ILaiyaraaja's Music - Pleasant, Beautiful and Brilliant

Sometime back, I had written in one of the posts that certain words in Indian languages cannot be translated into English. Even if one manages to translate, the charm and the real meaning of that word will be absent.

Take the word ‘manoharam’ for example. Can we translate it as ‘being pleasant’? If so, will it do justice to the original word? ‘Manoharam’ is something pleasant and beautiful. Is there an equivalent word in English?

Works of geniuses always have this manoharam.

In my previous post on ‘Koththamalli Poove’, I quoted a verse from Kamban. Here is a verse on somewhat similar lines but with a more spiritual and mystic content and meaning:

தேமாங்கனி கடுவன் கொள விடு கொம்பொடு தீண்டித்

தூ மாமழை துறுகல் மிசை சிறு நுண் துளி சிதற

ஆ மாம் பிணை அணையும் பொழில் அண்ணாமலை அண்ணல்

பூமாங்கழல் புனைசேவடி நினைவார் வினை இலரே.

‘The male monkey plucks the mango from the branch and the droplets of rain water scatter and fall on the rock. Assuming it to be the real rain, the cows run towards the garden to take shelter. People who think of the feet of ANNamalaiyaan-which is decorated with the flower-like anklet, will be free from all karmas. ‘

As I said in the beginning, the English translation may not exactly convey the beauty of the poem which is ‘manoharam’ personified. It has very deep inner meanings too with the male monkey symbolizing our mind full of impurities, the droplets being all our misdeeds, the cows symbolizing good and noble thoughts.

‘A noble soul can recognise bad karmas and misdeeds and attain divinity by moving away from these’.

I feel this is the crux of the poem. One cannot help feeling very pleasant after reading the poem because of the way the poet has described the scene.

This verse is part of Thevaram written by the child prodigy Thirugnanasambhandar, whose verses I have already quoted in many of my posts in this blog.

The music of ILaiyaraaja has that manoharam because it is beautiful and divine. His compositions also carry the stamp of brilliance because of the way he conceives the ideas-albeit spontaneously- and embellishes the compositions with his innovativeness. This is also because of his deep knowledge of classical music. It is therefore not surprising that each and every composition of his has a uniqueness which is unmatched.

The speciality of the song of the day is that it is based on a raga which incidentally has the word Manoharam. Did I say ‘speciality’? No, it should be ‘specialities’ because the song is special for more than one reason.

The raga is Gowrimanohari, which is the 23rd mela ragam.True to its name, the raga has that pleasantness which is as soft as an evening breeze.

Is it just a coincidence that Solaippoovil maalai thendRal from VeLLai Roja (1983) is based on this raga?

Let us get into that ‘specialities’ I mentioned.

Firstly, it is purely in this raga without any deviation whatsoever.

Secondly, the rhythmic pattern of the percussion.

It is a fact that he lays a lot of stress on Laya and is a Master in this. In this composition, the laya pattern itself is the leitmotif.

Let us see that first.

The composition is based on Chatushra Ekam- 1 2 3 4. As already explained in all my Laya Raaja posts, the beats are subdivided as ‘maatras’ and obviously will have to be the multiples of the base taaLam. Here, the Master first subdivides it into 16. He then gives the syllables as :

Ta ka dhi mi/ ta ka dhi mi/ta ka ta ki ta ta ki ta.

Then he assigns the instruments to play these and how to play these.

The percussion instrument to play the first four syllables, another percussion to play just the third syllable in the second part, a sharp sounding melodic instrument to play only the third and the sixth syllables in the second part. The Bass guitar will of course back it from time and time and the other melodic instruments will be simultaneously played. And of course, there shall also be phrases where I will stop the percussion.

This is how his mind must have worked while composing.

So, how do the syllables look now?

Ta ka dhi mi/- - dhi-/- - ta - - ta - - - - -

As already mentioned, this runs as the leitmotif almost throughout the song giving it a very special colour.

Let us now look at the composition as a whole.

Clothed in mellifluous warmth, the keys -backed by the sympathetic strings, subtle drums and the Bass Guitar- move at a steady pace. After 3 aavartanaas, the strings join and move with a splendour. This goes on for the next 4 aavartanaas after which the magic starts. Here too, the brilliant composer gives variations. The flute and the stringed instrument(santoor?) alternately play during each aavratana of the leit motif. Finally, the stringed instrument plays the aarohaNa of Gowrimanohari leading us to the Pallavi.

We hear only the upper Sa during the first four phrases in the first two lines. In the last line, we see pa and ma, ma and ga, ga and ri pairing together to draw a beautiful sketch of the raga.

The Flute in the beginning of the first interlude plays with an aesthetic solicitude. That the echo and fading effect is not given using any sound technology but is still ‘sound’ shows the genius of the composer yet again. The Bass Guitar in the background and the drums at the end of this Flute- section add to the glory. The leitmotif starts now and the guitar plays with a sense of poignancy. The strings reply rather soberly too. After 6 aavartanaas, the strings take over with exuberance with the Flute giving the ‘jawabs’ to the ‘savaals’ posed by them. It is lilting and graceful. The keys produce the bells sound and the strings nod their heads in appreciation.

