ILaiyaraaja-The Eloquent Musician!

We human beings are guided by our emotions.

But have we ever sat back and thought as to how we express our emotions? How do we convey what we intend to convey? What kind of language do we use?Is it appropriate and at the same time striking?

The fact of the matter is our personality to a great extent is determined by the way we communicate.When we communicate anything, the other person's mind silently observes us and the quality of his/her response depends on how we communicate rather than what we communicate.

That is why eloquent people have the ability to influence us more. One of the most striking examples is a politician.

Eloquence is a positive word. So why make it negative by associating it with a politician?

Let us look at how the great Tamizh poet Kamban-considered to be one of the most eloquent poets in Tamizh- narrates a situation in Ramayana.This situation itself is a turning point in Ramayana.


On the eve of Rama's coronation, Kaikeyi asks two boons from Dasarata.
1.Her son Bharata to rule the Kingdom.
2.Rama to be sent to forest for 14 years.


Dasarata was too attached to Rama.Kaikeyi brilliantly starts by saying,' First boon- My son to rule the kingdom'.

What follows is a masterstroke.

She knew the very mention of 'Rama' would make Dasarata sit up and react which would ultimately spoil her flow.She feared that if she was interrupted, she might end up not asking what she was 'asked to'.The fact is she was also too attached to Rama but her mind was poisoned by Mantara (kooni).

Therefore, she says 'Seeta's husband to rule the forest'!!

Look at her eloquence...

''ஏய வரங்கள் இரண்டின், ஒன்றினால், என்
சேய் அரசு ஆள்வது; சீதை கேள்வன் ஒன்றால்
போய் வனம் ஆள்வது' எனப் புகன்று, நின்றாள் -
தீயவை யாவையினும் சிறந்த தீயாள்''.

Let us now skip Dasarata's reaction and see what(rather how) Kaikeyi conveys this message to Rama.

'Bharata will rule the world and you will do penance and pray in the forest for 14 years'...and says ' the King(your father) said this'.

"ஆழி சூழ் உலகம் எல்லாம் பரதனே ஆள, நீ போய்த்
தாழ் இருஞ் சடைகள் தாங்கி, தாங்க அருந் தவம் மேற்கொண்டு,
பூழி வெங் கானம் நண்ணி, புண்ணியத் துறைகள் ஆடி,
ஏழ்-இரண்டு ஆண்டின் வா" என்று, இயம்பினன் அரசன்' என்றாள்''.

What do we call this?'Sugar coated poison?
Reminds us of our politicians?

By making Kaikeyi communicate so effectively, Kamban gets the desired result.The readers begin to hate her more..

It is not that only poets/writers/speakers are eloquent.

Musicians are eloquent too.

ILaiyaraaja-one of the greatest cine-musicians has been weaving magic with his music because of his eloquence.

With his appropriate choice of ragas/swaras and the delineation, he is able to bring out subtle emotions so naturally and effectively.

When we listen to the compositions, we laugh; we cry; we roar; we dance; we sing;

In short, we empathise with the characters.
And this is where the greatness of a musician lies.

Today's composition is one such composition.

It is 'Oru Kaatril' from 'Naan KadavuL'(2009).

The composition is based on Rasikapriya.
Rasikapriya is the 72nd(last) melakarata and we have already seen this raga in the post on 'Aganthaiyil aaduvada'(ILaiyaraaja-The Sculptor-Part I dated 11.12.2008).

A vivadi raga-with two vivadi notes 'ri' and 'dha'- Rasikapriya gives a very scary feeling.

Surprisingly enough, Chalanaattai(no.36) , the Sudhdha Madhayama counterpart of Rasikapriya gives a kind of 'mangala' feeling.It is the 'ma' that does the trick here.

The structure of Rasikapriya is:
sa ri3 ga3 ma2 pa dha3 ni3 Sa/Sa ni3 dha3 pa ma2 ga3 ri3 sa.

Now, did I say the song is based on Rasikapriya?

It is..but only some parts.. In the Charanam, the Maestro applies a technique he is very conversant with and it becomes a different raga altogether.

Before I take this up, let me narrate an interesting story.
The first time I listened to this, it sounded Rasikapriya but as I listened to the interludes and the charaNams, I was confused and deciphered the ragam as Kosalam, the 71st Melakarata.

But my musical friend, Tamizharasan made me listen to the CharaNams more closely and it was only then that I discovered the hidden treasure.

I shall explain when I go to the CharaNam part.

Let us start with the prelude.

The opening Dilruba- followed by the brief synthesiser that gives the outline of the tala cycle- is riveting and gives us a tantalising glimpse of Rasikapriya. The percussion along with the synth and the guitar pulsates with buoyancy.

The Pallavi is captivating with the spry fresh voice of the master itself. The first two lines are soft while the third line is effulgent and activates our lachrymal glands.

The first interlude has a swirl of patterns.The Dilruba is interspersed with swift flashes of modern instruments and of course the Bass Guitar.

The Dilruba drills, takes us to the patterned depth of the raga and then takes a flight.A flight that is gradual but with a turn that is sensitive and sudden. It is a beguiling flight indeed.

It touches the 'ni' and taking this note as the 'aadhara'(base) 'sa' it gives a surprise twist. Applying the concept of 'Gruha Bedam', if the 'ni' is taken as the base, the raga becomes Mayamalawagowla.But the genius avoids the note 'pa' totally and makes it sound like Lalita, a raga derived from Mayamalawagowla.The violins and the synthesisers now play Lalita.

Before I take up the CharaNam and the next interlude, let me try and give my interpretation.

The story of 'Naan KadavuL' is based on the Agoris and the physically challenged beggars.

Rasikapriya, a scary raga for Agoris.
Gruha Bedam- for beggars.
Chopping off one note-for the physically challenged.

This is what is eloquence all about!

Let us now go back to the song from where we left.

As mentioned, it now continues in Lalita.

The Charanam has an exemplary structure.The first two lines are silk-edged.The third line shines with emotive content.The last line has fecund articulation.


The second interlude emerges with aesthetic flows.The Raga is now back to Rasikapriya and what is striking here is the use of double bass and the violins in the low pitch to kindle the softer emotions.

The strings then move on intricately drawn passages exquisitely.

We see the curve and the linear.
Towards the end, the Gruha Bedam takes place and it is Lalita again.

We see the beauteous niches of music built on the edifice of depth.

We are permeated by the musical fervour and are inexorably tied.

Sparks of ingenuity!

The Maestro with his musical eloquence adorns the music with a diadem.

இசைக்காற்றில் அலையும் சிறகு நம்மைத் தேடி நம்மிடம் சேரும்..

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ILaiyaraaja's Music is Eternal!

Not all things we see or hear are eternal in this ever changing world. In other words, only few things in this world are everlasting.

Take the sea for example. Waves come, waves go, but it lives forever.

Trees grow, trees fall..but the Mountains continue to exist.

Some more examples can be given but in any case these are part of nature.

What about man-made things?Is it true that only God’s(or nature’s) creations are everlasting?
Not exactly. Human beings are also part of the Creation but are we immortals?

At the same time, some of the works of human beings continue to exist for many years.They may not be everlasting but they give us an everlasting or eternal feeling.

Picasso’s or Ravi Varma’s..

Ellora or Mahabalipuram..

Shakespeare’s or Thiruvalluvar’s..

Talking about Literature, one of the everlasting works in terms of the quantity and the quality is a work called ‘Naalayira Divya Prabhandam’.Quantity, because there are 4000 verses sung by 12 different poets.

