ILaiyaraaja-Connoisseur's Delight!

Whenever we read something beautiful, we say it is poetic.
Whenever we hear something great, we say it is musical.

But we also use these expressions whenever we undergo a great experience…
We say ‘The journey was Musical’ or ‘The valley is poetic’.

At times we also say that the Music is so poetic or that the Poem is so Musical..

This is because there is a Connoisseur in all of us!

Now look at this poem by Subramania Bharathiyar:

‘’It is the Sun Light all around;
On the Mountains, On the Sea,
On the Earth, On the Trees,
On the Forests, On River Banks;
Why is there Darkness in Man’s Mind?’’

வானமெங்கும் பரிதியின் ஜோதி;
மலைகள் மீதும் பரிதியின் ஜோதி;
தானை நீற்கடல் மீதிலும் ஆங்கே
தரையின் மீதும் தருக்களின் மீதும்
கானகத்திலும் பற்பல ஆற்றின்
கரைகள் மீதும் பரிதியின் ஜோதி;
மானவன்றன் உளத்தினில் மட்டும்
வந்து நிற்கும் இருளிது வென்னே!

This is what is called as Music in poetry.

Yes..it is beautiful.

At the same time there are lot of hidden meanings and the more we explore, the more we discover..

And that is why Bharathi is called as the Mahakavi. .
He is indeed a Connoisseur’s delight!

If Bharathi’s verses are Music in Poetry, ILaiyaraaja’s compositions are Poetry in Music.

Human Mind is in deed intriguing.

It is a mix of simple as well as complex things.Otherwise, how can we explain our childlike behaviour at times.

The simplicity in a Composition appeals to the Layman in all of us.

The Complexity appeals to the Connoisseur in all of us.

It does need some training to wake up the Connoisseur within us.

But not for a moment am I saying that to enjoy Music, one needs to be a Connoisseur.
However, if we get to understand the finer elements, we enjoy it more.

Today we are going to see a composition that is based on a very interesting Raga.It is a very rare Raga as well.

The Raga is VarNa DhariNi!

As far as I know, there is no Carnatic Composition in this Raga and Raja was the first one to use this in Films.

The Hindustani equivalent is called as Vibhaas(though there are three variations of this Raag) and it is a Morning Raga.

As per the Carnatic System, it is derived from the 16th Melakartha Chakravagam and the Arohana/Avarohana pattern is Sa Ri1 Ga3 Pa Dha2 Sa/Sa Dha2 Pa Ga3 Ri1 Sa.

Only the variant of ‘Ri’ separates this and Mohanam but both the Ragas sound so different.That is the beauty of Music(remember my post on Shivaranjani)!

Raja used it in ‘Amuthe Tamizhe’(Kovil Pura) for the first time and followed it up with ‘Neelakuyile’(Magudi).

The composition we are going to discuss today is ‘Ethilum Ingu’ from ‘Bharathi’(the song is not a Bharathiyar song).

The composition has an inherent beauty and an unimpeachable Musical Value!

Again it is the wonderful blend of the Raga with the Tala structure that makes it unique.

The Tala is both Adi and Roopaka.It is Adi, if it is in the Tisra(3) beat and Roopakam if it is in the 4 beat Chatushram.

How?

This is because Caranatic Music involves lot of Mathematics and the calculations are done in such a way that it meets the criteria of both the Talas.
The Rhythmic pattern is divided beautifully and it is

Ta Ka Ta Ka Dhi Mi Ta- Ki- Ta-..

Here while the first part –Ta Ka Ta Ka Dhi Mi- is in the fast tempo (called as Mel Kaalam), the second part -Ta Ki Ta – is slow (called as Keezh Kaalam) giving a ‘Wavy ‘ feeling to the entire Composition.

The Raga also follow a ‘Wavy Pattern’ like the Tala .

The Composition starts with the Gentle and Powerful voice of Madhu Balakrishnan invoking Repose.It seems like we are in for a sober trail.

