ILaiyaraaja – The Contrarian

 

How appropriate is appropriateness in Life?

But isn’t appropriateness itself subjective? Or is it?

At the same time, aren’t there norms and rules and doesn’t one have to strictly follow these and wouldn’t failure to follow these make one ‘appropriately inappropriate’?

Take music, Indian music, in particular. Each raga has ascending and descending notes and if an alien note enters the raga, it is against grammar rules.

For that matter, any work of art(and this includes poems) should follow the grammar without which it becomes meaningless and also cannot be termed as a work of art. But if one goes strictly by the rule book, the work also seems staid, mechanical, monotonous and even unenterprising, thus defeating the very purpose of art.

Any work of art attains a status not only if it is as per rules but also when it breaks certain rules.

Does this sound conflicting and paradoxical?

At the face of it, yes. But scratch the surface and you will see the real meaning; in fact, layers of meanings.

There is something called innovation; there is something called improvisation. Both these are offshoots of creativity. When the artform is kept as the base and new ideas are added to it by stretching the boundary without in anyway crossing the border, it acquires a special beauty. But here too, there should be a broad rule: the thin line distinguishing the border from the boundary should be very clear and not confusing.

And therein lies the hallmark of a genius.

Here is a sample of work from one of the geniuses who preferred to call himself as a ‘servant of the servants’(thoNdaradi podi), and yet was exalted to the status of an aazhwar.

Describing the beauty of the Universe is not uncommon in a poem, even if it is a verse dedicated to the Divine. However here, the poet looks at it in a different way. Let us see the verse first:

 

கதிரவன் குணதிசைச் சிகரம் வந்து அணைந்தான்;

கன இருள் அகன்றது காலை அம்பொழுதாய்;

மது விரிந்து ஒழுகின மா மலர் எல்லாம்;

வானவர்கள் அரசர்கள் வந்து வந்து ஈண்டி,

எதிர்திசை நிறைந்தனர்;இவரொடும் புகுந்த

இருள் களிற்று ஈட்டமும் பிடியொடு முரசும்

அதிர்தலில் அலைகடல் போன்றுளது எங்கும்;

அரங்கத்தம்மா! பள்ளி எழுந்தருளாயே!

 

Raja4376 · Paasuram

The sun has come to the east; No more darkness and it is the dawn; Honey oozes out from the flowers; Devas, Kings, male elephants, female elephants- have lined up; The drums sound with resonance; It seems like the sound of the ocean. Oh! Ranganatha!! Please wake up.

What is different here?

It is believed that it is the Divine which is responsible for the Universe, the actions, the activities and the beauty. Here, the poet describes the beauty to the One who is responsible for that and most importantly, has the audacity to ask that ‘One’ to wake up as if the Divine sleeps.

Is this appropriate or inappropriate?

Rather than trying to figure out an appropriate answer, let us all understand that at times there is beauty in inappropriateness and that it is this beauty which makes any work aesthetic and immortal.

And yes, this does not exclude musical works.

Take this particular song – Paadu Nilaave from Udaya Geetam(1985). For starters, it is based on a raga called Mohanam. Note the word –‘based’. As I have mentioned in many of my posts, it is not the raga alone which matters.

Now, Mohanam has just 5 swaras- sa ri2 ga3 pa dha2- with the numbers below each note referring to the variant of that note. ILaiyaraaja as such has composed many songs in this raga, with some being in its ‘purest’ form and others with a mix of alien notes. Generally, the alien notes would be the notes non-existent in the raga, say – the swaras, ma and ni. At times, it would also be the other variant of the 3 notes – ri, ga, dha-, but these would be sparingly used.

‘Paadu Nilaave’ is different and in more than one way.

The composition starts with the akaaram of Janaki which is graceful and bewitching at the same time. The strings reply with equal grace and with a sense of awe. As soon as the akaaram gets over, the strings take over and how? There are three sets with one set playing a tantalising melody and the other two sets playing a repeat melody alternating with each other. Even as this is on, the feeling of poignancy is ineluctable. This itself is somewhat unusual because Mohanam is a raga known for creating a happy mood. Now, read my line on ‘raga’ in one of the paragraphs!

The bells sound softly leading to the Pallavi which again has that sense of melancholy, not least because of the entry of the other variants of ‘ga’ and ‘dha’ with the former going on a procession along with its brother(ga3) and the latter combining once with its brother(dha2) in the end, giving that chromatic effect.

The procession continues in the first interlude with the strings sounding gingerly in the beginning. The next set of strings continue like a chain-link along with the subtle guitar. The chain-link is maintained by the piped instruments even as the strings back them like the wispy thread. As if not to be shown to be someone who is left behind, the flute enters and plays plaintively even as the two sets of strings back it, with one being dominant and the other, subtle. All these join together towards the end, making pensive glides and evoking a mélange of feelings.

The musical procession continues in the CharaNams with the first line alone in Mohanam and the following lines filled with the other ga. The other dha too appears now and then towards the end. This of course is just the technical side. But the feelings and emotions evoked by the lines and the flute ‘between the lines’ which billows a lugubrious and yet sweet melody, take us to empyrean heights.

The entry of SPB after the first CharaNam, vivifies the atmosphere and makes us expect more.

