Laya Raaja - 4

This question crops up to me time and again.

‘What makes somebody a genius?

Is it their ability to do something very complex- so complex that you and I scratch the heads to simplify that and unravel the mystery?’

Why should somebody do something so complex? To show off their intellectual prowess? To announce to the world that ‘See, I have done this. I am capable of more too. Can you even try doing this?’

If this is true, then is there not a shade of arrogance in their act itself?

Like many questions in this world, these are tough to answer. Looking at it in a positive way, it could just be that they want to show the finer elements and beauties in life.

Look at the following poem in tamizh:

தத்தித்தா தூதுதி தாதூதித் தத்துதி
துத்தித் துதைதி துதைதத்தா தாதுதி
தித்தித்த தித்தித்த தாதெது தித்தித்த
தெத்தாதோ தித்தித்த தாது?

‘Thathithaa thoothuthi thaathoothi thaththuthi

Thuththi thuthaithi thuthaithaththaa thaathuthi

Thiththiththa thithiththa thaathethu thithiththa

Theththaatho thiththiththa thaathu?’

Does it make any sense?

Now, let us try splitting the words. 

தத்தித் தாது ஊதுதி தாது ஊதித் தத்துதி

துத்தித் துதைதி துதைது அத்தா ஊதி

தித்தித்த தித்தித்த தாது எது

எத்தாதோ தித்தித்த தாது? 

Does it look better now?

‘Oh  Bee! You blow off the pollens and drink the honey hidden inside the pollen. You jump and fly again and go to yet another flower humming making a beautiful sound in the process. You drink the honey from that flower too. Which flower was sweeter? Honey from which flower was sweeter? Which petal was more beautiful? Will you please tell me?’

This poem was written by Kavi KaaLamegam who lived in the 15^th Century and was known for composing poems with more than one meaning. In this poem too, the word  ‘thaadhu’ (தாது) has been used to denote the honey, the flower and the petals.

The poet does magic using just the single letter  ‘tha’(தா) and its variants. It sounds musical while reciting, it kindles our curiosity, and it is very meaningful too raising some interesting questions.

Does this poem reflect the arrogance of the poet?

Far from it.

I feel it is a tribute to the language called Tamizh and shows us how beautiful the language can be if it is in the proper hands and if it is used the way it has to be used.

The song of the day falls in the same category. When one listens to it superficially, it sounds melodically beautiful, which of course is true even when one gets into an analytical mode. The mode is because a trained ear senses something hidden in terms of the taaLa structure and the raga usage. But if one dwells deeper, it leads to untying so many knots making one discover more and more hidden beauties. This leaves one wondering ‘what is his brain made of and how is it wired’.

‘Sollaadha raagangaL ennenna pollaadha taaLangaL ennanna’ from Mahanadi(1994), must be rated as one of the most complex compositions in film music. I am dividing the post into two parts now- Laya, and Raaga for easier understanding and appreciation.

1.Laya/TaaLa

As mentioned in my previous post on ‘Maanjolai kiLaithaano’, the foundation for a structure of the song is the TaaLa and more minutely the syllables.

‘Sollaadha’ has a rather unusual start with words first being rendered in a free flowing way albeit with different variations by SPB and Janaki.

The Pallavi starts and it is clear that it follows the 4-beat chatushra eka taaLam.

The first line- Sollaadha raagangaL ennenna is in one aavartanam and the 4 beats are subdivided into 16 maatraas- 4 (Sollaadha), 4(RaagangaL), 8(Ennenna).

The following lines follow the same pattern-

4(Pollaadha) 4(TaaLangaL) 8(Ennenna)

4(ThuNindhu) 4(Sonnaal) 8 (Enna….)

The percussion plays the next aavartanam which is again 16- with stress on 1, 3, 6, 9, 11, the last 4 being left as blank.

The three lines are repeated by Janaki.

SPB’s lines ‘Nillaadha eNNangaL munsella’ ‘ThaLLaadha en nenjam pinsella’, ‘Thodarndhu vandhaal enna’ follow the same pattern..

 ‘Ezhunda sandham ondru’( 4, 4, 8) and ‘Kalandha sondham indRu(4, 4, 8) have one aavartanam each.

But what follows is the ‘crowning glory’.

‘INaindha Santharppam’  is 10,  and ‘iZhandha pon sorgam is 10.