Quality?

After all it was sung by 12 devotees of Lord Vishnu.So what is special about it?

It is because of the variety and the range and the way these poets handled the tamizh language.

I have seen and heard many of the so-called rationalists quote from this work without any inhibitions.

Composed independently by the 12 Vaishnavite devotees-called as Azhwars- this work is unique.

The verses were an outpouring from devotees whose sole intention and objective was to attain Moksha(the divine status).

Many verses are erotic as the Azhwars considered the Lord as their lover.
In fact, I have written about some of the Azhwars and have alsoquoted some verses from their work in this thread.

The story of each Azhwar is as unique and interesting as their poems.

Let us take Thirumangai Azhwar.

He was a trusted and an efficient Lieutenant in one of the Chozha’s kingdoms.Because of his dedication, loyalty and efficiency the King offered him a small part of his kingdom. Parakalan-as he was called then fell in love with a lady called Kumudavalli.It was on her insistence that he took to Bhakti and started feeding 1008 Vaishnava devotees everyday.

Having had to spend a lot of money for this ,he took to stealing money and it is said that one day he stole from the Lord himself who was disguised as a man and that he found it impossible to carry the sack that had the bootie.

The transformation happened.

Parakalan became Thirumangai Azhwar.

The 1253 verses sung by him are real gems.

His poems abound with love and eroticism. I feel this has to do with his earlier love for Kumudavalli because of whom he took to Bhakti.His thoughts were channelised and the romantic in him became a devotee.But the romantic streak continued to exist.

Look at this poem:

ஊழியில் பெரிதால் நாழிகை என்னும் , ஒண் சுடர் துயின்றதால் என்னும்
ஆழியும் புலம்பும், அன்றிலும் உறங்கா, தென்றலும் தீயினில் கொடிது ஆம்,
தோழி!ஓ!என்னும்;துணை முலை அரக்கும்;சொல்லுமின், என் செய்கேன்?என்னும்;
ஏழை என் பொன்னுக்கு என் நினைந்திருந்தாய்? இடவெந்தை எந்தை பிரானே!


‘A moment stretches longer than an aeon, she says
The bright sun is dead she says.
Friend, the ocean too is crying; the Anril bird will not sleep;the southern breeze burns worse than fire.
O, how terrible, she says.
She looks as if she would pluck from their roots her two breasts.
What shall I do?Tell me, she says.
What did you mean to do, lord and master of Idaventhai
About my poor girl, my golden girl?’

(Translation-A.K Ramanujan).

The deity addressed is Adivaraha PerumaL at the Temple at Thiruvidavidanthai, about 30 kms from the present day Chennai. The voice is the foster-mother’s who describes her daughter’s frenzied passion for the Lord.

While each and every word in this verse is beautiful, a special mention must be made about the last line ‘Ezhai en ponnukku en ninainthirunthai’.

‘Ezhai’ means poor and ponnukku means gold.PoN also means a girl.
Poor and gold-how is it possible?

What the poet means is that the girl who is poor without you will become rich if only you shower her with your love.
The use of ‘Pon’ conveys a lot of other meanings as well..
Without getting too deep into the philosophical contours, let us enjoy the beauty of the poem.

Verses like these last even after 1300 years because of this beauty element giving us an everlasting eternal feeling.

All Saint Thyagaraja’s compositions have this element and therefore are everlasting.
He too considered Rama as his lover.

In one of the songs, he says, ‘Oh..beautiful and handsome Rama..I Love you’

(‘Mohanarama Mukhajitasoma!!Mohamu neepai Monasiyunnathira).

He brilliantly chose Mohana Ragam for this.Mohana itself means beauty. In fact, Mohanan is one of the names of Lord Krishna.

One can go on and on about Thyagaraja and the beauty element.

In a similar vein, one can go on and on about the beauty element in ILaiyaraaja’s compositions.

In this thread, we have been seeing as to how he weaves swaras, ragas and talas in the fabric called music.

What is of particular interest is his choice of ragas.

It is a fact that the ragas in his compositions truly reflect the situation in the movie. One classic example is ‘Idhazhil Kadhai Ezhuthum’(Unnal Mudiyum Thambi) where he used the Lalita ragam, Lalita being the name of the heroine.

His speciality lies in the way he handles the ragas. While choosing a raga for a particular song, he does not strictly go by the book.For example, he has used a raga like Subha Pantuvarali- that is supposed to give sad feeling- in romantic and humorous situations.
And an auspicious raga like Kalyani in sad situations.

But what amazes me is the way the raga is made to sound..

Maybe that is why his compositions sound so great giving us an everlasting feeling.

Today’s composition is also one of his special compositions.

I made a mention about the Mohana ragam that is supposed to give us a very happy feeling.

Raaja has used this happy ragam in sad situations and also to depict Viraha.

‘Raasave Unnai Naan Enniththaan’(Thanikkattu Raja) and ‘Oru Ragam Paadalodu’(Ananda Ragam) are based on Mohanam but sound so differently.

But my first preference is for a duet that appears in the movie ‘Nadodi Thendral’.

The song is ‘Oru KaNam Oru Yugamaga’.

Before we take up the song, let us look at Mohanam.

It is a pentatonic ragam derived from the 28th Melakartha Harikamboji and the structure is:

sa ri2 ga3 pa dha2 Sa/Sa dha2 pa ga3 ri2 sa.

The raga is considered to be one of the oldest raga.The notes of this raga are found in almost all forms of music.
The Hindustani counterpart is called as Bhoop or Bhoopali.
The Mohanam scale is found in the South Eastern Music and in gypsy music as well.

In Carnatic music, it is a very special ragam because generally pentatonic(ragas with 5 notes) are not Gamaka laden.(Gamakam is the oscillation of notes and is unique to Carnatic music).But Mohanam is an exception and is full of gamakams.

Let us look at today’s composition. The composition depicts Viraha-the pangs of separation wonderfully. It indeed needs a lot of guts to compose this kind of a song in Mohanam.I have hardly come across a better Viraha song.

The song starts with lucid humming of Janaki.It breathes graciousness and is majestic.

The first two lines are sung without any percussion adding to the beauty. The vibrancy is palpable as the strings and tabla take over.The shrill flute at the end of each line is serenely luminous.

The first interlude moves with tenderness. The feather-touch repartee of the bass flute shows us the sensitive nuances.
The violins move languorously as the shrill-flute shines with radiance.

The Charanam shows us the world of ethereal beauty.The first two lines are sketched with flourish as we see the star studded sky.The cogent melodic progression is amazing and even the alien swara(‘ni’) sounds beautiful.

The sangatis in the last line are lively and lend a quiet glow.

The atmosphere gets enlivened by the succinct and clear voice of the Maestro. The pause here makes us feel want more and more.

We see the variegated pattern unfold before us in the second interlude as we hear the lively violins and the soft and gentle flute. The subtle hues of the raga are shown with a delicate touch.

The second Charanam is also beautifully chiselled.The first two lines have depth and resonance while the other lines are embellished by the notes that shine like diamonds.

The entire composition is built on a grand edifice and it encompasses the entire range of the raga.
It is tender, direct and is deep.

The mellow aspects and the musical effervescence send us into a reverie.

A moment or an aeon-his music is everlasting!

ஒரு கணமாயினும் ஒரு யுகமாயினும் நிலைத்து நிற்கும் இசை..

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ILaiyaraaja-Musician with a Magnetic Charm!

