with the help of a Dictionary and said the word would also mean ‘debauchery’.

Thankfully, T M Krishna, the young and energetic musician known for his forthright views and comments said the word could be interpreted in so many ways. 'Sensuality' according to him is something that gives him immense pleasure.

Carnatic Music does give him great pleasure.

He went on to play the recordings of stalwarts like Madurai Mani Iyer, GNB, Semmangudi and said these voices are sensual according to him though some ‘purists’ may not agree.

The problem is such topics remain as taboos and even making a mention is considered to be sacrilegious.

Of course there is a thin line dividing between ‘sensuality’ and ‘vulgarity’. In the case of some artistes this line gets blurred and one feels the vulgarity -or even the term defined so well by that dancer who gave the introductory speech- when they perform.

It is the way the artiste expresses the art form.

The fact of the matter is almost all the Varnams, Padams, Javalis in Bharathanatyam are erotic but it is used as a vehicle to get close to the almighty and attain divinity.

We have this in Bhakthi Literature as well. Naalaayira Divya Prabandham, Geeta Govindam are some examples.

Therefore there is nothing wrong if we say classical music is sensuous (provided of course that we fully understand the meaning and say this!).

ILaiyaraaja’s music appeals to our senses and touches the soul. It is Sensual and Divine!

By using very different ragas, he has given new meanings and new dimensions.

One such Raga is Vakulabharanam.

Vakulabharanam is a very interesting Raga.It is the 14th Melakartha and is very close to Mayamalawagowla and Todi.

The variant of ‘ni’ is different in Mayamalawagowla and that of ‘ga’ is different in Todi.

But this is only on paper.

Vakulabharanam has a unique flavour that is unmatched. In fact it would surprise many if I say that this Raga has lot of Arabic flavour.

Yes, this Raga is sensuous in deed.

Raja brought out this flavour wonderfully in ‘Kinnaththil Then Vadiththu..’(ILamai Oonjalaadugirathu).

But what is more amazing is the way he used this Raga in a philosophical song, ‘Aaarum Athu Aaazhamillai’(Muthal Vasantham) bringing out the somber mood of this Raga.

That is why he is called Raga Devan!

Let us see the structure of the Ragam:

Sa ri1 ga3 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ga3 ri1 sa.

The composition?

It is ‘Eee Daha’ from the Kannada film 'Shikari'.

The song opens with Janaki singing a brief subtle aalap mellifluously and the Raga unfolds in absolute astuteness. The strings then play with dash and spirit.

The Pallavi exudes the characteristic charm of the Raga with a built- in interplay of laya.

The first interlude gives the energetic sound patterns imbued with an intensity that makes us dance. The riveting and reposeful chorus is soporific. Suddenly the trumpets leap out at us with vibrancy.

Mark of a Genius!

The Charanam has intricately braided passages as the voice glissades.The Bass Guitar swirls ,twirls and prances.

Exotic..

The second interlude sparkles with the myriad facets of the Raga.The Guitar gives the variegated patterns.

It glides sinuously ..

It whirs past us..

It is plangent ..

It is meditative ..

We see the Musical Intelligence, Integrity and Intent.

It is a state of enlightened mystification.

Sensuous …..Divine….

இசையென்னும் கிண்ணத்தில் இனிமையென்னும் தேனை அள்ளித்தருபவர் அல்லவா அவர்?

Does he not give us cups of honey in the form of Music?

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ILaiyaraaja-Musician Beyond Compare!

தோள் கண்டார் தோளே கண்டார்;தொடுகழற்கமலம் என
தாள் கண்டார் தாளே கண்டார்;தடக்கை கண்டாரும் அஃதே
வாள்கொன்ட கண்ணார் யாரே வடிவினை முடியக் கண்டார்?
ஊழ்கொண்ட சமயத்து அன்னான் உருவு கண்டாரை ஒத்தார்.

When Rama goes back to Mythila for his betrothal with Sita, the women of Mythila swarm him and vie with one another to have a glimpse of his beauty.

Poet Kamban says women who looked at his shoulders kept looking at it ...
People who looked at his hands could not go beyond that...
And those who looked at his feet could not take their eyes off...

But nobody saw his beauty in its entirety.

The clincher is the last line where Kamban says ‘It is like thinking that we know everything about the Almighty just by scrupulously practising our religion.’

Rama’s beauty was thus unfathomable..