Our expectations are not belied. In fact, what happens is even beyond one’s expectations.

The second interlude is vivacious to start with. The strings and a phalanx of instruments play in Mohanam with vibrancy and catapults us to a sea of happiness. It is a flood of melody with the electric guitar trotting up and down with the strings backing it assiduously and different sounds ( 4 to be precise) going up like the Diwali crackers.

And then something happens…

A group of strings play in higher-octave with precision. Another set of strings supports it like a balustrade. Keys sound the notes like an incantation. But all these in a totally different raga called Pantuvarali.

Let me now touch upon something technical. Ragas like Pantuvarali are so flexible that if one takes out ‘sa’ and ‘pa’ and does gruha bhedam, one can get the popular pentatonic ragas like Mohanam, Hindolam, Suddha Dhanyasi, Suddha Saaveri and Madhyamavati. So, if the swara ‘ga’ of Pantuvarali is kept as the ‘sa’, it gives Mohanam. ILaiyaraaja has done this in the ‘Violin concerto’ in ‘Rajapaarvai’. But what he has done here is something unthinkable. He has done what can be called a ‘reverse gruha bhedam’. Honestly how he did it remains a mystery at least to me. He shifts from Mohanam to Pantuvarali in a jiffy and gets back to Mohanam towards the end of the interlude, which of course can be deciphered rather easily, as the ‘ga’ of Pantuvarali is kept as the ‘sa’.

So, how appropriate is the prolific use of the other variants in Mohanam?

How appropriate is the reverse gruha bhedam leading to a totally different raga?

Do we need answers or do we just need to see the beauty in being ‘inappropriate’ like ThoNdaradipodiyaazhwar who had the audacity to describe the beauty to the Creator and asked him to ‘open his eyes’?

Being inappropriate is appropriate, at times.

Being inappropriate is aesthetic, at times.

Being inappropriate makes our life beautiful, at times.

Do you agree?

 

 

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 Instinctive Musician..

One of the many virtues a genius possesses is spontaneity.

A genius does not waste time in breaking his/her head. Yet, the output is something unimaginable.

ThoNdaradipodiyaazhwar, one of the 12 great Vaishnavite saints, looks at the reclining posture of Lord Ranganatha and decided to sing ‘PaLLi ezhucchi ’to ‘wake him up from sleep’.

‘Blowing gently from the East, the wind embraces the jasmine creeper spreading the fragrance. Flapping the dew-soaked wings the swans get up from their flower beds. Oh, the one who saved the elephant(Gajendra) from the poisonous and gory teeth of the crocodile! Please wake up’.

கொழுங்கொடி  முல்லையின்  கொழு மலர்  அணவிக்

      கூர்ந்தது  குண-திசை  மாருதம்   இதுவோ

எழுந்தன  மலர்  அணைப்  பள்ளிகொள்  அன்னம்

        ஈன்பனி  நனைந்த  தம்  இருஞ் சிறகு  உதறி;

விழுங்கிய  முதலையின்  பிலம்  புரை  பேழ்வாய்

        வெள்  எயிறு  உற, அதன்  விடத்தனுக்கு  அனுங்கி,

அழுங்கிய  ஆனையின்  அருந்துயர்  கெடுத்த

        அரங்கத்தம்மா!  பள்ளி   எழுந்தருளாயே.

This is one of the 10 ‘ThiruppaLLi ezhucchi’ verses sung by the Aazhwar and is part of the ‘Naalaayira Divya Prabhandam’.

‘Waking up the Divine’ is of course symbolic as the Divine is always awake. But what should be noted here and appreciated is the description done with fertile imagination. We feel the aroma of the ‘mullai’ flowers, we watch and listen to the flapping of wings of the swans feeling the wetness of the dew, we experience the excruciating pain of the elephant as the wily crocodile holds its leg and finally we feel the compassion and love of the divine.

The contrast-pleasant fragrance/ dew against poisonous teeth/sorrow- cannot be missed. Nor can the poetic usage and description be not appreciated.

It is said that the Azhwar sang these verses in the sanctum sanctorum even as he was looking at the Lord.In other words, he did not sit down, think, refer any tamizh dictionary and then wrote. Words flew from him instinctively.

And yet, the entire verse is a poetic beauty.

‘Arjuna mantram’ from ‘Sitara’(1984) is a musical beauty.

Composed spontaneously by ILaiyaraaja and rendered by SPB and Shailaja, the composition is classical, is folksy shows the contrast, shows the similarities and is melodically superior.

We see a pentatonic raga changing to a sampoorNa raga, a native Andhra folksy tune followed by a rare raga, all seamlessly done.

The composition starts with the divine Omkara.  The sloka is set in AmritavarshiNi, and the omkara being rendered as the ‘Shadja’ at the end of each line ( upper ‘Sa’ before the sloka, and after the first and third line and lower ‘sa’ at the end of second line) symbolically suggests that the PraNava mantra is the basis for everything in the Universe.

With aesthetic spontaneity, the Pallavi moves in Pantuvarali(AmritavarshiNi plus ‘ri1’ and ‘dha1’).The Veena that appears between the two lines shows flashes of brilliance as it shows the ‘chaaya swaras’ of the raga.