Have we ever thought as to why birds make trees their abode?

Is it a sense of security?
Is it affinity?
Is it natural attraction?

By the way, why should the birds be attracted to trees?

We all know how musical birds are.
But have we noticed that trees are musical as well?

The sound of the tree rustling in the breeze..
The green leaves..
The smiling flowers..
The shining fruits..

We hear the Shruti..Swaras..Ragas..Talas..

Birds and the Trees!

Attached to each other like a magnet.

Said Saint Thyagaraja,’Oh.Rama!I am like a bird going around the tree again and again..’(Chutti Chutti Pakshulella Settu Veduku Reethi Bhuvini Puttagana Nee Padamula Pattu Konna Nannu Brova)

As a divine person, he was attracted to Rama like how a bird is attracted to a tree.

He went on to sing ‘You are the Treasure of Virtues, and the Abode of Mercy’(SuguNa Jaala KaruNaavaala).’

'I have come seeking shelter at your feet surrendering my Body and possessions as they belong to You’(CharaNu Jocchi Tanuvu Dhanamu Needeyandi Thyagaraja Vinuta Rama).

‘Oh Sitarama!Why this undue delay to protect me?’(KaalaharaNamelaraa Hare Sitarama?).

This beautiful Keertanam is in Sudhdha Saveri Ragam.

Talking of attraction, I am also reminded of the divine attraction between Rama and Sita.

As per Tamizh poet Kamban, the love between the two was spontaneous.

Though there are a lot of verses that beautifully describe their relationship (some have already been quoted in this thread!), I would like to take up one very interesting verse.

It is the night before the wedding.

Looking at the moon, the Love Struck Rama sees Sita’s face in it. For a moment he feels the moon is Sita.
And says, ‘You are the seed of my love;not just the seed but also the manure for the tree called Love.’

Then he realizes that it is the moon and not his beloved Sita.

He now says’ You have the face of Sita. Probably you are related to her. By reminding me of her face, you are troubling me so much.Why don’t you become my relative as well?’

திருவே அனையாள் முகமே! உயிரின்
கருவே!கனியே!விளைகாம விதைக்கு
எருவே!மதியே!இதுஎன் செய்தவா?
ஒருவேனொடு நீ உறவாகலையோ?


What Kamban means here is that unable to bear the torment Rama pleads with the moon not to trouble him!

Poetic Beauty..

Magnetic attraction..

I find this kind of a magnetic charm in ILaiyaraaja’s music.

Many times when I listen to his musical pieces, I ask him (of course to myself!),

‘Why do you trouble me by producing such great music?’

Trouble that is a pleasure.

Today, we are going to see yet another great composition.

It is ‘Raamudu Kalaganaledhu’ from the Telugu film ‘Rajkumar’.

The composition is based on Sudhdha Saveri.

Sudhdha Saveri is a oudava raga(raga with 5 swaras in the Aarohana and Avarohana) and is derived from the 29th melakartha DheeraShankarabharanam.

Its Structure is:
sa ri2 ma1 pa dha2 Sa/Sa dha2 pa ma1 ri2 sa.

Replace the ‘ma’ with ‘ga’ and we get Mohanam.
Replace the dha’ with ‘ni’ and we get Madhyamavati.

Sing this raga in Madhyama Sruti and we get Pahaadi.

However, Sudhdha Saveri is unique and different.

As the name suggests, it is indeed a very pure raga.

Maestro has scored some amazing songs in this ragam.

Let us now look at today’s composition.

It starts with the very auspicious Nagaswaram and Tavil.

The Veena plays with finesse.Then a surprise awaits us.It is not the violin or flute that gives a reply to the Veena.

It is the Baas Guitar that gives the repartee.
Though Maestro is very well known for his bass work (in fact he was the one who pioneered this in films), the resplendent flashes of Bass Guitar in this composition is unique and great!

The Flute now appears with beauty and grace. The violins and electronic instruments follow suit.

The Pallavi is exquisite and gives distinctive shades of Sudhdha Saveri meticulously.
Suseela and SPB give soft radiance to the already beautiful Ragam.

The last line in the Pallavi ‘Aa Ramayanam’ gives a spell of fascination!

The aesthetic flute now sings like a cuckoo while the guitar fluently expresses itself.

It is the turn of the violins to decorate the raga.
The Bass Guitar surrounds us melting us in the process!

The CharaNam is sobriety personified.

The first two lines are pithy and poignant.
The next two lines slither through wonderfully.
The last two lines stir us melodiously.

The Sangati at the end of the CharaNam shows us the finer nuances of the raga.

In the second interlude, the violins move daintily.
The alluring Shehnai is courted by the Flute.

We suddenly see a shift here as we hear the subtly shaded alien swaras. This infuses delicacy.

The modern instruments are deftly interwoven exemplifying refinement.

The composition breathes graciousness.

It is delicately eloquent.

It is piercing.

It is enticing.

It is magnetic..

Rama and Sita..
The Bird and the Tree!

Raaja’s music and us…

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ILaiyaraaja-The Delightful Musician!

Lotus is a very beautiful flower. It is also a very interesting flower.

It is a friend of the Sun but enemy of the moon.

Lotus petals are considered to be very soft.

The shape of the flower is also very unique.

The Bahá'í Temple in Delhi is in the shape of a Lotus.I have meditated there and it is not possible to descibe the vibrations and the blissful experience I had there.

It is also said that the Sahasra Chakra on our Head - as per the seven chakra theory-is shaped like a Lotus.

Poets have also been intrigued by the Lotus Flower. Quite often we see the beautiful eyes being compared with Lotus.

One of the 12 Aazhwaars, Pei Azhwaar(பேய் ஆழ்வார்) goes a step further and says Lord Krishna’s hands, feet and eyes are nothing but Lotus Flowers:

கண்ணும் கமலம்;கமலமே கைத்தலமும்;
மண் அளந்த பாதமும் மற்று அவையே....

Shri.Muthuswami Dikshitar-one of the greatest Caranatic Music Composers- sang what is called as Nava Avarana Krithis on Devi and all these Krithis start with ‘Kamalamba..’(Kamalam –lotus).

There is also a beautiful Raga called Kamala Manohari and Dikshitar composed ‘Kanchadalaya thakshi Kamakshi ‘ in this Raga.

Lotus is a delightful heavenly flower.

Similarly, ILaiyaraaja’s music is delightful and heavenly.
It is as soft and beautiful as a Lotus.

It is as interesting as a Lotus.

It is as complex as a Lotus.

In the composition we are going to see today, he has given the sketch and colourful shades of Kamala Manohari-the ‘Lotus’ Raga.

It is ‘Poonkathave Thaazh Thiravai’ from NizhalgaL(1980).

Many people consider this as Mayamalawagowla Raga.
Yes, the swaras used are from Mayamalawagowla only.

But when observed closely, one can understand that the composition is unique.

At the same time, one cannot strictly say that this is Kamalamanohari since there is a very sparing use of ‘Ri’, a swara that is non-existing in Kamalamanohari.

Some people also say it is based on Jaganmohini, another Raga with ‘ri’ in the avarohanam.

But repeated listening to the entire composition makes me feel strongly that except for the sparing use of ‘ri’(in the higher octave) and ‘dha’ in the arohanam once, it more or less follows the pattern of Kamala Manohari.

Let us look first at the structure of Kamala Manohari and then the composition:

Sa ga3 ma1 pa ni3 Sa/Sa ni3 dha1 pa ma1 ga3 sa.