In a similar vein I feel ILaiyaraaja’s Music is unfathomable. When we listen to a particular song of his, we get attracted to the tune and do not get out of that;

or we tend to get allured to the orchestration and sink in that;

or we tend to get hypnotized by the way it has been composed and immerse ourselves in that.

The more we think we know him and his music the more enigmatic it is.

That is why I consider him as- A Musician Beyond Compare!

Today we are going to see two of his works that were composed exclusively for the Italy Show.

The first one is the Composition with Three Notes and the second one is ‘Mood Kapi’.

Let us first take up ‘Three In One’.

But before that let me briefly explain about the concept of three notes. In some of my previous posts, I had explained about the concept of Raga.

A Raga is a unique combination of notes ascending and descending. As per the grammar of Indian Music, any Raga must have at least five notes.

There have been exceptions to this rule and relatively new Ragas like 'Navarasa Kannada' and 'Kathanakuthookalam' have only four Swaras in Arohana(ascending).Dr.Balamuralikrishna invented a Raga called Mahati with just four notes both in Arohana and Avarohana and MSV sir used it in Athisaya Ragam in the Film Apoporva Ragangall.

We have also discussed about Lavangi(KangaLukkuL unnai ezhuthu..)

One of the oldest Vedas, Sama Veda (also considered to be a Musical Veda) uses Sa Ri Ga extensively and Illaiyaraja used only these Swaras in the first two lines of ‘Poovaar Senni Mannan’(Thiruvaachakam).

However, the ‘Three In One’ is unique because it is a Musical Composition running to three and half minutes and nobody has ever even made an attempt to venture into this kind of a composition.

Going back to the grammar of Carnatic Music, the minimum requirement of five Swaras is just to ensure that the there is more scope for delineation of a particular raga so that there are no repetitive phrases.

But here is the case of a composition that breaks grammar without in any way compromising on the Musical Quality. Most importantly there is never a dull moment. This is because of the way the Swaras have been used and because of the way the orchestration has been done.

There have been comments-some sardonic and some acerbic- saying it is some kind of a cheating since there is a change in the octave.But the fact of the matter is that it is well within the rules of Music. I do not want to dwell on this further.

Let us look at the composition.The Swaras used -as per Carnatic Music Parlance-are Shadjamam, Chatushruthi Rishabham, Antara Gandharam.

In fact, this is the first half(called as poorvaangam) of two very popular Ragas-Mohanam and Hamsadhwani-and the composition has shades of the former.

When the notes were given to the orchestra, none of them discovered that only three notes have been used..And if it was not publicly announced as ‘Three In One’, I am not sure how many listeners would have discovered it.

The composition starts with the Flute playing with gay abandon and we feel we are at the Foothill ready to climb the Stubbly Mountain.

As the percussion in the Chatushram beat joins, we begin to climb wending our way, go down again only to climb a little further.

As the Flute continues to play, the strings and the Bass join with a kind of unique insouciance, and we see the grassy rolling hills.

The breeze kisses us gently as the Violin plays in pure Western Classical style.

We hear the rustle of crisp spiky leaves and are surrounded by the fragrance of the flowers.We see the wild grooves of bamboo thistles and bramble as the viola traipses octaves. We see the gurgling river with a sparkling stream as the humming we hear the humming.

The Violins play with yearning tenderness and we are on nature’s lap with the Music caressing us.

Captivating beauty and splendour of Nature and Music at its best!

It is the Summit and the Acme. ..

Let us now turn our attention to the other piece-Mood Kaapi.

This tune has appeared as a song with lyrics in Films. However, this piece is very special considering the fact that in the Italy show it was played as a eight minute piece without any lyrics!


The Raga is originally from Hindustani Music though the Kaapi sung in Carnatic style is somewhat different from the Hindustani Kapi.In fact, Raag Kaapi in Hindustani Music is a ‘Thaat’(equivalent of Melakartha in Carnatic) and it is nothing but the Karaharapriya Ragam in Carnatic.

Kaapi in Carnatic style has five notes in Arohana-sa ri2 ma1 pa ni3 Sa-and all the seven notes in the Avarohana albeit in a devious form(called as vakra prayoga)-Sa ni2 dha2 ni2 pa ma1 ga2 ri2 sa.It uses both variants of the ‘ni’-the Kakali Nishadam in Arohanam and the Kaisiki Nishadam in the Avarohanam.

There are of course various versions of the Aro/Avaro.

The phrase 'ga ma ni pa ga' clearly gives the essence of the Ragam.