The Veena continues its journey in the first interlude as the zestful Jalatarangam joins it with splendour.The dainty flute takes over and the musical spectacle is rounded off with a ‘saval-jawab’ of Veena and Jalatarangam.

The first CharaNam has some enlivening patterns. The first two lines are felicitously fluid while the following lines move like a beautiful breeze.

The raga’s resplendent domain is shown in the akaaram that lasts two full avartanams. The beauty of this segment is the superimposing of the female voice over the male voice with each singing a different set of swaras.

The charming swaras alternate with the dance jatis towards the end.

The song now acquires and aromatic flavour. Andhra folksy tune in Tisram beats. The dainty Shehnai and the dexterous Flute are followed by the vocals. Fertilely imaginative!

The Veena now gives a classical touch playing ‘Karnataka Khamas’. It is a janya of Harikhamboji and avoids ‘ri’ totally. It may be noted that this is different the more popular raga ‘Khamas’ which has some very distinct phrases.

The Veena and the flute have a brief conversation in Karnataka Khamas before the beginning of the next CharaNam.

The CharaNam rendered by SPB gives a soft veneer and is fascinatingly attractive.

With a classical comeliness, the flute moves daintily and the veena nods with awe.

The last CharaNam is invested with considerable ardour with the male voice singing the sahitya while the female voice singing the swaras.

It is astonishingly beautiful!

Music of the ‘Omkara’.

Apuroopa sangeetam..

 

ILaiyaraaja-The Divine Alchemist..

Enraptured by the beauty of Kaveri, the young poet sings, 

‘Adorned by the aromatic herbs, colourful shrubs, ivories and the pearls, Kaveri looks like a golden river. And on its northern bank resides the Lord of Manthurai. Let us pray at his feet’.

செம்பொன் ஆர்தரு வேங்கையும் ஞாழலுஞ் செருந்தி செண்பகம் ஆனைக்

கொம்பும் ஆரமும் மாதவி சுரபுன்னை குருந்தலர் பரந்துந்தி

அம்பொன் நேர் வரு காவிரி வடகரை மாந்துறை உறைகின்ற

எம்பிரான் இமையோர் தொழு பைங்கழல் ஏத்துதல் செய்வோமே.

That he was so attracted to the river is known by the fact that nearly 3/4^th of the verse is dedicated to the description while only 1/4^th is devoted to his favorite Lord.

Thirugnansambandar, the child prodigy is capable of converting a river with white foams to gold with his poetic description. We also see the hand of the divine here which chose to bestow this golden poetic power to a child-just around 3 years old- by giving white milk of knowledge.

It is a fact that some are chosen by the Divine with a reason. These chosen few utilise it fully and not content with what is already given to them, explore, discover and innovate. With their ‘Hand of Gold’, they turn even a small tiny thing to gold.

Who should we, the mortals thank- the Divine which gave them these powers or the chosen ones for delighting us with this power and acquired knowledge?

If Tamizh acquired new meanings in the words of Thirugnanasambandar, Film Music acquired a new dimension in the swaras of ILaiyaraaja.

We have been seeing his use of popular, familiar ragas and very rare ragas in film music.

The song of the day-‘Neelakkuyile’ (Magudi-1984), is based on a raga which falls under the latter category.

The ‘sa ri ga pa dha Sa’ scale is one of the most popular in Carnatic Music. The different combinations of the variants of these swaras give us ragas like Mohanam, Shivaranjani, BhoopaLam, Vaasanti and Revagupti.

In the year 1981, ILaiyaraaja came up with a composition that had the same combination but with a new permutation- sa ri1 ga3 pa dha2 Sa. Let me clarify that this was new only in the Carnatic System as the Hindustani System has a raag pertaining to this scale called Vibhas (which again has two versions).As far as Carnatic Music or Tamizh Film music is concerned, this raga was never used until then.

Some texts define the name of this raga as ‘VarNa RoopiNi’ while some others call it as Rasika Ranjani. But since the Maestro himself has very recently clarified that it is Rasika Ranjani, let us stick to this name. Thus ‘Amude Tamizhe’ from Kovil PuRa happens to be the first composition in Tamizh Film Music based on this ragam.

He again composed a song in the same raga three years later and this is the song I am taking up now. While ‘Amude Tamizhe’ more or less stuck to Rasika Ranjani (excepting for the use of ‘ni’ in a couple of lines in the charaNams), ‘Neelakuile..’ follows Rasika Ranjani scale completely.

Did I say completely? Yes, but there is a hidden magic in the second interlude and we shall see that soon.

The composition starts with a great delicacy of feeling as the swaras are rendered with mellow tonal depth by Janaki and SPB. With energetic briskness, the Violins enter the fray as the upper Sa is touched by the male voice. The Sitar soothes the heart while the radiant Veena highlights the beauty of the raga with finesse.

The composition is set in Chatushra ekam tisra gati(cycle of 4 with a speed of 3)taaLam and has the ‘anaagata eduppu’ with the Pallavi starting after 2 aksharaas.

The Pallavi is crisp and is dominated by the mid-octave notes (it starts with the ‘sa’ just like ‘Amude Tamizhe’).The last line is a beauty with the phrase ‘paamaalai’ consisting of the combination of swaras in the arohaNam( dhaSa padha gapa).Note that the first swara in the preceding group becomes the second in the one that follows.