The composition starts with the breeze blowing gently across as if to open the beautiful petals of the lotus.

We see a slender silhouette that becomes a chiaroscuro. We see the flowers in harmony as the violins play counterpoints.

The Violins reach a sweeping crescendo, the Veena imparts vim and vigour and the flowers nod their heads smiling at us as the Flute plays.

The Pallavi is a clear stream of exposition with the fresh voices of Deepan Chakravarthy and Uma Ramanan.

The Laya pattern-the speciality of the Maestro-is as interesting as ever.

The composition is set to the 8 beat Adi Talam.

He has divided the cycle into two mini cycles and within each mini cycle there are 16 micro beats.

It is:Ta – Ta Ta Ta – Ta Ta Ta – Ta Ta Ta – Ta –.

As already explained in some of my previous posts, ‘– ‘ is a blank space left alone while playing.

The last 4 beats ‘Ta– Ta –‘ is played more robustly to give a special effect.

Each beat is a lotus petal and I feel the pattern is an effort to unravel the mystery of Lotus Flower..

Not just Lotus Flower but also of Human Life..

After all, don’t we know that Life itself is a Palimpsest?

The first interlude is a real beauty.

As the strings make overtures the first time, the violin sallies forth.

The second time, it is effusive.

The third time, it comes out with a flourish.

The fourth time, it pulses with energy.

And the fifth time, it lets out a romantic cry and joins its lover…

We see the beauteous facets of Love, Music and the Life as the violins play.

The Flute does an interpretative dip and we hear the soul stirring phrases of Nagaswaram.

As the Tavil indicates a new beginning and realization, the Charanam starts.

The phrases in the Charanams are constructed with stirring emotional intensity and we see the colourful sequence.

The first two lines are passages of exceptional beauty while the other lines are packed with brilliance.

The second interlude is festooned with beautiful flowers.

We move gently with the flowers accompanied by the dazzling strings and the vibrant Flute.

Suddenly we come across curves and twists.

It is like a convoluted loop as the Violins play and we reach a nook.

We ruminate.

We explore intriguing territory..

We reach the depth and we feel the inner tranquility..

We bask in complete and absolute serenity..

We realise the meaning of life and the Lotus within us blooms..

பூங்கதவு தாழ் திறந்தது..
சுவர்க்கத்தை நமக்கு காட்டியது..
(Ponngathavu Thaazh Thiranthathu..Swargaththai Namakku Kaatiyathu!)

The Flower Decked doors open and it is Heaven!

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ILaiyaraaja-Musician without Boundaries..

Plus a change, plus c’est la meme chose’.

This is a French term and it means ‘The more things change, the more they remain the same’.

Sounds paradoxical..

But if we delve into this we find that it does make sense.

Let us take Music.

New discoveries and inventions have taken place in the last so many years. But has there been an instance of a new Note or Swara being discovered or invented?

What is amazing is that these seven notes are universal and are present in all forms of Music though they are called by different names.

More than anything else, what this means is that Music cannot be bound by anything.

It has no boundaries.

And more importantly, Music cannot be the preserve of some people or a section of people.

Can the air present in the atmosphere be the sole property of just a few people?

Depending on its character, air takes various forms like the wind, breeze, storm etc.,
Can we say that one form is a copy of the other?

It is very unfortunate to note that certain Musical forms tend to get identified with certain communities/class.

Going back to where I started, lot of innovations and improvisations have taken place in Music but still Music is Music. It has not changed.

We are very fortunate to have one composer who is literally a living legend and who has done many innovations without in anyway spoiling the flavour of Music.

The kind of innovations he has done is not simple-though some people think it is too simple-and needs years and years of research.

One such innovation was ‘Paadariyen Padippariyen’ from Sindhu Bhairavi. I call this an innovation not without any reason.

Let us now look at the sequence in the movie.

A very popular classical musician is performing on stage.A section of the audience is not attentive and this is spotted by a lady in the audience .

She gets up and requests the musician to sing songs in familiar language to hold audience interest .The great Musician ridicules this and goes to the extent of denigrating Folk Music.

He also challenges her to sing a folk song .

The lady responds and sings ...

What should also be of particular interest is the ‘Kirtana’ rendered by the Musician just before this altercation takes place.

The Kirtana is ‘Mari Mari Ninne’ which was originally set to Kambhoji Ragam by Saint Thyagaraja.

This Kirtana and the song that follows have been set in ‘Saramati’ ragam by the Maestro.

A section of the media did not want to waste this opportunity and tried its best to provoke classical musicians saying 'Raja has insulted Thyagaraja and has brought disrepute to Carnatic Music'.

Ironically enough , another section of the people who say they want a casteless society but still cling on to the caste factor whenever it favours them hailed Raja as theone who conquered the bastions of upper caste by 'tampering' with the classical structure.

Both the sides missed a point.

'Classical Music is not the preserve of one community or religion'.

Let us first see if it was in deed a crime or a sin to change the Raga of a song from that of the original?

Annamacharaya-who lived at least two centuries before Saint Thyagaraja-composed thousands of songs in various Ragas. The Great Legend of Carnatic Music, Smt.M.S.Subhulakshmi has rendered many of these songs in completely different ragas.

So can one say that Smt.MSS insulted Annamacharya?

Songs penned by Gopalakrishna Bharathi from the ‘Nandanar Charithram’ are sung in different ragas totally at variance with the Ragas mentioned by the composer. In fact, I have heard one particular song ‘Vazhi Maraithirukkuthu’ being sung in three different Ragas.

So is it possible to conclude that the Carnatic Musicians do not respect the Musical skills of such a great composer like Gopalakrishna Bharathi?

Subramaniya Bharathiyar had great knowledge in Music and he tuned all his songs. The song ‘Chinnanchirukiliye’ was tuned by him in Bhairavi ragam.The great film Music Composer Shri.C.R.Subburaman changed it into a Ragamalika and people identify ‘Chinnanchirukiliye’ only by this tune now.

Did CRS mean any offense to Bharathi?

The Thyagaraja Kirtana ‘Manasuloni Marmamulu Telusuko’is sung in Hindolam by some people and in Varam by some others.

Does anybody know as to which one is the correct version?And are these people insulting the Saint?

The answer to all these questions is a big NO.

In a similar vein, ILaiyaraaja whose respect for Saint Thyagaraja knows no bounds will be the last person to insult the Saint.

The problem is that Music is being wrongly identified and considered as a social issue and because of this the Classical Form is being associated with a particular Religion/Community.

The Bravado of such people is ludicrous. These self styled torch- bearers of society have their own agenda and most of their arguments are nebulous.

If they feel that Raja sir has hurt the sentiments of music lovers and in the process a particular community, they are thoroughly mistaken.

And if they continue to identify any form of Music with any community, it is them-and not Raja sir- who insult Music.

Let them understand that the Music of the movie was widely appreciated by many
well-known musicians including the great legend Maharajapuram Santhanam!

And let these people also understand that Music cannot and should not been seen with a coloured glass and that it is a sacrilege to give communal and caste colour to Music.

I am writing all these because though it is easy to ignore comments made with mala fide intentions, it also becomes necessary to tell the truth so that people are not misguided unnecessarily.

Let us also get some facts right.

The tune of the song ‘Paadariyen Padippariyen’ was not lifted from any folk song.

Only the lyrics –and that too the first two lines- have been used. The original tune has traces of Karaharapriya ragam.

Raja was looking at a Kirtanam with a start (eduppu) after one and half beats and he found ‘Mari Mari’ fitting the bill.