The first thing that strikes one in ‘Mood Kapi is the rhythmic pattern. It is set to the 8 beat Adi Tala and the two Avarthanas(2x8) are beautifully divided as ‘Ta Ka Dhi Mi Ta Ki Ta Ta Ka Ta Ki Ta Ta - - -' .

That is instead of 8 +8, it is 7+9.

Not a computer generated pattern but purely from the mind of the creative genius!

‘Mood Kaapi’ begins with the wistful Dilruba playing an incandescent Aalap.A single stroke of brush makes us visualize the whole portrait.

The Violin orchestra now plays with immaculate beauty showing us the regality of Kapi.

The feisty Tabla sparkles in the entire piece.

The Flute gives soft touches followed by the violin orchestra playing without any frills.The Dilruba appears again and shows the unfettered imagination of the composer.

It is then a Metronomic Progression.

The contours of the Raga are presented crisply by the solo violin.It is a clearly defined musical motif as the chorus renders ‘Tham Tham..’.

It delves into new depths as there is a conversation between the Dilruba and the Tabla and finally the Tabla plays the ‘Dha Thai Dhi Tha’ beats ubiquitous in a Kathak dance.

The Swara singing passages give a sensitive portrayal of the raga with a beautiful mathematical calculation -typical of Carnatic Music- and are rendered jauntily.

In the end the sounds dissolve into silence and we are in a trance.

The Composition is an excellent match between the musical vision and the delivery.

It is couched in winsome language.

It is mesmerism in the form of Music.

No poetry can match the beauty of this Music!

இந்த இசை சங்கத்தில் காணாத கவிதை!

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ILaiyaraaja-The Marvel!

Certain things in this world have an eternal charm.

A child’s smile or a giggle, the birds, whisper of the breeze, sound of the waves, the drizzle, sunrise, sunset, rainbow..

Isn’t this amazing?

Some people and their works too have that eternal beauty.
For example let us take Saint Thyagaraja ..

The lyrical and musical values in his compositions are amazing. His use of heavy ragas, popular ragas, rakthi ragas and rare ragas are extraordinary.

Though there are thousands of his compositions, one composition of his is very interesting and intriguing.

In this composition, he says, ‘I have unabashedly committed many sins. I praised others to covet wealth and earned my livelihood. I did not shun evil thoughts. Who ever will rescue me?’

He goes on and on about the ‘sins’..

The composition is ‘Duduku gala..’

Thyagaraja lived like an ascetic. He was not materialistic. He did not care for money. Once when he was offered huge money for singing in praise of the king he refused to sing. That was when he composed the popular ‘Nidhi Chaala sukhama..’(‘Is money more important than God?’)

This being the case, why did he call himself a sinner in ‘Duduku gala?’

It is because he was speaking on our behalf. The ‘I’ in the Keerthana is not Thyagaraja but ordinary mortals like us.

This composition is part of the Ghana Raga Pancharatna that is rendered by musicians every year at Thiruvaiyaru , the town where Thyagaraja lived.

‘Duduku gala’ is in Gowlai ragam and that makes it more special.

I shall come to this aspect soon.

Like Thyagaraja and his compositions, ILaiyaraja and his compositions have an eternal beauty.

Emotions play a major role in his compositions as well and the musical value in each of his compositions is amazing. He is also very versatile and has composed in different kinds of Ragas.

Let us now turn our attention to one of his special compositions .

It is ‘Vedam nee’from ‘Kovil Pura’. This is based on Gowlai.

While talking about ‘Dudukugala’, I said Gowlai Ragam makes it more special.

Gowlai is derived from the 15th Melakartha Mayamalavagowlai and its structure is:

sa ri1 ma1 pa ni3 Sa/Sa ni3 pa ma1 ri1 ga3 ma1 ri1 sa.

The avarohana is devious and the ‘ri ga ma ri sa’ prayoga is one of the specialities.

But what makes it more special is the ‘ri’. This ‘ri’ is Ekashruti and is unique to Gowlai.

That is why this Ragam is very special.

Let us now look at the composition.

The song is set in Tisra Gati Adi tala and therefore it fits into Roopaka tala as well.

The foundation of an elaborate musical edifice is laid in the prelude itself. The sonorous Veena and the Jalatharangam are powerfully energetic while the Flute brings out the emotional radiance of the raga.

The flashes of brilliance at the end of the prelude are enticing.