‘Thirumbumo pudhuyugam arumbumo…..’  is divided as 6, 6, 6, 2, 4, 4 - the last ‘4’ being the drums.

From ‘Ezhunda’, we have 5 aavartanams-a total of 20 counts which is subdivided as 80 maatraas!

In the first interlude, the drums alternate between the chorus in the first part playing    1 2 3 4 / 1 - 3 - / 1 - 3  - / 1 - 3 - /

The lines in the CharaNam follow the 4, 4, 8 pattern until the last line (INaindha santharppam) which follows 10, 10, 6, 6, 2, 4, 4.

The drums draw different patterns of Chatushram in the second interlude leaving gaps now and then.

Raga

The free-flowing part in the beginning has the Harikambhoji swaras.

The Pallavi has almost the same swaras except that those are used differently to give us Pahaadi.

The chorus continues in Harikambhoji until the strings take over. The ‘ma’ of Harikambhoji is taken as the base (graha bedam) and the raga changes to ShankarabharaNam. It goes back to Harikambhoji in the chorus part.

In the CharaNam, the ‘ma1’ is substituted with the ‘ma2’ and the raga becomes Vaachaspati. At the end of the second line, the ‘ri2’ of Vaachaspati becomes the base ‘sa’ and we get Charukesi- from the line ‘KooNdil’. The violins in the background too continue in Charukesi.

It is back to Vaachaspati in ‘Jeevan’ while the last phrase ‘INanidha’ is in Pahaadi.

Here is yet another twist. The CharaNam ends with ‘ma1’ and the next interlude starts with the joyful flute taking this as the base. Graha bedam again and it is Kalyani now. Does it end here?

No.. The strings and then the flute play Hamir Kalyani, a janya raga of Kalyani!!

Seamless change of ragas-with and without Graha bedam.

Very differently structured Pallavi/CharaNams with divisions and sub divisions of TaaLa.

Untold mysteries…

‘What makes somebody a genius’?

It is for you all to say now…

ILaiyaraaja's Music- White and Black..

Mahakavi Bharati was not only a visionary but was also a pioneer of sorts. While most of us know that his poems covered a whole gamut of subjects and that he revilutionised tamizh language with his simple and powerful words, only a few know that he was the first one to compose ‘vachana kavitai’ which is considered to be the father of ‘Pudhu Kavitai’- a very unique form of poetry very much in vogue now.

The poems that are part of the Vachana Kavitai are generally about the natural elements and have philosophical overtones.

Following is an extract of his vachana kavitai about the wind:


'காற்றே உயிர்.அவன் உயிர்களை அழிப்பவன்.

காற்றே உயிர்.எனவே உயிர்கள் அழிவதில்லை.

சிற்றுயிர் பேருயிரோடு சேர்கிறது.எனவே மரணம் இல்லை.

அகில உலகமும் உயிர் நிலையே. '

‘Wind is life. He destroys all living beings.

Wind is life. Therefore, living beings are not destroyed.

The little soul merges with the bigger soul. Therefore, there is no such thing as Death.

The entire Universe is the vital life force.’



Life giver, destroyer and one who is the life itself!

The concept of Duality-can it be defined or explained in a better way?

ILaiyaraaja, who is also a great philosopher, has also shown duality and contrast in many of his compositions. While it would take a detailed analysis and would require a series of posts to explain this, it will be prudent on my part if confine myself to taking up an out standing composition, which according to me is a classic example of Duality.

The composition is ‘Sandana kaatre’ from ‘Thanikkattu Raja’(1982).This composition based on Gowrimanohari is a study in contrast.

Gowrimanohari is the 23rd melakarta whose structure is

Sa ri2 ga2 ma1 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma1 ga2 ri2 sa.

The composition starts with the guitar strumming vivaciously with the percussion smiles with glee. A stately edifice indeed!

With a spontaneous spirit, the cello and viola play in lower octave with the flute playing the same notes in the higher octave. Contrast no.1.

The guitar and violins play and dance with exuberance and carry us to the Pallavi.

The Pallavi in the melodious voices of SPB and Janaki has some elegant passages, touching the higher octave notes towards the end of the second line, in the third line (where it even touches the upper ‘Ma’ and in the podi sangatis in the last line.