The original raga of ‘Mari Mari Ninne’ was changed because Raja felt that Saramati would suit the sequence.

He is a Musician without any boundaries and that is why his Music is being appreciated all over the world.

Now let us look at the composition-Paadariyen Padippariyen.

As mentioned earlier, it is based on Saramati(and not Charumathi as some people choose to call it!).

Saramati is derived from the 20th Melakartha Natabhiravi and its structure is sa ri2 ga2 ma1 pa dha1 ni2 Sa/sa ni2 dha1 ma1 ga2 Sa.

The arohana is the same as that of Nata Bhairavi and the avarohana is that of Hindolam’s.

This Raga is relatively new and does not find a mention in many of the older texts. Among the Trinity, only Saint Thyagaraja has used it in ‘Mokshamu Galadaa’

‘Paadariyen..’ begins rather imperceptibly.

As the Mridangam starts in folk style, we get hooked on to it. The Pallavi itself gives a wonderful sketch of the Raga.

The Violin interlude plays the Arohana and Avarohana pattern of the Raga just to indicate the simplicity!

Words without expressions and Swaras without meaning will lead one nowhere and this is what is conveyed in the first charanam.It also says that ‘Music is from the sound of Nature’.

The sangathi following the line ‘Ellame Sangeetham thaan’ is without any frills and at the same time is gripping.

The Second Charanam pleads the Musician to also think of layman and asks him if there is anything wrong with this.

The flavour of Todi Ragam after the line ‘Sonnathu Thappa Thappa’ is Brilliant.This simple usage has layers and layers of meanings!

The Kalpana Swaras are part of a classical Music Concert and shows the creativity of the Musician and his knowledge of Talas.

Here the Folk style song has the Kalpana Swaras neatly hemmed.

It reflects the expertise and the sensitivity of ILaiyaraaja.

Swaras are corralled and are sung with gusto.

It slowly gathers momentum and it is a slew of Swaras rendered in a very fast pace indicating chockablock of emotions.

‘Mari Mari Ninne’ is rendered in pure Classical Style in the end proving the fact that Music is in deed universal and is omnipresent in a mottled form.

Yes, Music is an experience that transcends formal parameters. It has no boundaries or any divisions.

I am an illiterate..I do not know any grammar..All I know is to appreciate music in its full form..

பாடறியேன் படிப்பறியேன் பள்ளிக்கூடம் தானறியேன்
இசையை இசையாக ரசிப்பதை மட்டும் அறிவேன்!

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ILaiyaraaja-The Unpretentious Musician!

‘’I go down to their level and then try to take them along with me to a higher level. It sounds easy but is difficult in practice.’’

‘’The setting does not matter. It is the intent that matters’’.

These are the words of Rahat Fateh Ali Khan, one of the popular Sufi musicians.

Rahat and his uncle, the great legend Nusrat Fateh Ali Khan were accused by the ‘purists’ of taking the Qawwali and Sufi Music to Marriage Halls and films.

This throws up lot of questions.

Should Classical arts be confined to the closed walls?

If yes, why?

If no, then should the form change?

Should it be too simplified?

In the name of ‘simplification’, should the artiste stoop to ‘conquer’?

Where does one draw a line?


Let us look at the questions one by one.

Classical Arts can never be the preserve of certain class of people. No single community can claim to be the owner of any Art Form.In fact, I discussed this at length in my post on ‘Paadariyen..’ sometime back.

All forms must reach the masses and only then can they grow.

But the danger is that in the name of ‘simplification’, some artistes –musicians and dancers- make it too simple that the classical essence itself is lost.

Instead of raising the bar, these artistes lower it finally ending up with gimmickry.
What starts off as ‘taking to the masses’ and ‘playing to the gallery’ takes the shape of (at times taking no shape!) a ‘Mass Product’.

What is shown and demonstrated then is the ‘capability’ of the artiste to perform gymnastics in fine arts.

It is here that the words of Rahat -‘It is the intent that matters’- assume significance.

If the intent is good, the mission will be successful.

Therefore, whether it is Music in Films or Music in a typical Classical Platform, what matters is the objective of the artiste, the way he/she is able to execute and most importantly the ability of the artiste to take the audience/listeners to a higher plane.

Though purists frown as soon as a mention is made of ‘Film Music’, it is an accepted fact that Films have played a very big role in propagating classical arts.

And the man hailing from a very small village called Pannaippuram in Madurai district has strived hard to popularize Classical music.And he did this without any pretentions.

He has simplified the form without in anyway tampering with the aesthetic values.

He has used very popular Ragas giving us the essence.

He has used very rare Ragas(some of the ragas were not known or used by the classical musicians until he brought them out-examples being Sallapam, Rasika Ranjani, Samudra Priya etc.,)

He composed using only the ascending notes- a new and novel concept- but not at the cost of classicism.

He composed using just three notes.

He applied the concept of Sruti Bedam .

He used very intricate Tala(rhythmic) patterns.

The point here is that the layman would not have understood many of these concepts.
But they enjoyed (and continue to enjoy) for the sheer happiness and pleasure the music gave (gives).

But I also know many people who got interested in classical music after listening to his compositions( a classic example is ‘yours sincerely’!).

Today, we are going to see an interesting composition of his.

Contrary to what is believed (of course by people who have not listened to many of his compositions), he has composed lot of songs in Hindustani Ragas.

Today’s Composition is also based on a Hindustani Raga.

The Raga is ‘Shudhh Saarang’ and the composition is ‘Oru Devathai’ from the Film ‘Naan Sonnathe Sattam’.

‘Shuddh Saarang’ is a very melodious Raga and it uses both the variations of ‘ma’ like many Hindustani ragas.

The Structure is:

sa ma1 ri2 ma2 pa ni3 Sa/Sa ni3 dha2 pa ma2 pa dha2 pa ma1 ri2 sa.

Now, let us look at the composition.

The Chorus voice spreads, swarms and warps. Suddenly, the violins loom into view.
The Flute and Strings stir to life and we get to see the Angel..

The intricately carved Pallavi sounds stunning with the voices of SPB and Asha Bhonsle. The line ‘En Manathil Puthiya RagangaL’ is exotic.

The Flute then plays with lucidity while the Guitar undulates gently with a satiny texture. In fact, one gets a taste of Hamsanadam- a Ragam very close to Shudhh Saarang.
The Violins give some unique touches mesmerizing us.

The Charanam can be divided into three parts.

The first one ‘Kaattinil Poo Vaasam’ and ‘Kadalinil Mazhai’ is scintillating with the sweet voices of Asha and SPB.

The second one ‘Anbenum..’ is tender.

The third one ‘Naan seitha..’oozes with zest.

The second interlude is caparisoned with beautiful orchestration.

The vivifying Flute is followed by the chorus voices singing with insouciant grace.

It is then the encompassing sweep of the violins as the Guitar plays with stylized musical fervour.

The composition is a continual rain of honey.

It is built on the edifice of beauty.

It gives us an exquisite image of the Raga.

It is a delightful treat.

It is the song of the angel….It opens our Hearts and pierces inside..

தேவதை வந்தது.மனச்சிறைக் கூண்டைத் துளைத்துச் சென்றது.

ILaiyaraaja's Music is Omnipresent and Omnipotent!

‘There's music in the sighing of a reed;
There's music in the gushing of a rill;
There's music in all things, if men had ears:
Their earth is but an echo of the spheres.’

Said Lord Byron .


Subramaniya Bharati went one step ahead.