The pallavi that starts in the rich deep and melodious tone of Yesudoss exudes a unique magnetism. It is pure and weighty and one sees the beautiful shades of the raga.

The first interlude is dynamic with swirls. The combination of the puissant Veena and the soft Jalatharangam followed by the graceful Flute is amazing. The lilting sound just towards the end is another beauty.

The first Charanam is subtle and expressive. The plenitude of sangathis is an aural treat.

The second interlude is a real marvel.The pristine pure Gowlai glides, jumps and ambles across. The reverberations of repetitive notes ensuing from the bass string of Veena render a mystic quality.

Fertile imagination!

The second Charanam revolves around the succinct determinants of the Raga.

One sees the flights of creativity.

One sees the Raga’s intrinsic identity.

One sees the Regal aura.


The composition is a clear stream of musical values.

Artistry of high order..

‘You are the divine sound. You are the resonance..’

வேதம் நீ இனிய நாதம் நீ..

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ILaiyaraaja's Music-Magnificent and Gentle!

Mountains and the breeze have a very special relationship.The higher we go on a Mountain, the cooler it becomes. It is also said that our Life force called as Prana flows better in higher planes.

I attribute this to the relationship between the Mountain and the Breeze.

In a way, one is the opposite of the other.
We can see a mountain. But can we see the breeze?

The Mountain stays in a place and therefore is called as Achalam in Sanskrit. But does the breeze stay in one place?

Mountain is very heavy. Breeze is light.

But there is one thing that is common to both.
We human beings pollute the Mountain and pollute the air without being partial.

There is one more common factor.

Poets have been enamoured of the beauty of the Mountains and the gentleness of the Breeze.

One of the most imaginary and beautiful descriptions of the Mountain is found in Kamba Ramayanam.

Kamban imagines the Mountain as the father, river as the daughter and the Sea as the son- in- law.

Is it not a fact that the river originates from the Mountain and finally mingles with the Sea?

He says ‘The Mountain is not able to bear the heat from the Sun. Looking at this, his son in law -that is the Sea covers the Mountain with clouds cooling him in the process.This grand spectacle looked as if the Mountain was entirely covered by the sea itself..’

பம்பி மேகம் பரந்தது:'பானுவால்
நம்பன் மாதுலன் வெம்மையை நண்ணினான்
அம்பின் ஆட்டுதும் 'என்று அகல் குன்றின் மேல்
இம்பர் வாரி எழுந்தது போன்றதே

Poetic Beauty!

Another great poet describes the breeze.

He welcomes the Breeze and says ‘Come to us and fill us with the fragrance. Touch the waves and leaves and give us our life force’.

காற்றே வா.
மகரந்தத் தூளைச் சுமந்துகொண்டு மனத்தை
மயலுறுத்துகின்ற இனிய வாசனையுடன் வா
இலைகளின் மீதும் நீர் அலைகளின் மீதும்
உராய்ந்து, மிகுந்த ப்ராணரஸத்தை எங்களுக்குக் கொண்டு கொடு.

This is a Vachana Kavidai written by Bharati.

In just a few words, he talks about a clean environment.

Poetic Intelligence!

Beauty and intelligence are not the sole preserve of poets alone.

One of the greatest Music composers has also been giving us compositions that are beautiful, intelligent and innovative.

With his knowledge and inspiration, he illuminates the loftiness of Music.

With his Brilliance and Sharpness, he pierces our hearts and touches the soul.

But with his devotion and piety, he is humble.

He has used many Ragas in his compositions but what is striking is not just the way he has used them but where he has used them.

Generally Ragas in pure forms are used by Film Music composers in sequences that call for their usage. To be more precise, if the story is based on a musician or a dancer.
But Raaja sir has time and again used Ragas in their pristine form in family dramas;in formula movies; in humorous situations; in romantic duets.

Today, we are going to see a very special composition of his that is based on a raga that literally means ‘Breeze from the Mountain’.

The Raga is Malayamarutham.

Malayamarutham is a Shaadava Raga- that is a Raga with six notes.

It is derived from the 16th Melakartha Chakravagam and its structure is

sa ri1 ga3 pa dha2 ni2 Sa/Sa ni2 dha2 pa ga3 ri1 sa.

It is a very beautiful Ragam and as far as I know no other film composer had used it before him.

The composition is ‘Kodi Inbam Meni Engum Paainthathammammaa’from ‘Nenjil Aadum Poo Ondru’(1980).