But what follows is a pulsating experience!

The Pallavi is an emotive flow with Blazing Intensity.Every Facet sparkles as one hears ‘Adiyum Mudiyum Ariya Mudiyaan, Eliya Adiyaar Othum Veda Nathamagi’.

The Craft Skills of the Master is amazing in the first Interlude.

If the Flute flows Dulcetly, the Strings radiate Serenity.It is uniformly Graceful!
The Charanam is full of Silken passages.

The Frist Two Lines starting with ‘Varippuli Athai Thariththavan Ezhil’ is redolent with the Flavour of Beauty while the Second Two Lines ‘Tamizh Kavi Tharum’ is pregnant with exceptional Literary Quality.

The Gentle Movement in ‘Aaalankuiyil’ is followed by a Sweeping Movement in ‘Patruthalaikku Neruppvan’.

And this is where we see the stamp of the Genius yet again.

The Rhythmic pattern (in the way it is rendered) changes here and it is
Ta Ka Dhi Mi repeated 4 times and in 3 cycles.What is interesting is the stress given in the second count - Ka - in each of the cycle.

In English Language, there is a relatively new word called ‘Fantabulous’ which is the melding of the two words ‘Fantastic’ and ‘Fabulous’.

I would say this is the best word to describe the improvisation done here!

It also goes to prove how rich our Classical Music is and how it can do wonders in the hands of a Genius at a time when Computers and Technology give us ‘new’ rhythmic patterns!

In the Second Interlude, the Percussion Instruments echo evocatively and one plunges into the River swimming with the Tala and Floating with the Raga.The Rhythmic Burble of the Stream is enchanting as the Soughing Wind Rustles, Bustles and Tickles.

It is gentle and at the same time pulsing!

We feel we are caught in the middle of nothingness.

It is a Wellspring of Joy.
It is a Celebration of Life!

His Music is here and everywhere…

எதிலும் இங்கு இருப்பது அவரது இசை.

ILaiyaraaja-The Majestic Musician!

‘’Veni, Vidi, Vici’’.

These words were spoken by Julius Caesar after his victory over Pharnaces II of Pontus.The English Translation of this Latin phrase, ’I Came, I Saw, I Conquered’ is one of the most famous quotes of all times and one is left wondering as to how words could sound so Majestic!

Tamizh Poet Kamban –who is called as the Master of Words-has composed lot of verses that abound with such subtle and majestic expressions.

There is an instance in Ramayana where Rama breaks the Bow of Shiva to marry Sita.To indicate how quick and dexterous Rama is Kamban says,

‘All efforts not to blink and see Rama in action are in vain.
Nobody sees him walk;
Nobody sees him lift the Bow;
All they see is the Bow in Rama's hand ..and...hear the sound of the Bow!!

தடுத்திமை யாமல் இருந்தவர்,தாளில்
மடுத்ததும், நாண்நுதி வைத்ததும் நோக்கார்
கடுப்பினில் யாரும் அறிந்திலர்;கையால்
எடுத்தது கண்டனர்,இற்றது கேட்டார்!

The expression ‘Eduthathu Kandanar, Ittrathu Kettaar’(Saw him lift and heard it Break!) is similar to ‘Came, Saw , and Conquered’!

I am also reminded of Raaja’s Music while reading these Expressions.

There are three reasons.

The first reason is because he also Came, Composed Music and Conquered millions of hearts.

Secondly, the speed with which he composes Music is incredible and nobody can match it-like the Rama in Kamba Ramayanam.

Thirdly, he also composes songs that are as majestic as these great expressions.

Today, we are going to see a composition of his that is based on a Raga which is literally Majestic.The Raga is Gambheera Nattai(Gambheera-Majestic).

The composition is ‘Innum Ennai Enna Seiya Pogirai’ from ‘Singaravelan’.