The higher octave violins that back the lines rise like the huge waves with the sitar that says ‘dhapa dhapa dhapa dhapa dhapa dhapa’ moving like a small wave.

Swaras blossom again with a fragrance in the first interlude as the Sitar and the Violin smile at each other with ‘ga pa dha pa’. The lilting flute joins and pairs with Sitar. There is more to follow after the strings flow like a stream.

Basic and advanced lessons in Violin plucking, fingering and bowing are on display. Harmony at its best!

The CharaNams have succinct but powerful phrases. The first half is dominated by the higher octave swaras like the ‘Sa, Ri and Ga with the last line have all the ascending notes. It is rounded off with a short and sweet akaaram.

The second interlude (remember the hidden magic I mentioned in the beginning?) shines with manifold beauties.

First the ‘dha2’ is substituted by ‘dha1’ and the raga becomes Revagupti. The strings play this and during the course of the journey adds two more swaras- ma2 and ni3- making it Pantuvarali. The Master then drops the ‘ri’ and ‘pa’ and substitutes ‘dha1’ with ‘dha2’ making it Sunaadavinodini, a pentatonic raga called as Hindol in  the Hindustani system. The flute and the Veena have a rendevouz with ‘dha ma ni’ with the former fondling ‘dha ma dha ni Sa’ and the latter caressing ‘ma ga ma ga Sa’. The magic happens yet again in the second time the Veena plays. It plays chromatic notes-ma2 ma1 ma2 ma1 ga3. Though it has only 2 swaras, the chromaticism and the contours suggest Lalit, another Hindustani raga.

The strings then play Hamsanandi( Sunaadavinodhini plus ri1) with the Lalit pattern peeping in again at the end.

Illuminating spectacle!

நாதப்புனலில் என்றென்றும் நாம் நீராடுவோம்..

Makes us bathe in the fountain of Naada forever..

ILaiyaraaja - The Artistic Musician

The imagination of the Sangam poets is something that has always amazed me. In this poem, the man drunk with love looks at the water lily that blooms with its mouth widely open, and says ‘This is nothing compared to the blooming eyes of my beautiful girl.’ He then looks at the beautiful peacock dancing on the hill, becomes ecstatic and says,’ Oh! Even this peacock cannot match the graceful beauty of my girl’.

குன்ற நாடன் குன்றத்துக் கவாஅன்

பைஞ்சுனைப் பூத்த பகுவாய்க் குவளையும்

அம் சில் ஓதி அசை நடைக் கொடிச்சி

கண் போல் மலர்தலும் அரிது இவள்

தன் போல் சாயல் மஞ்ஞைக்கும் அரிதே.

What is to be noted in this poem from ‘Ainguru nooru’, written by Kapilar, is the description. As we read the first line, we begin to see the picturesque hilly terrain. In the second line, we see the natural spring and the water lilies. The girl appears in the third line with a beautiful, fine hair while her blooming eyes pierce our hearts in the following line. The last line smiles sarcastically at the peacock.

Note how the sangam tamizh words dance- அம்(beautiful), சில் (fine), ஓதி(hair).
Truly artistic!

I was reminded of a romantic song, ‘Rojaavai Thaalaattum Thendral’(Ninaivellam Nitya-1982) scored by ILaiyaraaja as I read this poem. This song based on Pantuvarali is poetically romantic and artistically musical.

Pantuvarali is the 51st melakarta whose structure is: sa ri1 ga3 ma2 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma2 ga3 ri1 sa. It is the pratimadhyama counterpart of Mayamalavagowla and generally is used in songs that radiate Bhakti.
The radical that he is, ILaiyaraaja has used this raga for romance without in anyway deviating from classicism.

The beginning of the composition itself is very interesting with a wealth of rhythmic variations. The percussion plays in Chatushram- ta – dhi - / ta ka dhi mi. Exactly after 12 cycles-that is after 48 beats- the synth melody starts in Tisram,the 3-beat cycle. The rhythmic nuggets continue to delight with the melody playing in Tisram and the percussion in Chatushram. To add to the beauty, chatushram is played in ‘mel kaalam’(fast pace) and the Tisram in ‘keezh kaalam’(slow pace). The cross-rhythms continue for another 12 cycles of Chatushrams or 8 cycles of Tisram.

Here 48(12x4) = 24(3x8) since the former is in fast pace and the latter is in exactly half the speed.
The composition follows the Tisram pattern from now on.

The melodic instrument, the subtle bass guitar, the santoor and the akaaram towards the end show the vignettes of raga.

The Pallavi rendered with exactitude by Janaki and SPB is a flowery musical expression with the oscillation of the nishada(ni) and with the pairing of the rishabha(ri) with shadjam(sa) and the gandharam(ga).

The first interlude has three parts-the first one is quick and powerful with the tonally smooth santoor and the deft bass guitar while the second one is sober with the stupendous flute and the breathtaking strings. The third part gives the intrinsic beauty of the raga with the astounding akaara of Janaki.

The serried swaras shine with beauty in the CharaNams with the oscillation of the ‘ni’ in the phrase –‘ sani sani..’ – in the first line, and in the skipping of ‘pa’(called as varjya proyogas) in the second line. The following two lines are tempered with sensitivity with the sangatis when repeated the second time. The last line is enticing with the ‘ga ma da’ proyoga.