The opening of the song itself is very interesting. It sounds like the magudi.

Magudi as many of you know is played to attract the snake and is in Punnagavarali Ragam.But here, Malayamaarutham sounds like Magudi.

The humming of Janaki is enticing and the languid grace of the Santoor is comforting.

The Pallavi starts with the mellifluous voices of Janaki and SPB.One gets to hear the Raga’s mellow cadences within the first two lines.

It is also full of magical surprises.

How?

It is because of the Tala structure and the pattern.

The composition follows the Chatusra Eka Talam that has 4 beats.
These four beats are further divided into two parts-each with 8 beats in the faster mode.

The pattern is Ta Ki Ta Ta Ki Ta Ta Ka / Ta Ki Ta Ta Ki Ta Ta Ka.

The magic lies in the way it is played.

It is played as Ta - - Ta Ki Ta Ta Ka/ Ta - - Ta Ki Ta Ta Ka with stress on the last syllable ‘Ta Ka’ where ‘Ka’ is made to sound very sharp. And what a difference does it make to the entire composition!

The Violin starts with flourish and buoyancy in the first interlude. It is a very smooth glide and we are transported to a picturesque terrain wending our way through with the breeze welcoming us.

The Charanam oozes with nectarine phrases. Quivering droplets keep falling on us gently.

It is a drizzle.

Drizzle of beautiful Swaras.

The Second Interlude starts with sublime tenderness. We see the glistening strands of creepers musically swaying as the Sitar plays. We feel the breeze giggling as we continue our journey on the Mountain.

In the Third Interlude, we see the spectacular plateau. We hear the twitter of birds. We hear the coy whisper. We feel the air of happiness and joy. We feel the chill wind blowing across.

We are in communion with nature.

Tranquility envelops us.

It is the breeze from the Mountain.

If Mountain is the Mother, Breeze is the Father.

Mountain is the Shruti and Breeze the Tala.

Shruthi Matha Layaf Pitha.(In Carnatic Music, Shruti is considered to be the Mother and Tala the father).

And this is the relation between the Mountain and the Breeze.

His Music shows and takes us to the beautiful Mountain and makes us feel the joy of Breeze.

Eternally Blissful..

ps:This post was read out in English and Tamizh to an invited gathering of like minded people on the 29th of Aug 2008..

ILaiyaraaja-The Eclectic Musician!

Saint Thyagaraja was a very interesting personality.

It is of course a known fact that he was a Musician par excellence. His mastery over Telugu and his ability to compose with consummate ease is very well established. He was also one of the greatest Bhaktas(Devotee) of all times.

But there are certain qualities which make him and his compositions unique .

One is his ubiquitous reference to Music in his Krithis proving how steeped he was in the Ocean of Music.

The other is his Probing Questions.

In an endeavour to make himself and his mind pure, he constantly questioned himself, and his mind .He did not just stop there...

He also raised a lot of meaningful questions to the Lord himself.

He asks, ‘Dwaithamu Sukhama Adhwaithamu Sukhama?Chitanyama vinu Sarvasaakshi Vistharamukhanu Telupumu Natho..’

‘Which one gives happiness-Dualism or Anti Dualism? Will you Please Tell Me-Oh!The Omnipotent..?’


In another Krithi , he asks ‘I am like a Woman tormented by seperation . When will you come and save me Oh , Rama..’

‘Chera Ravathemira?’

In yet another Krithi he says ‘In the Garland made of gems called as Ragas, Rama shines’

‘Raga Rathnamalikache Ranjillunada’.

All the above mentioned Krithis are set in that beautiful Raga called Reethigowlai.

In Carnatic Music, we have Heavy Ragas called ‘Gana Ragas', Popular Ragas called ‘Janaranjaka Ragas’ and Ragas full of Mellowness called ‘Rakthi Ragas’.

Rakthi Ragas pierce our hearts and kindle the hidden (deepest) emotions.Sahana, Reethigowlai, Ananda Bhairavi are some of the examples of Rakthi Ragas.

I shall now try and explain how the Maestro has used the Beautiful Raga to bring out the Rakthi Bhava.

Like Thyagaraja, ILaiyaraaja is also one of the greatest musicians of all times.His ability to compose in a jiffy is a well known fact and is like the Holy Grail.

What sets him apart is his ability to question and his propensity to experiment.He has been the purveyor of rare ragas and has redefined the idioms of Film Music.