Mesmerised by the tune, the flute sounds ‘vaa vaa’ at the end of second line.

The first interlude is designed perspicaciously.

The powerful guitar moves with felicity and invites the percussion.

The percussion that plays only the ‘ta’ and ‘dhi’ in ‘ta ka dhi mi’ in the Pallavi, now plays ‘ta ki ta ta ki ta dhi mi / ta ka dhi mi ta ka dhi mi’ in ‘mel kaalam’ with the second part being played by a different percussion instrument. Contrast no.2.

The illuminating phrases continue with a kind of dialogue between the guitar and the strings and the flute playing poetic phrases.

 Laya Raaja comes to the fore again with the guitar and the strings playing the same syllables as the percussion (ta ki ta ta ki ta dhi mi) separately.

The CharaNams are perceptively deep.

The first line shines with radiance with the ‘podi sangatis’in the middle towards the end.

The second phrase in the second line shows the tints of musical imagery of the composer.

Let me explain how.

The ‘ga3’, a variant of the gandhara not present in Gowrimanohari is introduced and this changes the entire complexion. The raga is now transformed and it becomes ShankarabharaNam and this continues in the next 2 lines. Of course, in a film music composition, accidental notes are quite common.But this is not an accidental note as the structure is followed in 2 and 3/4th lines.

It should also be noted that Gowrimanohari scale is one of the minor scales in western music while ShankarabharaNam is a major scale. Contrast no.3.

The structure of the 3rd and the 4th line are very interesting in other aspects too.

The 4th line is an expansion of the 3rd line.

In the 3rd line, what we have after the first phrase is a flute piece in lieu of vocals and this pattern is repeated twice.

The voice is substituted for the flute in the 4th line, but with a totally different set of notes.(the flute piece is ‘ma dha2 sa ma1 ga3 Sa’ while the voice sings ‘Ma1 ga3 Sa’ Ma1 ga3 Sa’).
Gowrimanohari is back in the last line but there is more in store.

What we have is a humming in two different octaves with notes moving in sets of two. Contrast no.4.

The last ‘vaa vaa’ in the Pallavi-which is rendered after the humming- gives the lead to the second interlude.

The rousing strings move with exuberance in higher octave with the cello giving the bass sound as a repartee. Contrast no.5.

The piped instrument and the strings are then indulged in a ‘question – answer’ session with both emerging victorious-the former with its exemplary display and the latter with the disciplined smoothness.
The lively guitar and the enticing strings complete the colourful sketch.

சந்தனக் காற்றில் வந்து செந்தமிழ் போல் இனிக்கும் இந்த இசையினைக் கேட்க என்றென்றும் ஆசை..

ILaiyaraaja-Musician with Vaatsalyam..

Words, like music have emotions.

When we read or write, what is it that that makes us involved in the subject?

Situations.. Yes..Of course!

Characters.. well..maybe!


But how do we even understand or even feel all these unless they are expressed with appropriate words?

Can we even imagine comprehending anything without that great thing called ‘words’?
Can we imagine communicating anything without that powerful thing called ‘words’?

Of course, there are times in our life when the unspoken or the unwritten are felt. I shall come to this a little later.

Let us go back to my statement about words having emotions.
Apart from emotions and feelings, words have culture too..
..Most importantly they are culture-specific and language-specific.

Therefore, some words when translated from one language to another may not covey the emotions attached to it though it may convey the meaning to a certain extent.

‘Vaatsalyam’ is one such word.

I really cannot think of any appropriate translation in English. At the most, one can say tender loving care.
When a mother fondles and nurses her child, it is Vaatsalyam. In tamizh, we call this as ‘parivu’(பரிவு).

Rather than trying to translate the word-which is seemingly impossible- let me quote a paasuram from Naalaiyira Divya Prabhandam.

Vishnu Chittar- better known as Periyaazhwar-who lived in the 9th century, composed 473 hymns out of which some 250 hymns are considered very very special. They are special because he considered himself as Krishna’s mother and described the child through the eyes of a mother.

It starts with the birth of the child and goes up to the point where Krishna goes on his own to herd the cows.
The lullabies are so powerful that it would bring tears even in an atheist’s eyes!

In this hymn, he asks the Moon to play with his sweet child.