The second interlude sparkles with brilliance of patterns. It starts with the aesthetic flourishes of the flute, santoor and the guitar. The cool and heady guitar then charts a wonderful path before the affable strings playing the descending swaras.

It is an atmosphere of tranquility as the caressing long flute and the scintillatingly brilliant santoor join together to give a distinct mix of colours.

As beautiful as the water lily and the peacock and as artistic as the rose and the breeze…

ரோஜாவையும் தாலாட்டும் ராஜ இசை..

ILaiyaraaja-The Immaculate Musician..

The Lady quarrels with her beloved. He leaves the town after trying in vain to make peace with her. Only when he is away does she realise how much she loves him and most importantly how much he loves her. She decides to go to him but her ego comes in her way. Stealthily, she sends her parrot. No..she does not use it as an ambassador.Nor does she want the parrot to convey anything to him.

Then why does she send it?

This is where one sees the beauty of that great poet called Kamban.

Before that, let me tell you that this poem appears towards the end of Bala Kaandam in Kamba RamayaNam just before the Sita-Rama wedding. A lot of people travel from Ayodhya to Mythila to be part of the grand function.It is here that one sees Kamban, the Romantic. His poetic imagination runs riot as he creates a lot of fictitious characters and narrates their ‘stories’.One gets to see the various dimension of Love in these poems.

Let us now go back to the ‘story’ quoted in the beginning.
The Heroine sends her parrot so that she can see him and still pretend that she went there only to search for her parrot and not for him!

Human psychology at its best!!

யாழொக்கும் சொற்பொன்னனையாள் ஓர் இகல்மன்னன்
தாழத் தாழாள்;தாழ்ந்த மனத்தாள் தளர்கின்றாள்;
ஆழத் துள்ளும் கள்ளம் நினைப்பாள்;அவன் நின்ற‌
சூழற்கே தன் கிள்ளையை ஏவித் தொடர்வாளும்.

..I had already discussed about Kamban-The Psychologist in one of my earlier posts(ILaiyaraaja-The Distinct Musician).But what makes reading the work of this psychologist interesting is the use of his words and his narrative skills.

It seems her words are as musical as the ‘Yaazh’(an ancient instrument somewhat similar to the VeeNa). She refuses to budge when her ‘Strong Hero’ pleads with her.Here, note the contrasts- ‘Strong’ and ‘Bending’.And the same word with a slight variation-‘Thaazha’- being used to depict her mood when he is away. The third line is a stunner. ’Aazha thullum kallam’- Her cleverness/slyness(scheming to send her parrot and making it a ruse to see him- dances deep inside her heart. What a description!

This is what makes a poem and the poet immaculate.

Let us now look at the immaculate music and the musician.

The song of the day is another marvel from the Master.
Here too, the Lady love tries to woo her beloved using music and dance as tools.

The song is ‘Manmada RaagangaLe’ from Bala Naagamma (1981).
It is a Ragamaalika but what makes the composition immaculate is the choice of the ragas. The Pallavi, the first interlude and the first CharaNam are in PantuvaraLi.

PantuvaraLi (called as Kamavardhini in the melakarta system) is the 51st melakarta and is the pratimadhyama counterpart of Mayamalavagowla. But the two ragas sound different from each other because of the way they are sung and the gamakas.

Its structure is sa ri1 ga3 ma2 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma2 ga3 ri1 sa.

PantuvaraLi is a very classical raga and generally gives a Bhakti feel.

But the Maestro has used it in different situations(pathos- Vazhimel Vizhiyai, romance-Rojavai thaalattum, bhakti- Om Shiva Om) bringing out the unknown dimensions of the raga.

‘Manmada RaagangaLe’ brings out yet another dimension.

Let us have a look at the composition.

It starts with the tampoora that creates a beautiful ambience. The sympathetic chords of a string instrument draw a sleek silhouette of the raga. The pakhawaj zestfully plays the Tisram beats.The sympathetic chords join the pakhawaj.The Jalatarangam plays with relish.

We then see the varied texture of the raga as the percussion, VeeNa and the violins join.The mellow flute plays the avarohanam swaras in sets of 3.The Veena starts with the ArohaNam and then playfully plays the other swaras with impeccable precision.The Bass string of the VeeNa gives an esoteric touch saying ‘Om’ as the marvelously supple voice of VaNi Jayaram sings the akaara.

A piquant Prelude!

The Pallavi is lucid. If the first part is elegant, the second part moves with verve and vigour.

The first interlude delves into the facets of the Raga with the sizzling Flute, the meticulously gliding VeeNa and the enlivening Jalatarangam giving a chiseled musical motif.

Aesthetic patterns are woven in the first CharaNam. The first two lines give a vibrant hue while the following lines lit up a quiet niche.

The second interlude is inundated with rich, imaginative, innovative ideas.

It starts with a ‘flutter’ (symbolizing the Heart!) followed by the Flute and the stringed instrument. The harmony between the instruments assumes a mantle of mirth as they sway in resonance.The Raga now changes to Mohanam with the vivacious Violins and the enchanting Flute taking swirls and flights.

What happens now is what makes him the Emperor of Film Music.