The first 2 lines of the CharaNams have the avarohaNa swaras only. The following 4 lines too almost have the avarohaNa pattern except for the two phrases in the end of each line. The higher octave notes -Sa Ri Ga - appear in the next two lines even as these lines go on the ascent. The last ‘la la la la’ is a masterstroke with Janaki singing the higher octave notes Ri Ma Ga Ri Sa Ga Ri Sa and SPB completing it with ri ga ma pa dha ni Sa Ri-the beautiful arohaNa of the raga.

The Flute and the strings interspersed between the lines in the CharNams are subtle as well as sumptuous.

The second interlude has varied sequences. First we have the strings playing what in WCM is called as March Music. After three aavartanaas, the prominent solo violin plays with suave even as the set of strings continue their journey. The keys then go with a bewitching fragrance backed by the leitmotif with the special music of the prelude(in the very beginning of the song) appearing at the end of each melodic line. The conspicuously thrilling strings join with other instruments and touch the higher octave.

The ‘pa pa’ in the end when the Pallavi is rendered and the postlude with strings and the bells are mysteriously charming.

Manoharam..

ILaiyaraaja's Music and Emotions- IX- Shantam

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

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

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

தேனினும் இனியர் பால் அன நீற்றர்

        தீங்கரும்பனையர் தம் திருவடி தொழுவார்

ஊன் நயந்துருக உவகைகள் தருவார்

        உச்சி மேலுறைபவர் ஒன்றலாது ஊரார்

வானகம் இறந்து வையகம் வணங்க

        வயங்கொள நிற்பதோர் வடிவினை உடையார்

ஆனையின் உரிவை போர்த்த எம் அடிகள்

        அச்சிறு பாக்கம் அது ஆட்சி கொண்டாரே.

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

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

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

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

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

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

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

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

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

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

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

2. The way the raga is used.

3. The percussive patterns especially in the second interlude.

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

5. The dynamic voice of Yesudass.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The strings now play for 7 maatraas and the percussion sounds

 ta ka dhi mi ta ka ta ki ta

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

ta ka dhi mi ta ka ta ki ta

7+9=16.

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

Energetically felicitous!

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

Carnataka Khamas and intricate Laya.

A mantra which gives Shantam..

Om shanti shanti shantihi.  

Laya Raja

Human life is very beautiful.

Though there are things that make us sad or angry, there are enough things in life to keep us happy and cheerful.

Why ‘ enough things’? I can even say ‘there are two things in our life that keep us happy and cheerful.’…Yes.. I am talking about Music and Poetry.

In fact, life, music and poetry are inextricably linked.

Sometime back, I wrote as to how musical our life is. And the Bharathiyar’s poem quoted yesterday talks about the music in nature.

Examples galore and one can go on and on…

But one simple example is the heartbeats. How rhythmic it sounds..And how it changes the pattern depending on our mood.
One pattern when we are angry;
a different pattern when we are tensed;
some other pattern when we are happy;
a very different pattern when we meditate.

There is rhythm in life, poetry in rhythm, life in poetry, rhythm in poetry, , poetry in life, life in rhythm.

Thirumazhisai Aazhwaar ,one of the 12 major Vaishnavite saints who lived in the 7th century composed some wonderful verses called ‘Thiruchanda Viruthham’. Chandam means metre , that is an arrangement of strong and weak stresses in lines of poetry that produces rhythm.

I am quoting one of the verses:

‘You are
The Five Elements, The Four Vedas,
The Three Worlds, The Two Feet,
The Stars and the Moon(combining together to become one),
The Sun and The Moon(giving different characteristics),
Are we even capable enough to think about you?’

பூ நிலாய ஐந்துமாய்ப் புனற்கண் நின்ற நான்குமாய்
தீ நிலாய மூன்றுமாய் சிறந்த கால் இரண்டுமாய்
மீ நிலாயது ஒன்றுமாகி வேறு வேறு தன்மையாய்
தீ நிலாய வண்ணம் நின்னை யார் நினைக்க வல்லரே?

It does talk about the Almighty. But people who are atheists or agnostics can consider this as a poem on nature.

This poem has lot of philosophical connotations and let us not focus on that.But what we must focus on are the metre and the way he has used numbers in the poem.

ILaiyaraaja who invented a new paradigm for cine music has done wonders with the Ragas and Talas. He has given us compositions that are classic in quality and refined in taste.

What we hear as his compositions is nothing but the harmonization of the soul’s inwardness with music.

His phenomenal knowledge and grasp of the finer elements in music make him an extraordinary composer.

We have been seeing his use of ragas(rare and popular), application of concepts like Shruti Bedam and his innovative rhythmic patterns in this thread.

Today , we are going to see a composition that can be called a real wonder.

A wonder not because of the raga but because of the Tala structure.

The composition is ‘Endrendrum Aanandame’ from ‘Kadal MeengaL’.