‘Oh Moon!The shimmering rays from your beautiful face may cover the entire world..But ..it is no match to the beauty of my little one.. Can you not see his little fingers waving at you, and inviting you? Come fast and play with him before he feels the pain in his cute little fingers’.

சுற்றும் ஒளிவட்டம் சூழ்ந்து சோதிபரந்தெங்கும்
எத்தனை செய்யினும் என்மகன் முகம் நேரொவ்வாய்
வித்தகன் வேங்கடவாணன் உன்னை விளிக்கின்ற
கைத்தலம் நோவாமே அம்புலீ! கடிதோடிவா.

This hymn is part of the 10 hymns in 'Ambuli paruva paththu'.

Most of us know how tiny tots get fascinated looking at the moon and how they wave at the moon with a smiling face.In fact, even now, children are fed in moonlight because of this reason.But how many of us have even bothered about the little fingers and the tiny hand that waves at the moon?

Periyaazhwar did..And that is Vaatsalyam!!

I mentioned in the beginning about words having emotions.
I also said that there are times when we feel the unspoken or the unwritten.

Yes.. this happens to us when we listen to music.

Coming to think of it, swaras play the role of the words. But aren’t there only 7 basic swaras while the number of words are much more(in millions in some languages)?
True! But it is the combination of these swaras that matter.One can have umpteen permutations and combinations and each one is different and unique.

So, while one combination of swaras can give us pleasure, some other combination can evoke a totally different kind of emotion- say sadness. That is the beauty of music!

The Raga system in Indian Classical Music is special not just because it is unique but also because each raga is known to evoke certain moods and emotions.

We have had composers who have understood this fact and have given us some immortal compositions. But still..I feel no composer in film music has understood, applied and executed this well than ILaiyaraaja.

He treats each swara and raga as his own child and fondles them.
But I feel, he also considers us as his children and treats us with Vaatsalyam.
Listen to his immortal compositions.

Don’t feel the tender loving care?

Don’t we feel the affection?

Don’t we feel the love?

Today’s composition is doubly special and you will soon know the reason.

This song is based on Shankarabharanam.

Shankarabharanam is one of the oldest ragas and is widely used in all major form of music.

It forms the major diatonic scale or the C Major in Western music.
It is called as Bilawal in Hindustani system and all the swaras used in this ragas are known by the word ‘shudhdh’(meaning pure).

It is called as ‘Pazhampanjuram’ in Tamizh PaN.

It is a very divine raga. It appeals to the senses and evokes a mood of sublimity. That is why it is considered to be the most superior amongst all ragas.

In Carnatic system, it is the 29th melakarta and has the following structure:
Sa ri2 ga3 ma1 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma1 ga3 ri2 sa.

The pratimadhayama counterpart of Shankarabharanam is Kalyani but there is a world of difference between the two ragas in the way they are sung. There are some special prayogas in both the ragas that make them distinct.

For example, ‘ga’ is a flat swara in Shankarabharanam and this itself gives a very soothing effect.There is minimum oscillation of ‘ni’ as well.

This is balanced by the strong oscillation of ‘ri’ and ‘dha’.

Therefore it is a raga that is calm and sedate but at the same time majestic too..

It is because of this reason that Neelambari, a raga derived from Shankarabharanam is widely used in lullabies.
As a matter of fact, Shankarabharanam itself has contours of lullabies.

And Raaja has exploited this fact well in many compositions- a classic example being ‘Poove iLaiya poove’.

Today’s composition also has shades of a classic lullaby.
The composition is ‘Sandhanamittu sadhiraadum mottu’ from ‘Rusi kaNda poonai’(1980).

The prelude itself brings a sense of calmness and sedateness.

The (electric) violin is lucid as the flute blossoms. The violin then glides adding more sangatis and the flute responds with equal flair. In fact, the Flute just repeats what the violin says and there lies the whole beauty. The surprise element is the piano base that make our hearts flutter. The stringed instrument then takes over and we can easily visualize a child prancing in front of us. The tune of the Pallavi now takes shape.

He teaches a lesson or two(as always) to all aspiring music composers on how a prelude should lead us to the Pallavi.

The percussion (tabla) makes an appearance now just towards the end of the Pallavi and that takes me to the Laya Raja aspect in this composition.

The composition follows the simple 8-beat cycle but let us see how he has beautifully used the tabla in line with the theme of the song and the tune.