Listening to the song of a cuckoo, he wants to become a cuckoo himself . The cuckoo inspired him so much that he dedicated one of his works to the bird.
Titled ‘Kuyil Paattu’(Song of the Cuckoo), this work of his is one of the beautiful works ever with Philosophical contours in Tamizh language.

‘It seems that
The breeze is mixed with nectar,
With the lightning showing its face,
The Beauty Queen from the Heaven
Descending in the form of music.
I am in a state of ecstasy
Listening to this song of Cuckoo
And I want to become a Cuckoo
To say many unknown things to this world!’


இன்னமுதைக் காற்றினிடை எங்கும் கலந்ததுபோல்
மின்னற்சுவைதான் மெலிதாய் மிகவினிதாய்
வந்து பரவுதல்போல் வானத்து மோகினியாள்
இந்த உரு எய்தித் தன் ஏற்றம் விளங்குதல்போல்

இன்னிசைத் தீம்பாடல் இசைத்திருக்கும் விந்தைதனை
முன்னிக் கவிதைவெறி மூண்டே நனவழியப்
பட்டப் பகலிலே பாவலர்க்குத் தோன்றுவதாம்
நெட்டைக் கனவின் நிகழ்ச்சியிலே கண்டேன் யான்
கன்னிக் குயிலொன்று காவிடத்தே பாடியதோர்
இன்னிசைப் பாட்டினிலே யானும் பரவசமாய்
'மனித உரு நீங்கிக் குயிலுருவம் வாராதோ?'
குக்குக்கூ என்று குயில் பாடும் பாட்டினிலே
தொக்கப் பொருளெல்லாம் தோன்றியதென் சிந்தைக்கே
அந்தப் பொருளை அவனிக்கு உரைத்திடுவேன்.

People like Byron and Bharati worshipped nature. They saw music everywhere. They knew that Music is omnipresent and omnipotent.

That is why their works continue to exist.

Coming to think of it, can there be anything in this world that is not musical?
If only we realise this fact, there would be no quarrels, squabbles, fights, wars and the world would be a better place to live.

Let us celebrate music on this special day.A day when Film Music acquired a new dimension.

Like Byron and Bharati, this gentleman saw music everywhere.
Not only did he see music, but also that he understood it.

Not only did he understand it, but also that he improvised it.

Not only did he improvise it, but also that he made it sound simple.

Not only did he make it sound simple but also that he made it sound very different.

Not only did he make it sound different but also that he made it sound very melodious.

In this thread, we have been seeing the classical and finer elements in his music.

This special day’s composition is also very special befitting the occasion.
Special because it talks about music itself. Can there be a better way of wishing a special person on this special day?

The composition is ‘Vaana Mazhai Pole Varum GaanangaL’ from ‘Ithu Namma Bhoomi’(1992).

It is based on a raga called Raageshree.

Raageshree is a Hindustani Raag derived from the Khamaj thaat(equivalent to Carnatic Harikamboji).
Its Aroh is ni2 sa ga3 ma1 dha2 ni2 Sa and Avaroh Sa ni2 dha2 pa ma1 ga3 ri2 sa.

‘pa’ is used very sparingly and the phrase ‘Sa ni ni dha ma ga sa’ adds beauty to this Raag.

As per the texts, this Raag is sung in the night and is majestic and meditative.

The song starts with the distinctively mellifluous humming of Yesudass.
The Pallavi woos us with its simplicity.It is reposeful and has a sense of quietude. Very soft framing of the Pallavi. The tabla beats evoke a focussed ambience of a Gazal.

‘Music pours like the rain from the heavens.The clouds sing melody. This music lasts forever’.

In the first interlude, the flute brimming with vim and vigour plays with undulating energy to the accompaniment of modern percussion instruments. The tender but deep Sitar gives the Flute and angelic strength as the Flute elegantly sings like a cuckoo.

The CharaNam is deftly framed giving us an enchanting harmony.

The first two lines are exquisite while the next two lines have liquid glides. The last line gives a sparkling finish.The icing on the cake is the sympathetic strings(resonance or auxiliary strings found in the Hindustani instruments like Sitar and Sarod).

‘The mind and the heart are relaxed in the night with music.It gives a healing touch. Flower blooms in the Dry rock and the Steel becomes moist with music’.

It is ‘Hop, skip and jump’ in the second interlude as we see the shades of western music with modern instruments that play with insouciance. The exquisite Sitar appears now with grace and style. We now enjoy the moments of beauty as the swaras are sung.

Free flowing expressions at its best!

The malleable phrases continue in the CharaNam.

‘Who has soaked honey in the voice of the cuckoo?
Who has made the heart so light-as light as the music?
I do not need the Stage..I can sing in a small room.
Do the cuckoos sing to attain name and fame?
I am happy to sing and this is enough!’

The composition caresses us gently like a breeze.

We see the Snow-capped Mountains and the Dollops of snow.

We see the ripples of melody as the droplets of rain furrow down.

We see the emerald green valley and smell the fresh grass and the flowers.

We see the serene blue translucent lake and we see ourselves there.

We are in communion with nature.

His Music is omnipresent and omnipotent.

நிலைக்கும் கானம் இது..நெடுநாள் வாழும் இது!

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ILaiyaraaja-The Magician!

''Language is the Music of Nature'' said William Wordsworth.

I would like to modify this and say ''Music is The Language of Nature''.

There is Music in Nature.

Natural elements like Rivers, Mountains and the Sea not only produce Music but also have produced great Musicians.

Take River for example.The Great composer in Carnatic Music, Saint Thyagaraja grew up in Thiruvaiyaru(confluence of five rivers).

Bhadrachala Ramadasa lived by the side of the River Godavari.

The great Shehnai Maestro Bismillah Khan ‘s heart was Benaras , a city that is surrounded by the River Ganga.

Beethoven and Mozart lived in Austria where the River Danube flows.

Mountains too have produced great Music.

One of the greatest composers of modern era was born and brought up in an obscure village surrounded by Western Ghats.A quiet River also flows near the village.People who have been to Pannaipuram know how serene and divine the place is.The picturesque scene has to be seen to be enjoyed.

Having grown up in such an atmosphere and environment , is it any surprise that he is able to give enchanting Music to us?

His Music takes us from the Ephemeral to the Ethereal.

He has used popular Ragas, and rare Ragas;

He has used simple rhythmic patterns, and unusual /complex rhythmic Patterns;

He has used simple techniques, and complex Techniques.

Today let us look at yet another composition of his..

The Kannada film ‘Nee Nanna Gellalare’ is replete with some excellent compositions.

‘Anuraga Enaithu’ is one such composition.It is based on Dharmavathy-the 59th Melakartha.

Dharmavathy a magnetic aura.

The Raga evokes a feeling of nostalgia .

Though it is very close to some very popular Ragas like Simhendra madhyamam,Gowrimanohari, and Kalyani , the Raga is unique..

The structure is sa ri2 ga2 ma2 pa dha2 ni3 Sa/Sa ni3 dha2 pa ma2 ga2 ri2 sa.

Anuraga’ starts with the sweet sound of the Guitar.When Dr.RajKumar sings ‘I Love You’, the orchestra repeats it .

It is not just the Orchestra that repeats this. Quietly surrounded by the Grandeur of the composition, we also sing

‘I Love You’.

The Sweet Guitar appears again in the first interlude followed by the brilliant flute .

After this it is sheer Magic.
The Dilruba suddenly starts playing Chakravagam-the 16th Melakartha.