I am going to take up the rhythmic pattern first and try and explain each pattern phrase by phrase. I am also going to number these patterns and while discussing about the melodic aspect and the orchestration, I shall be mentioning these numbers again for an easy understanding.

I am also not going to say anything about the raga now.

The song is composed in Tisram-that is three beats also called as waltz in Western Music. But the beats follow the chathushram(four beats) pattern in most part of the song.

He has used simple arithmetic and has used aksharas that are multiples of both 3 and 4-that is 12, 24, 36, 48 etc.,

Yes, simple arithmetic indeed!

Easily said than done.
The patterns are mind -boggling.

Another beauty is that the patterns (most of them) are played by the Bass guitar , an instrument supposed to add melody to a song.

Let us now look at the pattern.

1.The song starts with the percussion playing

‘Ta ka Ta ka Ta ka Ta ka Ta ka Ta ka Ta ka Ta ka Ta ka Ta’
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
and this is where the bass guitar starts and plays ‘Ta ka Ta ki Ta’(1 2 3 4 5) completing the 24 beat pattern.

2.The Bass Guitar now follows this pattern:

‘Ta - Ta- Ta- Ta - - Ta Taa - - - - Ta Taa - - - - Ta Taa -‘(24 again but the dashes are places that are left blank and these are called as ‘kaarvais’).
This pattern is played 6 times.

3.The Bass Guitar stops and now the synthesizer plays the 24 beats.

4.The pallavi starts and the bass guitar accompanies the vocals in the following pattern:

‘1 – 3 – 5 – 7 8 9 10 11 –‘.

As mentioned earlier, the ‘- ‘ are the karvais.

5.The first interlude starts with three beats ‘Ta ki ta’ in slower tempo(called as keezhkalam).The beauty is that there is neither percussion nor bass guitar here.
The first Ta ki ta is followed by the mild sound of the drums which plays ‘1 – 3 4 – 6 7 – 9’ in a faster tempo that equals the ‘Ta ki ta ‘.

The second ‘Ta ki ta’ is followed by ‘1- 3 4 5 6 7 - -‘ in drums.

Therefore the total count now is 12 (3 + 3 + 3 + 3).

Let me again tell you that though each of the drum pattern plays 9 beats in the faster mode(mel kaalam), it is taken as 3 counts only in the slower mode (keezhkaalam).

6.The Bass Guitar now plays ‘- - 3 4 5 6’.Then the flute plays without the accompaniment of any percussion or Bass Guitar. This is repeated thrice and then the bass guitar plays the pattern again.

7.Then comes a very unique long bass guitar pattern ‘- - 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18’.

8.It is then ‘1 2 3 4’ nine times with more stress on 1 and 2.

The pattern in Charanam is ‘Ta ka Ta ka Ta ka Ta ka Ta ka Dhi mi’(12 beats).

10.Towards the end , it slows down and it is ‘Ta ki Ta’ 4 times(12 beats).

11.The second interlude starts with the bass guitar pattern ‘Ta ka dhi mi’( 1 2 3 4) with stress on ‘Ta ka’ and this is played 12 times.

12.Now the bass guitar plays ‘Ta - -‘ 4 times.

13.It is ‘Ta ki ta’ 10 times by the bass guitar.

14.Finally it is ‘Ta ka dhi mi ta ka’ ( 1 2 3 4 5 6) 8 times..

Let us now look at the raga .

This is based on Sarasangi-the 27th Melakartha.
The structure is – sa ri2 ga3 ma1 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma1 ga3 ri2 sa.
It is very close to Charukesi and only the variant of ‘ni’ separates the two.

Let us look at the composition in full now. As mentioned earlier, I am giving the s.nos. of the various patterns.

The percussion in the beginning seems like pellets of rain. It is (1) now.The Bass guitar starts playing the notes of Sarasangi with zest(2).

The violin now sounds like the breeze. We then see the droplets of rain furrowing down as the synthesizer plays(3).

The voice of Malaysia Vasudevan creates a mellow ambience and the pallavi moves with melodic grace (4).

The first interlude starts in a quiet and meditative way and even the drums sound so subtle.The violin lends an extra special slant to the experience(5).

The flute is agog with excitement and the bass guitar responds with glee(6).

The Bass Guitar now pummels(7).

The Violin and the bass guitar race and it is like the sun rays on the mist!(8).

The Charanam is delectably designed. The violin piece that appears at the end of each phrase adds punch(9).

After the ‘Isaimazhai pozhinthathu kuyile’phrase, it beautifully slows down and the subtlety of the pattern is amazing!(10).

The second interlude is like a quest and discovery.The Bass Guitar and the Violin play with immaculate sensitivity(11).

It is pause and articulation as the violin picks up momentum while the bass guitar watches it(12).

It is then the harmony of the mind, body and the soul(13).

The flute and the bass guitar meet and it is the coalescing of melody and rhythm(14).

And this is the most defining moment..

Beyond the externalized exposition lies the aesthetics of music.

We get to see the finer facets of this music from a Genius

who is like a veritable ocean..

who upsets stereotypes and controverts assumptions..

who gives us compositions that make us think..

Most importantly he gives us eternal bliss!

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