The zeitgeist of Film World-Tamizh Films in particular-in the late ‘70s was one of appreciating Light Music with the Melody element though there was a smattering of songs based on Classical Music.It needed a lot of guts on the part of this Rustic from Pannaipuram to compose a song in a pure and a slightly difficult Carnatic Raga.

Though he had used the Raga Kaapi wonderfully in ‘Sugamo Ayiram’(Thunai Iruppall Meenakshi), it was his use of Reethigowlai in ‘Chinna Kannan Azhaikkiran’ which made the so called ‘Arbiters’of Carnatic Music look up.This composition got buried somewhere deep down in their subconscious mind.

The composition starts with the effervescent Flute playing ‘Ni Ni Sa Ni Sa Ga Ri Sa’and Reethigowlai comes dancing towards us.The Santoor then plays repetitive Swaras embellishing the already beautiful Raga.

When the Mellifluous voice of BalamuraliKrishna sings ‘Chinna Kannan Azhaikkiran’, it looks as if the Lord Krishna himself is inviting us to play with him.

The Sa Ga Ri Ga Ma Ni Ni Sa and Ga Ma Pa Ma Ga Ri Sa usage delineate the beauty that is called as ReethiGowlai.

The interludes have Flutes playing counterpoints and the Santoor giving a charming smile .

The highlight of the composition is the brevity in Orchestration.Not many instruments have been used but still it sounds Great.

Contrast this with the Pathos version of the same song.

The song starts with the Divine Nagaswaram and as Janaki sings the first line, the Violin Orchestra takes over in Western Classical style.The short pause after this is the stamp of the Master!

The interludes have the Violin Orchestra in Western Style followed by the Flute in Carnatic Style which sings with Meloncholy this time-though the notes are the same as that of the Happy Version-and the Santoor.

The second interlude deserves a special mention here.The Orchestra takes us to the Western Classical mode initially playing Reethigowlai, and later on deviating in pure Western Stlye finally catching up with the Raga towards the end.

In the last Charanam, as Janaki’s Voice reaches a Crescendo, the Violins play the Postlude .

ILaiyaraaja –the Eclectic Musician!

Rama weds Sita .This is a known story.But what happens when the Swayamavara and the Wedding take place in Reethigowlai?

Reethigowlai reaches new heights in ‘Raman Kathai Kelungall’from ‘Sippikkul Muthu’(Swathi Muthyam-Telugu).

Though the song has other Ragas as well, Reethigowlai sounds very sweet.

The beautiful Sita is decorated in Reethigowlai .The Veena plays as Rama walks into the gathering full of Great Warriors, Kings and Learned Men.

When each warrior fails in his attempt to lift the Bow and finally when Rama succeeds in lifting the Bow,one gets a wonderful taste of Andhra Folk -albeit not in Reethigowlai.

Reethigowlai joins us again towards the end after a brief Madhyamavathi.

The most riveting Reethigowlai in Film Music is ‘Thalayai Kuniyum Thamaraiye’ from ‘Oru Odai Nadhiyagirathu’.The composition is woven with a clear and concise understanding of the Dos and Don’ts of this Raga.


It starts with the Divine Nagaswaram again.The Electronic Synthesiser follows the String.

Ni Sa Ni Dha Pa Ma Ga Ri Sa and Sa Ga Ri Ga Ma Ni Dha Ma-sketch Reethigowlai before we bat our eyelids.

The 4/8 Chatusram beats are wonderfully split to sound as 1 123.

The Flute followed by Strings and the Violins playing in Harmony in the first interlude give us a sense of mirth.

But the best piece of Reethigowlai is heard in the second interlude when there is an undulating Wave-Pattern with the sound of the Ankle Bell in the background.
Even people who do not know to dance move their feet involuntarily mesmerized by this piece!

The structure of the second Charanam is another beauty.The eleven lines move so effortlessly that one is left wondering as to how such a Rakthi Raga is handled in a Filmy duet without in anyway losing its Charm or Grandeur.

The same Reethigowlai flourishes with flamboyance in ‘Meethatha Oru Veenai’from ‘Poonthottam’.The mellowness of the Raga is felt in the modern instruments as well.

The composition is set to the 5 beat Kanda Chapu Talam-Thaka Thakita -but the Mridangam makes its appearance only in the second interlude along with the Veena.

Until then we hear Western Instruments.

The Violins also alternate between High and Low Pitch.
The entire song gives us a feeling of seeing a Snow Capped Mountain surrounded by a thousand Flowers.