A musical piece in Violin moves with unfettered imagination. The piece has sa ri2 ga2 pa dha2 ni2 –Shivaranjani plus ‘ni’- and as per the ‘Sangeeta Raga Kadal’, this raga is called as ‘Madhima VaraLi’, a raga derived from Karaharapriya and a raga not used by any musician so far!

The group of violins and the VeeNa accompanied by the ghatam move languorously lending both majesty and poise.

More surprise awaits us as the raga changes again, this time to Vasanta with the Flute providing soulful touches.

We see an organic progression in the second CharaNam that continues in Vasanta.

The first two melody-steeped lines are followed by lines that have classical fervour and flavour.

The lines ‘Mazhai mugil..’and ‘Nilavenum..’ have spectacular passages with the energetic percussion jumping with joy.

The following line ‘Paruvameni..’ has 4 Tisram counts in vocal followed by 4 counts by the percussion and the violins.

The ‘nadai’(gait) changes in the next line- ‘Sevvari..’with the percussion playing ‘ta ki ta’in ‘Keezh kaalam’(slow) while in the following line the percussion plays in the ‘Mel Kaalam’(fast). Very subtle variation but shows the mastery of the composer aesthetically!

The last line meanders meaningfully with the creative flourishes structured around wonderful permutations.

It is a musical conversation between the rhythm and the melody..

All his tunes are ‘Manmada Raagas’ that make us fall in love(with his music)..

அவர் இசைக்கும் ராகங்கள் எல்லாமே நம்மைக் காதல்வயப்படுத்தும் மன்மத ராகங்கள்.

ILaiyaraaja-The Spiritual Musician..

One of the most misused (and to a great extent abused) words is spirituality. Many people believe that if they are ‘believers’, they are spiritual; or that if they visit any place of worship religiously, they are spiritual; or if they perform any act to ‘please’ their favourite God’, they are spiritual.

Such people can at best be called as Businessmen with strong negotiating skills.

Talking about Business, there is a growing number of self-styled God men and Swamijis who promise the sky to all their devotees (‘sky’ here does not mean the Moksha).

Quid pro quo!

Is this what spirituality all about?
Put in simple terms, Spirituality is directly related to the human spirit. One who is spiritual does not crave for physical comforts nor will he /she be materialistic.

Take the case of Saint Thyagaraja.

In one of the Krithis he says, ‘I see Erudite people proficient in Vedas/Epics waste their time in arguing about useless things. They are caught in a web and live in a Utopian world. They perform Yaagas and sacrifices so that they can enjoy the worldly pleasures. These people can never find the Truth nor the true meaning of God. I place my faith only on you since I realized that all the so called materialistic happiness is only a mirage.I therefore engaged myself in praying to you (to give me salvation)’ right from my childhood..’

‘Ninne nera namminaanuraa O Ramaa Raamayya.
Anni kallalanucu adi paadi vedi pannagashayana ne chinna tanamu naade.
Veda Shaastra Puraana Vidyalache bheda vaadamula deeraka bhramayu vaarala juchi.
Bhogamula koraku bhuvilo Rajasammuna Yagadulonarinchi yalayu varula juchi.
Ee Janmamula ninnu rajee chesuko ieka rajillarani Thyagaraja Raghava’.

This is what is spirituality!

Tamizh poetess AaNdaaL, whose name is synonymous with the month of the tamizh month Margazhi is another example.

Right from her childhood, she wanted to merge with the God and considered Him as her husband. This would sound somewhat odd to the uninitiated. But the fact of the matter is that her love for the Lord had nothing to do with the conjugal bliss. It was on a much higher plane and level (skeptics might quote some of her verses terming them as ‘erotic’ but the inner meanings are entirely different and to a certain extent is beyond the grasp of mortals!).
Look at this poem:


‘My bones melt and the eyelids of my long eyes have not closed for many days
Choked in torments of separation and love laden heart
I flounder in a sea of sorrow, without the canoe of Vaikuntan’s grace
You know it well Oh! Cuckoo,
Please Coo and call the sanctimonious Lord’
Whose body shines like the Gold!

‘என்புருகி இனவேல் நெடுங்கண்கள் இமைபொருந்தா பல நாளும்
துன்ப‌க்க‌ட‌ல் புக்கு வைகுந்த‌ன் என்ப‌து ஓர் தோணி பெறாது உழ‌ல்கின்றேன்
அன்புடையாரைப் பிரிவுறு நோய் அது நீயும் அறிதி குயிலே!
பொன்புரை மேனிக்க‌ருள‌க் கொடியுடைப் புண்ணிய‌னை வ‌ர‌க் கூவாய்!’

Unable to bear the torment of separation from the Almighty, she requests the cuckoo bird to ‘coo’ and herald his arrival.
What one sees here is the spirit that longs to be with the God forever. There is no other expectation and therefore absolutely no sense of materialism.

People who are genuinely spiritual, work with a single-minded devotion and dedication. Little do they care for other luxuries since they know what real happiness is all about. Such people are also highly disciplined and focused. In other words, they are austere.

Though it might sound far fetched, I feel people like Einstein and Ramanujam were also spiritual because they never hankered for any name or fame or money.