As usual, the Raga is handled with dexterity but there is one more beauty in this composition that makes it stand apart majestically!

We shall see that soon!

Gambheera Nattai is a pentatonic raga and is derived from the 36th Melakartha Chalanattai.

The Arohana/Avarohana pattern is sa ga3 ma1 pa Ni3 Sa/Sa ni3 pa ma1 ga3 Sa.

The Hindustani Raga Jog is very close to this Raga in structure.While Gambhira Nattai uses only one variant of ‘Ga’, Jog uses both the variants. Of course, the Ragas differ in the way they are sung/played.

Gambhira Nattai is also part of the Indonesian Music where this scale is used quite often!

Let us look at the composition now.

The opening itself is sparkling.The Strings follow a colourful pattern and it is an electric blend of melody and rhythm.It is amazing to see the way it has been chiseled .

The Pallavi is infused with energy with the voice of SPB.

The entire composition is adorned with the enticing Flute.

One feels the breezy and the effervescent air as the orchestra alternates between subtlety and sprightliness.

The Charanams are gorgeous, not just because of the melody, not just because of the mellifluous voices of the two legends, not just because of the Flute in between the lines.

It is because of

Raja, the Virtuoso;

Raja, the Magician;

Raja, the Majestic Musician!

The composition follows the 8 beat- tala cycle.

As SPB finishes the line ‘Moga Pari Pooraniye’, Janaki starts singing ‘Poovodu Naan Sera’in the 5 beat Khandam -ta ka ta ki ta- while the percussion continues-somewhat nonchalantly- in the different pattern.

It is sheer magic as one gets to hear both Chatusram and Khandam.Rhythmic equivalent of Counterpoints?

Well, let me tell you that this is not uncommon in a Carnatic Music Concerts where what is called as the ‘Nadai’ is changed. However, I cannot think of any other Composer who has done this in Films.

Let me try and explain more..

SPB-‘Paadi varum Vaanmathiye……… moga paripooraniye…’
The vocals follow the same pattern as that of the percussions.

The magic starts from ‘Poovodu..’.

Janaki sings in the 5-beat khandam-ta ka ta ki ta- while the percussion moves in its original pattern of 5, 3.Now, the obvious question- percussion also has 5 beats in the first part.So, will both not match?
Yes..it will match..but only in the first phrase.After that the vocals move in 5-beats while the percussion moves in 5,3.So, is there a mismatch?Well..for sometime..yes.But they do meet.

Where and how?

The khandam part is sung 6 times.
6x5=30.
The percussions complete 4 cycles by then.
4x8=32.
This happens twice in the charanam.
30x2=60.
32x2=64

Where is the meeting point?
Do you notice the small extension of ‘pothu’ and ‘podu’ followed by small gaps?
The ‘podi sangatis’ there are to accommodate one ‘ta ka ta ki ta’ and the gaps are to accommodate these 4 beats(2x2).

Let me try and explain by breaking each phrase:




First line is the vocals. Second is the tala representation, third the beats, fourth the percussion pattern and the fifth percussion beats.


Intelligence, Innovation and Improvisation=ILaiyaraaja.
Let us also appreciate the brilliance of Poet Vaali. A complete laya piece is called as ‘Theermanam’.He says ‘It will not end without meeting(each other).Put the ‘Theermanam’ in the right place'.

Maybe , even the Pallavi is also addressed to Raaja-Innum Ennai Enna Seiyya pogiRai(what else are you going to me)- after hearing this tune while composing.


I shall explain the concept of Talas in my future posts as well so that people can understand and appreciate.

The Second Interlude with Strings, Trumpets, and Flute is Meaty, Moving, Tender, Soporific, Vibrant, and Resonant.

This is a Composition that is opulent and gleams like Gold.

This is a Composition that has unexceptionable Musical Values.

This is a Composition that has both Majesty and Evocativeness.

What else can we ask for?

இன்னும் என்ன வேண்டும் நமக்கு?