As I mentioned, the Tabla appears towards the end of the prelude and it repeats the pattern played by the stringed instrument:
Ta – dhi-.
A simple pattern ‘ta ka dhi mi’ where only the first and the third syllables are played.

As the Pallavi starts the Tabla remains silent until the 5th beat. Thereafter, it plays only the first syllable ‘Ta’until the 8th beat where it plays the first and the third syllable(ta dhi).When the Pallavi is rendered the second time, the Tabla starts right from the first beat , again playing only the first syllable until the eighth syllable where it plays the first and the third syllable.

If we assume that this will be the pattern throughout, we are not genuine Raaja followers. For, all genuine followers know his propensity to spring a surprise and his fascination for trying out things differently.

The interludes that follow the ‘ta ka dhi mi’ pattern do not have any percussion instrument.

In the CharaNams, the Tabla appears only from the fourth beat-playing the first and the third syllable.The tabla continues from the second line playing only the ‘ta’ and playing the ‘ta ‘dhi’ every fourth beat.

We see this pattern in the first 6 lines(first 3 lines are repeated once).
The second part-from the 7th line ‘punnagai vizhiyil aada’ in the first charaNam and ‘kaigaLil thuzhuvum mullai’ in the second charaNam- is what makes him a Laya Raja.

The first time we hear, we expect the fourth beat to have ‘ta dhi’(despite being genuine Raaja followers!).But only the ‘ta’ is heard until the eighth beat when we hear the ‘ta dhi’ and this continues till the end of the charaNams.
When the Pallavi is rendered after the charaNams, the Tabla again joins at the 5th beat and the ‘ta dhi’ is heard at the 8th beat.

This is the pattern:

Pallavi from the time Tabla joins in the first line : ta – dhi –
Second line: ta- - - ta - - - ta - - - ta - - - ta - - - ta - - - ta- - - ta – dhi –

CharaNams:
First line from the time tabla joins: ta – dhi –
Second line:ta - - - ta - - - ta - - - ta – dhi –
Third line: ta - - - ta - - - ta - - - ta – dhi – ta - - - ta - - - ta - - - ta – dhi –
Fourth line: ta - - - ta - - - ta - - - ta – dhi –
Fifth line: ta - - - ta - - - ta - - - ta – dhi –
Sixth line: ta - - - ta - - - ta - - - ta – dhi – ta - - - ta - - - ta - - - ta – dhi –
Seventh line: ta- - - ta - - - ta - - - ta - - - ta - - - ta - - - ta- - - ta – dhi –
Eighth line: ta- - - ta - - - ta - - - ta - - - ta - - - ta - - - ta- - - ta – dhi –

Look how a very simple ‘ta ka dhi mi’ pattern does wonders in the hands of Laya Raja.

Let us now go back to the Pallavi for the melodic and the orchestration aspects.

Only two lines but they are repeated and this itself gives a mesmerizing lullaby effect.
Both the lines have classical dignity with the voice of Suseela lending the right kind of impetus and sweetness.

The first interlude is suffused with deep colours of the raga.

It starts with the luminous bells. The single violin is intensely elegant and tantalizingly beautiful. We begin to immerse ourselves in this beauty not realizing that this is just a sample. The gait changes and three violins enter the party. The first one dazzles, the second one gives dart-like flashes and the third one captures the special fragrance of Western Classical Music.

A string of quicksilver passages arranged meticulously!

The CharNams are replete with classicism.

The first two lines are succinct and the third line in the higher octave gives radiant shades of the raga.
The lines are repeated again and the subtle sangati in the fifth line-which is a repetition of the second line- is Raaja Special.

The following lines weave well-knit patterns nourishing the already healthy child!

There is a plethora of phrases in the second interlude.

To start with we hear a synthetic blend of violins in western classical style. The Flute played with imperceptible finesse takes spiraling spins even as the violins continue in their immaculate style. Suddenly, the guitar dances with ecstasy and we see wonderful vistas. The violins wind up with a gentle flavour.

The composition is full of intricate detailing woven around gentle human emotions.

Vaatsalyam..
Is that not this composition all about?

உன்னிசை காதில் பட்டுத் தழுவும்பொழுது மலரும் மனது..
When your music enters our ears and embraces us, our minds blossom..

ILaiyaraaja-The Concise Dictionary Of Music!