‘Aayiram Malaragall Malarum Allava Avarathu Isai Kettu’?

His Music makes Thousands of Flowers Bloom…...

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ILaiyaraaja-Inseparable From My Heart!

Seperation or Viraha is a pet topic of poets.

All major literary works depict Viraha beautifully.

One of the major works in Sanskrit ,’Geeta Govinda’ was written by Jayadeva in the 12th century .It talks about Krishna and Radha -symbolizing the Supreme being and a devotee respectively- and has lot of philosophical connotations.

But it also depicts divine love at its best and therefore can be classified under Love poems. The poems are incredibly beautiful.

In one of the Ashtapathis(8th),Radha’s friend approaches Krishna and informs him of the agony of Radha owing to her state of separation(from Krishna):

‘She fears and reviles the dint of moonbeams as though they are the arrows of Love-god. She loathes the sandal-paste.
She reckons the cool and sandal-scented breeze from Mt. Malaya venomous, as though it has caressed the abode of serpants
Thus, now she is lovelorn, as you have left her in the lurch..’.

‘Nindati chandanam IndukiraNam anuvindati khedamadheeram
Vyaalanilayamilanena garalamiva kalayati malayasameeram
Saa Virahe Tava Deenaa..’

This is Viraha in poetic form!

One of the masterpieces of Raja describes separation in musical form.

The English Film ‘Man Woman and a Child’ inspired many film makers. It came out as ‘Masoom’ in Hindi, as ‘Olangal’ in Malayalam and ‘Oru Odai Nadiyagirathu’ in Tamizh.

The Tamizh film was directed by the great film maker Shridhar.

The story of the film is beyond the scope of this discussion and therefore let me try and explain the sequence.

One of the heroines-Sumalatha- has a past connection with the Hero Raghuvaran , a fact both of them do not know(pl do not ask me how..as I said it is beyond the scope of this thread).When she meets him after a while, she is attracted towards him-despite knowing he is married. Unable to take him away from her thoughts,she cannot bear the separation.

Let us focus our attention on the song.

The sequence itself is abstract and appears as a dream.

The song is ‘Kanavu Ondru Thondruthey..’ and is rendered by Janaki.
It is based on Revati, a pentatonic raga that evokes feelings of nostalgia, fear, sympathy , compassion and above all an unexplainable feeling.It is a more recent raga .

The structure is sa ri1 ma1 pa ni2 Sa—Sa ni2 pa ma1 ri1 sa.


The first thing that strikes us in 'Kanavu Ondru..’ is the rather unusual prelude.The string instrument sounds like a Tanpura and the feathertouch piano keys kindle our emotions.

The Bass guitar itself acts as the rhythm playing the three notes of Revathi repeatedly as the punchy western flute and the synthesizer join. Meanwhile the Bass Guitar continues to play nonchalantly.

Janaki sings ‘Kanavu Ondru Thondruthe ithai yaarodu solla’twice without any percussion instruments…And then the magic unfolds…The perussion starts as we hear ‘vizhiyorangaL..’and the 8 beats are divided as ‘Ta ka Dhi mi Ta ka Ta –‘.

Four things are to be noted here:

The stress is on ‘Dhi’ and the last ‘Ta’.

The last beat is left blank.

The Bass Guitar plays during Ta ka Dhi mi.

The percussion stops towards the end of the pallavi as ‘Kanavu Ondru’ is rendered again.

All these create a very different ambience.

The Bass Guitar plays with piercing sharpness supported by the punchy violins and the synthesizer.

Suddenly the piano appears from nowhere and moves decorously even as the bass guitar plays in the background. The violins join and just towards the end, the percussion reappears with a very interesting pattern:

Ta – Ta ka (gap) Ta – Ta ka (gap) Ta – Ta ka (gap).

Let me explain what this is.

24 is divided as 4,4,4,4,4,4.The gaps are filled with violins.

Cutting edge precision!

What one sees here is the heady shimmer of gold crust!!

The charanam is another beauty.Each line is sung with emotive intensity. ‘Poomagal Meladai.’.is sung with beautiful ‘podi sangathis’and as we tend to forget ourselves more things follow.

The violins stir us at the end of each word. It twinges our hearts when she cries ‘Kaamane Vaaradhe..’ first in the higher pitch and then in the lower pitch, and we too begin to cry.