It is Gruha Bedam (or Sruti bedam) with the shift taking place from 'ri'.

The seamless transition is Mind Boggling!

The Charanam continues in Chakravagam until the last line where it catches up with Dharmavathy.

The second Interlude is another beauty.

The chorus sings in Dharmavathy and we quiver.

The Violin Orchestra takes over and we Sway..

And as we Sway, the shift takes place again.

The Flute plays Chakravagam!

If only we had the powers to see Raja’s Music in Visual Form, we would see Natural Beauty at its best.

We would see the Snow-Capped Mountains.
We would see the Azure Blue Sea.
We would see the Marble like River.
We would see the Trees in Verdant Green.
We would be in Nature’s Womb.
We would be Stranded in Paradise!

What an exhilarating experience!

Dhramavathy rains while the Chakravagam peeps out like the sun light!

We see the Rainbow.The seven colours seem like the Seven Swaras.

And that is the real Anuraga...

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ILaiyaraaja-The Poetic Musician!

Sita and Rama see each other and it is ‘Love at First Sight’.Rama leaves the place and Sita is tormented by his thoughts.

Tamizh Poet Kamban describes this wonderfully:
Sita says,

‘His Dark Hair, His Moonlike Face,
Long Hands, Mountain like Shoulders,
Even Before seeing these, I lost myself to His Captivating Smile !’

இந்திர நீலம் ஒத்து இருண்ட குஞ்சியும்
சந்திர வதனமும் தாழ்ந்த கைகளும்
சுந்தர மணிவரைத் தோளுமே அல
முந்தி என் உயிரை அம்முறுவல் உண்டதே

In my post on Gambheera Nattai, I had mentioned about the phrase ‘Ittathu Kettanar Eduththathu KaNdar’.

Kamban the magician, wields his magic wand and it is beauty all around. In a single stroke, he paints the picture of Rama and the longing and pain of Sita.

ILaiyaraaja’s Music is also similar to Kamban’s poetry.

He weaves his composition so beautifully and like Sita who lost herself in the captivating smile of Rama, we too lose ourselves while listening to his music.

Not only does he tune his compositions tastefully but also embellishes them with meaningful Orchestration.

In his Palette, we see new colours.

In his Smorgasbord of Music, we find vareity..

Today, we are going to see a very interesting Raga used extensively by Raja.

It is the Raga Jog.

Jog is a very exquisite Raga and it depicts longing and pain.

It has a Pentatonic Structure and is identifiable by its characteristic use of both the variants of ‘Ga’(ga2 and ga3) .

The Arohana has a simple pentatonic structure -sa ga3 ma1 pa ni3 Sa- while the avarohana has a devious(vakra) form and uses both the variants of ‘ga’.

Jog is a Hindustani Raga. Though there is no carnatic equivalent, Nattai and Gambheera Nattai are somewhat closer to this Raga.

Let us now see how the Maestro has used this Raga.

The Swaras of Jog are literally spread in a gradual way with extensive improvisation in ‘Metti Oli Kaatrodu En Nenjai Thaalaatta’ from ‘Metti’.

It starts with the entrancing Aalap of Janaki and as one begins to drown in the nectar, Raja’s Aalap appears and it is Harmony with wonderful counterpoints.

The strings follow and they pull the string of our Hearts. The short and sweet Flute piece is like a scimitar piercing our hearts.

The Tabla throbs with the Bass Guitar and it is mesmerizing indeed!

We are swallowed by the sheer Intensity and Vibrancy of the single violin that plays in Indian Classical style seamlessly moving to the Western Style.The Flute and the Strings march in now and it is a Cathartic Experience.

The Second Interlude is a sheer joy as Janaki traverses different Sthayis(octaves) going from the ‘Thara Sthayi’(higher octave) to the ‘Mandra Sthayi(lower octave) with consummate ease.

And as she sings ’ Thuruthoo Thuththoo..’in a sinuous pattern , the Swaras come together and it looks as if Time itself has frozen...

We feel the Time and Space have no meanings when we listen to ‘Oru Pattampoochi..’ from ‘Kaadhalukku Mariyathai’.

As Yesudoss hums Jog, we see the beautiful Butterfly..

It flaps its wings gracefully to the beats of the Synthesiser …

Lo and behold..

The Butterfly takes its flight and what a lovely flight it is. It crosses swathes of land and groups of colourful flowers as the Dilruba plays followed by the small and long flutes.

As Yesudoss sings ‘Poovana Ilanenju..’ in the second interlude in a Qawali style, the butterfly lands on a Flower to the accompaniment of Dilruba .It then rains Honey as Jog is sprayed all over.

The Chatusram beats that keep changing intelligently and the special sound effect of ‘Knock Knock’ when the word ‘Thattugindrathe.. ‘ are all the indelible and inimitable mark of the Master!

The Raga moves like a Round Ball in ‘Vatta Pandu Thottu ViLaiyada’ from the Film ‘Chinna Vadhyar’.

The pattern of the beats and the instruments make us feel the ‘Moving Ball’.

The gleaming ball moves traversing the craggy surface.

We see the off break, the leg break and the googly in the first interlude.

It becomes a slower delivery in the Second Interlude and one feels the ‘Reverse Swing’ as the Strings play!

New Vistas of Jog are seen in ‘Vanjikkodi..’from ‘Kanna Unai Thedugiren’.

The Trumpet-with the support of Bass Guitar- spouts and splashes the notes giving a ‘Jazzy’ feeling.The Flute lets out a plaintive cry.

In the Second Interlude, the Raga shines luminously even as the inexorable Flute carries us to a Divine World!

‘Be Fearless!’ says the responsible father to his children.

In ‘Peygalai Nambathe’ from ‘Mahanadhi’ , one is stumped by the vivacity of the composer and the composition.

The sound produced by a ‘contraption’ is very amazing in deed!

The vibrant sound of Ghatam adds to the beauty while the very different voice of the ‘Grandma’ is exuberant.

All the percussion instruments are in perfect synchrony in their ensemble.

One need not fear….

When Raja’s Music fills the air and sings a Lullaby, do we need to fear at all?

மெட்டி ஒலி போல் காற்றோடு அவர் இசை நம்மத் தாலாட்டும்பொழுது பயம் எதற்கு?

ILaiyaraaja's Music is Universal!

‘Nadaloludai Brahmananda Mandave Manasa..’

‘Sangeetha Sastra Gnaanamu Saaroopya Sowkyathame Manasa’

These are the first lines of two Krithis(in Kalyanavasantham and Mukhari Ragams respectively) of Saint Thyagaraja.

The greatness of a composer is shown by the way he presents his compositions.Thygaraja Krithis are considered unique not just because of the Bhakti Bhava but also because of the Structure of the Krithis, the Versatility, his use of Ragas and most importantly his approach to Music.

So steeped was he in the Ocean called Music that whatever he gave us are all gems precious enough to last nearly two centuries(and I am sure centuries to come).He also had the audacity to compose in very rare ragas like Gurjari, Rasaali, Veera Vasantham,Sudhha Bangala, Navaroj-just to name a few-apart from the heavy and popular Ragas.

In many of his Krithis, one can find his musings about Music and what Music means to him.The Krithis mentioned above are just two examples.He says ‘We achieve the Blissful state by the Resonance of Music and by having Deep Knowledge of Music’ .

I can find lot of similarities between Saint Thyagaraja and ILaiyaraaja.