At times it is amazing to note how simple things could be so beautiful.

Crisp, Concise, Short words carry more weight than lengthy, verbose, garrulous statements.

Communication experts would often say KISS.

If your imagination is running wild, let me tell you that KISS is the acronym of Keep It Sweet and Short!

Take ThirukkuraL for example.

It is the embodiment of enlightened wisdom; a literary masterpiece of verses with poetic excellence,brevity and crispness, rhythm and syntax, easy to grasp and remember..

ThiruvaLuvar has covered a wide array of topics including Management Science.

I am giving 3 samples(out of the 1330) below:

1.For efficient management, select a person with appropriate means to tackle the job, and entrust the job to him.

2.Hurry up tasks that demand quick action;delay does not matter on acts that have to proceed cautiously.

3.It is enlightening to impress the listeners with meaningful words, and grasp the essence of wisdom from others .


இதனை இதனால் இவன்முடிக்கும் என்றாய்ந்து
அதனை அவன்கண் விடல்.

தூங்குக தூங்கிச் செயற்பால தூங்கற்க
தூங்காது செய்யும் வினை.


வேட்பத்தாம் சொல்லிப் பிறர்சொல் பயன்கோடல்
மாட்சியின் மாசற்றார் கோள்.

The first one gives the essence of Delegation, the second one is on Task- Orientation (and implementation), and the third one is on Public Speaking and Communication.

Look how beautiful and effective the message is -that too in just a few words..And to think that these were composed 2000 years ago !

ILaiyaraaja , like Thiruvalluvar also conveys a bevy of emotions through his Music.A typical Film Song lasts 4 to 5 minutes but the impact it has on us is something incredible.

Not only is the essence of Music given in a very short period but also that it leaves us bewildered-because of the sheer intensity!

His Music has the power to illuminate and the potency to inspire.

The composition we are going to see today is relatively short but still it showcases the brilliance of the Emperor of music.

In fact, this song was composed after the sequence was picurised.

It is ‘PaLlikkoodam Pogaamale’ from 'Kadalora KavithaigaL'.

The composition is based on Sankharabharanam, a Raga that has been already been discussed.

Just to recap, Shankarabharanam is a Universal Ragam .Old Tamizh Music Texts refer to this Ragam as Pazham Panchuram, it is called as Bilaval in Hindustani Music and the notes of this Ragam form the Major Scale in Western Music.

In the Carnatic System, it is the 29th Melakartha and lot of popular Ragams are derived from this.

The structure is-sa ri2 ga3 ma1 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma1 ga3 ri2 sa.

Let us now look at the composition.

But before that the Sequence...

The main character in the Film(also called as the Hero) wants to become a literate and requests the School Teacher to teach him.She refuses and he stands one –legged (a kind of a penance!) on a high wall and would not get down until his request is met.

The opening of the song itself is like a cadence.It is like the tone of a Mantra to portray the penance. We get to hear Raja’s voice in two octaves simultaneously, one superimposed on the other.

A classic example of how technology can be put to use at the right time and the right place!

It also shows us the humour in the situation and at the same time it depicts the steely resolve of the character .

The Strings and the Chorus voices sound as though they are pleading to the Heroine to be considerate!

The wonderful Chatushram(4) beats follow smugly.

The Pallavi follows and as we involuntarily vibrate to the beats, the auditory waves and the unabashed rendering(again to indicate the character) sound Majestic.

The Interlude has the aesthetically melodious chorus voice coaxing us to empathise with the ‘Good Boy’ who was once a rogue!

The short and beautiful charanam weaves magic and is peppered with lovely touches.

There is one more highlight.

As mentioned earlier, this sequence was shot first.

Director Bharathiraja once remarked that he was left speechless after watching it on screen because it is ‘Dass Dass’ when the Hero appears and ‘Pass Pass’ when the teacher(heroine) appears!

Such is the Maestro’s sense of Timing!

We do not have to go to Music School.We do not have to study Music lessons.
We just have to listen to such great Music....We can understand Music better!

இசைப் பள்ளிக்கூடம் போக வேண்டாம்;இசைப் பாடங்களைக் கேட்க வேண்டாம்.
இது போன்ற ராஜ இசையைக் கேட்டாலே போதும்! நமக்கு இசை வந்து விடும்!

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