In the second BGM(interlude), the vivacious violins, the double bass and the cello make us swivel and as the intoxicating flute plays we become dizzy. We are in a state of trance and we see illuminated brilliant flashes of divine light as the piano plays ..

Paradise on the Earth!

I have never seen a better Film composition in Revati nor will I see ever!

The Western arrangement and orchestration-without mixing even a single alien swara- combined with the Indian rhythmic calculations and patterns are possible only by one person!

கனவு ஒன்று தோன்றுதே அதில் இந்த தெய்வீக இசை கேட்குதே!

I listen to this Divine Music in my dreams …

ILaiyaraaja-The Romantic Musician!

The poetic beauty of Kamba Ramayanam is very well known.

Kamban was a Poet par excellence .His choice of words and his beautiful, and meaningful descriptions convey many intricate things!

Here is a scene from his ‘Bala Gandam’.A Battery of People from Ayodhya throng Mythila for Rama-Sita’s Wedding. Romance is in the air and Kamban wonderfully describes Love.Not the Love of Rama –Sita , but the Love of the Battery of people.A man from the Army travels along with his Lady Love.


Those days Spear and Tridents were the major weapons - apart from the Bow and the Arrow.Looking at his Lover’s eyes, he wonders if his spear is sharper than her eyes.His weapon can only go and destroy the enemies.But her ‘Weapon’ can look at him with compassion and love.Yes, it pierces his heart and his soul.He then concludes that her eyes are definitely sharper than his Spear!



சுழியும் குஞ்சி மிசைச்சுரும்பு ஆர்த்திடப்

பொழியும் மாமத யானையிற் போகின்றான்,

க‌ழிய கூரிய என்றொரு காரிகை

விழியை நோக்கித்தன் வேலையும் நோக்கினான்.



That is the beauty of Kamban.


Like Kamban and his poetry, Illaiyaraaja’s Music also pierces our hearts and we wonder if anything else can be sharper than this.

We are now going to see one of his amazing compositions.


A composition that is Romance Personified.


A Composition that would make all Young Lovers dance.


A Composition that would make all Old Lovers sway.


A Composition that would make People fall in Love.



It is ‘Pani Vizhum Malarvanam’ from ‘Ninaivellam Nithya’.



Chala Naattai-the Raga of Pani Vizhum- is the 36th Melakartha.There are 72 Melakartha (mother ) Ragas.These 72 are divided into 12 groups –of 6 Ragas each.The first 36 use one variant of ‘Ma’which is called as Sudhha Madhyama while the next 36 use the other variant of ‘Ma’ which is Prathi Madhayama.Kanakangi –the Raga of Mogam Ennum- is the first Melakartha while Chala Naattai is the 36th Melakartha- the last Raga using Sudhha Madhyama in the system.


Though Chala Naattai is not as eerie as Kanakangi, it does give a Haunting feel. Only the Maestro can think of using this Vivadhi Raga for a very romantic song!


This wonderful composition starts with a rather unusual prelude.The Guitar hums very quietly as the soft voice of SPB sings ‘Pani Vizhum Malarvanam..’.The Violins welcome the Romantic Lover , the Guitar picks up momentum and the drums dance happily.


A Breathtaking Build up!



In the first interlude, we see the Foliage in the garden of Love as the Flute sings like Birds with joyous profusion, the Veena replying with elegant fluency, the Synthesiser emerging eloquently , the violins waddling and the Tabla joining the fray.It is a Musical Loop now as the violins play the same pattern-sa ga ma pa-indicating how the Love travels in concentric circles.


The first stanza continues with Vigour and Vitality as the Flute and the Veena alternate between the lines showing us the shimmer of twenty moons.The line ‘Kaigall Idaithanil Neligaiyil’ follows a splendid chain of Swaras-pa da pa ma repeated five times- while ‘Eriyum Vilakku Sirithu Kangall Moodum’ is electrifying.


The second interlude is a Dazzling Canopy with a Cornucopia of Flowers.The immaculate Guitar is the Rose, the melodious Flute being the Lily, the ecstatic Violin being the Jasmine, the Elegant Veena being the Sun Flower.


The imaginative juxtaposition of the Notes is of course the speciality of the Maestro.


The Fluid Curves of the Guitar, the Resplendent Flashes and Sparkle of the Violin(s), the gracefulness and the tranquility of the Flute make it a montage of sorts mesmerizing us.


The Composition is tenderly textured with a stamp of Classical Purity.


Pani Vizhum Malarvanam Unathu Isai Oru Varam….

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