Likewise, I would put ILaiyaraaja too in the same bracket. Here, I am not just referring to his spiritual pursuits. I am viewing him through the prism of a music composer. Seeing him from this perspective throws up a lot of interesting facts. It is said that he composes tunes in a jiffy and that the score-sheet is given to the musicians (orchestra) within no time. Such a task is impossible unless people are highly focused, dedicated, disciplined and austere.

Now, people may argue that after all it is Cinema and that he is a ‘Music Director’ who delivers based on the demands of the Film-makers. Let us not miss the wood for the trees.
His works even in below-average films are stupendous and can be considered as great musical compositions (I can quote many examples.. In fact a cursory glance at this Bolg itself is proof enough!).

Many of his songs also take us to a higher plane and we do not care for the name of the movie/story/hero. What matters to us when we listen to such compositions is the divine state we reach.

A real spiritualist is one who not only practises spirituality but also guides others or at least make others experience divine feelings.

Therefore, ILaiyaraaja is the spiritual guru for all of us..

Today, we are going to see one more great composition from an obscure film.
The song is ‘Vazhimel Vizhiyai Edhir Parthirunthaen’ from ‘Archanai PokkaL’(1980).

The composition is based on Pantuvarali, a very interesting ragam.
It is the 51st melakartha and is known by the name Kamvardhini.Muththuswami Dikshithar called it as ‘Kashiramakriya’.

It is the pratimadhyama raga of Mayamalavagowla-that is only the variant of ‘ma’ is different. But it has an entirely different flavour and is unique in its own way.

There are a lot of classical compositions in this ragam. This ragam is frequently sung by musicians in carnatic concerts since it has an ‘aura of popularity’.Beacause of this aspect, it is called as a ‘janaranjaka ragam’.

The structure of Pantuvarali is :
sa ri1 ga3 ma2 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma2 ga3 ri1 sa.

The raga is more beautiful in panchama varjya phrases-ni ri ga ma dha ni, ni dha ma ga, ga ma dha ni…

Let us now look at the composition.

The beginning is somewhat different with the resonance of the sitar strings. It plays with verve as the pretty flute enters with flourish. It is delicate and soft. At the same time it reaches alluring depths to give a yearning melody. It is enriched by the lucent Jalatarangam.

The Pallavi in the dulcet tone of Janaki exudes sensitivity. One sees the aesthetic subtleties when the flute and the sarod alternate after the lines ‘Varuvai Maamukhile’ and ‘Nee Varuvai Maamukhile’ when they are rendered the second time. The line ‘Sukham Ekanthamai Malara’ touches the beautiful spots of the ragam.

The first interlude is marked by the gracefully grafting sitar. It moves like a clear gurgling stream with the Tabla and the rippling flow of the Jalatarangam. The musical ripples continue with the Jalatarangam and the melodic rhythms.

The CharaNam is finely etched. The first two lines are majestic while the third line is dynamic. The last two lines are magical. The contrasting motifs and the pirouetting at the end are stupendous.

The second interlude is sculpted with beautiful musical phrases.

The shehnai played with finesse strikes a deep chord. The subtle strings juxtaposed add to the beauty. The sitar gives an array of short phrases. We are then in for some scintillating moments as the nifty flute, the soft and supple piano and the subtle bass vie with one another. It looks like swathing layers and strokes of colours. Strung together brilliantly, it looks like an intricate tapestry.

The entire composition is replete with melodic progressions of phrasing that take us to a higher plane.

..and a spiritual experience!

வழிமேல் செவியாய் எதிர்பார்த்திருப்போம் உனது பாடல்களை..


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ILaiyaraaja-The Sculptor-Part II

‘‘Put Mind over Matter.’’

This is what the Self-Improvement Gurus tell us.

What guides our lives-the Mind or the Intellect?
Are we all led by our emotions or are we moulded by our thinking?

Well, it is a very vast and deep subject and my intention is not to get into this and find answers.

Let me confine my discussion to fine arts.

Take any art form.

The Artiste feels.
The Artiste emotes.
The Artiste thinks.
The Artiste expresses.

Feelings, Emotions, Thoughts, Expressions.
There is an inextricable link between all these.

And this is what an art form is all about.
Of course, finally the quality depends on how capable, and spontaneous the artiste is..

In my previous post, I had discussed about how fine arts was an intrinsic part of ancient Tamizh culture.

Saaththanaar, author of ‘Kooththa Nool’-which is the first authentic book on classical dance in Tamizh-says

‘Tastes emerge from the feelings within and these are expressed as dance.Feeling is the soul, Taste is the Mind, and expression is the body’.

அகம்உயிர் ஆகச் சுவைஉளம் ஆக
இழைஉடல் ஆக இயல்வது கூத்து.

It is a cryptic verse with very deep meanings but what was written nearly 2500 years ago holds good even now.

And this is applicable to any art form.

‘Kooththa Nool’ has two sections, 'Suvai' and 'Thogai' with 153 and 162 verses respectively and says that the sound, the letters and the music emanated from the Dance of the Lord.

It also says that ‘Om’ is the beginning and the end for everything.

The author seems like a good psychiatrist, philosopher and most importantly an intellectual.

The link between human life and the Nava Rasaas have been described in detail by the author.