Raaja’s Music is also unique because of the way he presents them.He is also very versatile and is known for giving very different structures in terms of the Swaras, Ragas and Talas.He has also composed in very rare ragas-Ragas which none of his predecessors dared to try in Films.

Most important- his compositions have also stood the time and I am sure would last generations to come!

The objective of this thread is to bring out the classical elements in Raja's music as already mentioned in the beginning.

But some of you might be wondering if all Film songs are based on Ragas..

And if so what is the difference between a Film song and a typical Classical song(sung in concerts)..

What is it that separates a pure classical song from a film song..

I shall confine my discussions to Raaja's compositions alone.

I have framed some questions and have tried to handle them one by one:

1.How do we confirm that a song is in a particular Raga and as per the Raga Lakshanam?

2.Are songs like ‘Kaatril Enthan Geetham’ and ‘Mandram Vantha’ based on Western Scale Harmonic Minor, or are they based on the Carnatic Ragam Keeravani?

3.Songs like ‘Vaidehi Raman’and ‘VanthaaL Mahalakshmiye’ sound very pure but a song like ‘Gangaikkarai Mannanadi’ does not give that effect.Why?

4.What makes him (Raaja) choose a Raga for a composition?

5.At times he gives a heavy classical dose-for example the Swaras in ‘Indraikku Enintha ‘ and at times he dilutes the classical elements.One version of ‘Chinnakannan Azhaikkiran’ sounds very classical while the female version has dominant use of Western style Orchestration giving us a feel of fusion.

Let us take the questions one by one.

1.Carnatic Music is unique in having the concept of Gamaka.What is a Gamaka?It can be defined as a smooth and a unique way of moving from one note to the other.In simple words, it is a kind of oscillation of a note (or notes).One can see rich Gamakas(depending of course on the Musician) in a Carnatic Music Concert.

But the difference is that while a Carnatic Music Concert lasts a minimum of one hour , a film song lasts a maximum of 5 – 6 min.Within this stipulated time, the composer has to first fulfill the requirement of the situation(in the movie), think whether the Tune and the Music would be accepted by the audience, and convince the Directors/Producers/Distributors/Heroes .

Not an easy task at that!

Given these constraints, Raja has successfully given Classical Ragas, has experimented with Talams and has also used complex concepts like Shruthi Bedam.

He has given many Ragas in their pure form.However, there have also been occasions where the song would not follow the structure of the Raga..

If the composition more or less follows a pattern, then it can be classified under the particular Raga with the same pattern.

2.’Kaatril Enthan Geetham’ is based on pure Keeravani.

I do not see any reason for this being classified under the Western Harmonic Minor Scale just because both use the same notes.One of the major differences between a Scale and a Raga is the Gamaka aspect.

The notes in a Western Scale would sound plain while each note has a meaning and life in Carnatic Music.(By saying this I am in no way trying to make one system superior to the other since I love Western Classical as well).

How can a song that starts with a beautiful Aaalap be classified as a Western Scale?In fact, there is no usage of any alien Swara throughout the composition.

Similarly, the song ‘Keeravani’(Paadum ParavaigaL) has a lot of Gamaka phrases and cannot be classified as Harmonic Minor.The Orchestration is of course Westernised but this aspect is part and parcel of a Raja composition.

'Mandram Vantha Thendralukku'(Mouna Ragam) 'Malargalile Aradhanai’(Karumbu Vil),’Thangachangili’(Thooral Ninnu Pochu) are some of the other examples of pure Keeravani which have Western Orchestration .

But it is also a fact that since the notes of Natabhairavi, Keeravani, and Gowrimanohari make Melodic Minor Descending, Harmonic Minor and Melodic Minor Ascending respectively, Raja has used these in a lot of his compositions.

The basic reason is that Raja understands the World Music very well and is striving to give us -ordinary mortals- the taste of Great Music without any boundaries .Let us see some examples of compositions that can be classified under ‘Western Scale’- though not very strictly ..

’Raja Raja Sozhan’ does follow the pattern of Harmonic Minor and in the Charanam, we find the use the other Ni and the other Dha.This is purely a Western concept of modulation.But a close observation and listening would suggest that the song follows the Indian concept of Raga(Keeravani) as well until this point.

‘Uravenum Puthiya Paathai’ based on Natabhairavi (Melodic Minor) is another excellent composition which sounds a lot like Western but again there are Carnatic concepts like ‘Kaarvai’s as well.

The notes of Shankhrabharanam form the Western Major Scale.So can we say that ‘Poove Ilaya Poove’(Kozhi Koovuthu) or ‘Erikkarai Poongatre’ follow the Major scale?

No.....

But ‘Kanavil Mithakkum’(EeravizhiKaviyangal) is very close to being called a Western composition.I would say this is one of his masterpieces somehow gone unnoticed.The modulation in the Pallavi during phrases ‘Ennathin Inbangale’.. is something out of the world.

‘Naane Naana’(Azhage Unnai Aarathikkiren) is another different composition.It is indeed a pleasant surprise that this is based on Harikambodi, a very classical Raga(Melakartha no.28).

However, this is a composition with pure Western orchestration.The Western style of rendering make it unique.But still, the phrase ‘Mella Mella’ in the Pallavi does use ‘Sangathi’.Yes, a ‘purist’ may not accept this as Harikhambodi since the Gamakas are absent.

This different composition without any scale change-except in two phrases in the Charanam where the other Dha is used – can be called as a different Harikambodi!

I am also reminded of my alltime favourite ‘Engengo Sellum’ where the tune more or less is based on Sudhha Dhanyasi but the Orchestration is purely Western Classical.

3.’Gangai Karai Mannan Adi’ may not give the effect of ‘Thaaye Yesodha’ simply because a Todi cannot be sung in such a fast pace in a Carnatic Concert.However, it was composed this way in keeping with the situation in the movie.

That of course brings us to (4).

4.What makes him choose a particular Raga is a question I think even he might find difficult to answer.

People who have worked with him say that as soon as the situation is explained to him, he starts writing the notes and it flows like a river.

I am not sure if it will be possible for a scientist to record as to what happens in his brain when he writes the notes.

What can one say about this genius?

5.Abhogi in ‘Indraikku En Intha Anandame ‘ sounds pure and the ‘Kalpana Swaras’ have also been used .This could be because the Director was convinced about it .

And ‘Kaalai Nera Poonguyil’ in the same Abhogi sounds so different because the situation would have demanded it.

ReethiGowlai in ‘Chinna Kannan Azhaikkiran’ is pure not just because it was Dr.Balamuralikrishna who rendered it.. It is because of the reason that the ReethiGowlai pattern with the necessary Gamakas and the Prayogas were used.

Janaki version-especially the Orchestration-is different because it is a pathos song.In fact, until 1977, nobody had even tried out this kind of an Orchestration in pure Western Classical style.

I also find that the Carnatic Reethigowlai that sounded so pure in ‘Chinna Kannan’, ‘Thalayai Kuniyum’ and ‘Raman Kathai KeLungaL’ sounds somewhat western in ‘Meetatha Oru Veenai’ despite being set to the five beat Khanta Chapu Talam.

Again ..it is because of the various constraints which we have already seen.

The fact of the matter is ILaiyaraaja is giving us the various facets of World Music in each of his compositions stretching the Boundaries but never crossing the Border(of aesthetics!).

‘ Avar Madai Thiranthu Thaavum Nadhi Alai
Manam Thiranthu Koovum Isaikuyil’

He is like the River in Full Flow ..
His Music is the natural music of the cuckoo..