The 108 Karanaas and the 12 essential Karanaas, and the synergy between ‘Tandavaa’ and ‘Laasya’ have also been elaborated by the author.

Therefore as mentioned in my previous post, ‘Tolkaappiyam’, the text on Tamizh grammar talks about the classical dance, ‘Pancha Marabu’and ‘Kooththa Nool’ are texts on the Grammar of Classical Dance.

There is also another text called ‘Bharatha Senapathiyam’.

Apart from these texts that are exclusive books on Grammar, classical dance finds a mention in Sangam Literature, works that preach Wisdom and Values like ThirukkuraL, Naaladiyaar etc.,

However, it is the description about Classical Dance in ‘Silappadhigaaram’ that calls for special mention and appreciation.

In fact, the ankle-bell(silambu) plays a major role in the story –though it happens towards the end.

Ilango AdigaL, the author elaborates on the qualifications of a Dance Teacher, Percussionists,Vocalist,Flautist, and the person(s) playing the ancient instrument ‘Yaazh’.

In my previous post, I had given a sample verse on the qualities of a dancer.
More about what ‘Silappadigaaram’ talks about Classical Dance in my next post.

Let us now focus our attention on the Sculptor who has been ardently and tirelessly sculpting mesmerizing music for the last three decades.

Time now to look at the second composition from ‘ULiyin Osai’.

It is ‘Abhinayam Kaatugindra AaraNge..’

The song rendered by the classical musicians Sudha Raghunathan and Bombay Jayashree is another beautiful sculpture.

ILaiyaraaja the Magician, pulls another rabbit from his hat..

Why do I call this magic?

Let me explain about the composition and then we will know.

The composition starts in Ragavardhini, the 32nd Melakartha.

It is a Vivadi Ragam whose structure is

sa ri3 ga3 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ga3 ri3 sa.

The ‘ri’ is the vivadi note in this raga.

This Raga sounds a lot like Charukesi, the 26th melakartha since six notes are the same except the ‘ri’.

The composition has other ragas as well and I shall touch upon the ragas and their structures as I go along.

The mini ensemble of the percussion instruments in the prelude gives an energetic beginning.

The Pallavi is stupendous with the use of vivadi note right at the beginning sets the tone.

After a mini ensemble yet again, the anupallavi glides smoothly.

The first interlude is stupendous.
It has brilliance as well as beauty.

The violins play only the swaras of Charukesi first. The percussion gives a repartee.
Now, the violins play with the prominent vivadi note giving the shade of Ragavardhini.

After the reply from the percussion, the two pieces are played again now one after the other. The Veena accompanied by a very subtle Flute then plays Charukesi with the violins replying in Ragavardhini. This pattern-but with different notes-is repeated once again.

The Flute then manages to escape from the clutches of Veena and plays a dominant Ragavardhini and then the violins also have the final word and play Ragavardhini with disdain.

Now do you understand why I said it is Brilliant and Beautiful?

The Contrast and the distinction shown by the Master since it is a competition between two dancers..

The first Charanam has pithy passages.

It moves, undulates, swirls, whorls, sways, and takes a curve.
Geometric Motifs!

Just towards the end, there is a short swara singing passage and as we look forward to the next interlude, there is felicitous turn of the passage.

The rhythmic pattern changes to the 5 beat ‘khanda nadai’ and we hear the ‘Ta ka ta ki ta’ with the dominant manjira (cymbals).

This surprise twist takes a further intricate turn as the raga changes to Karaharapriya, the 22nd Melakartha whose structure is

sa ri2 ga2 ma1 pa dha2 ni2 Sa/Sa ni2 dha2 pa ma1 ga1 ri2 sa.

A majestic and a serene raga, the beauty of the raga is shown in just a few willowy sancharaas.

As the line ‘Piththam Thalaikkeri’ ends, we are in for another pleasant surprise.

Using just five swaras-'sa ri ga pa ni'-of Karaharapriya, we get to hear Rathipathipriya, another beautiful Raga.

Now, Abheri-another Raga derived from Karaharapriya omitting ‘ri’ and ‘dha’ in the arohana-darts in as ‘Udanpirappu..’ is rendered.

The sangathis following this are wonderful.

As we lose ourselves in the lovely nooks, the Raga changes again.

Now it is Pantuvarali, the 51st Melakartha whose structure is

sa ri1 ga3 ma2 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma2 ga3 ri1 sa.

So far, we saw Raga Raaja.Time to have a look at Laya Raaja.Though there are lot of intricate patterns throughout, let us look at the pattern that I consider as most beautiful.

The pattern following the line ‘Thadi Edukka thavarum Indri..’is

‘Dhin – Ta – Ka ‘ 3 times and then ‘Ta Ka Dhin – – ‘

And the one following ‘Nilam Nokki..’is

‘– – Ta – Ka Ta – Dhin– – ‘ twice.

The sweeping crescendos reach an acme.

With authentic interpretation of Ragas, the composition appeals to us emotionally.
We feel the vibrations, think and express our appreciation.
The spontaneity of the composer is obvious.

Is this not a genuine artiste’s work all about?

அபிநயம் காட்டுவது பரதத்தில் மட்டுமல்ல.அவரது இசையும்தான்..

Abhinaya is not just in Classical Dance…It is in his Music as well..