ILaiyaraaja-The Hypnotist!

Many times I have wondered about the science (or is it an art?) of hypnotism. My exposure to hypnotism is mainly confined to what one sees in Indian movies where the patient is made to lie down on a couch and the balding doctor asking him to go to a certain age in his childhood, prodding him with questions like ‘What do you see now’, ‘What do you experience now’ with the patient recounting an incident that unfolds before us in a much dramatized form. I would think, ‘Is this possible at all?’

Once, when I was about 12, I happened to watch a Magic show where the magician made a child ‘sleep’ in the space between the floor and the ceiling defying gravity. I did not understand how this was possible. After reading some books, I gauged that it is nothing but taking control over others’ minds and one acquires this skill with constant practice.

I am not qualified enough to go beyond this on this topic. However, I find hypnotism as a metaphor very interesting. In the following poem from the Tamizh sangam work ‘kuRunthogai’, the man  hypnotised by the looks of his beloved, says, ‘Her thorn like teeth that shine through the nectarine red lips, her silk- like hair with the fragrance of sandalwood, her huge liquid eyes, her mesmerising smile..oh how elegantly she looks!’.

உள்ளிக் காண்பென் போல்வன் முள்ளெயிற்

அமிழ்தம் ஊறும் அஞ் செவ்வாய்க் கமழ் அகில்

ஆர நாறும் அறல்போல் கூந்தல்

பேர் அமர் மழைக் கண் கொடிச்சி

மூரல் முறுவலொடு மதைஇய நோக்கே.

It is obvious from this poem written by ‘EyiRRiyanaar’(எயிற்றியனார்) that the man was hypnotised by the looks of his beloved and just thinking about her was enough for him to go into a trance.

We, the readers too get hypnotised while reading such poems or while listening to great music.

‘Kaadal Mayakkam’(Pudumai peN-1984) is one of the innumerable compositions of ILaiyaraaja which has always held me in a trance. Based on Suddha Saveri, a very classical raga which has five swaras- sa ri2 ma1 pa dha2 Sa- in the ascent and in the descent, the composition has a unique magnetic charm.

Before we get on with the composition, a word or two about the raga.Suddha Saveri is very close to other popular ragas like Mohanam and Madhyamavati in terms of the struture, but sounds very different. While the other two mentioned ragas can be made to sound light in film music, it is almost next to impossible to make Suddha Saveri sound light. Maybe, this is one of the reasons for composers’ reluctance to use this raga in film music. But as we all know, ILaiyaraaja is quite different and has used this raga in  folksy environment(‘Kovil maNi osai’-Kizhakke pogum rail, ‘Manjum kuLirum-Sandhyakku virinja poovu), in a masala duet(‘Sugam Sugame’), as the song of a young girl(MalargaLil aadum-KalyaNaraman) and in many other varied sequences.

‘Kaadal mayakkam’ starts with the short akaaram of the female voice(Sunanda). As this akaaram is on, the chorus starts reciting in harmony. This part alone is set to khandam beats(5 per cycle) in ‘mel kaalam’.  With fervour, the Bell tolls and the Veena starts playing in Chatushram ably supported by the mridangam.. We see the raga’s appeal and grace in this piece that almost reminds us of a ‘taanam’. The strings take melodious strides with the flute singing like a cuckoo.

Chiselled perfection!

The Pallavi rustles with a cherubic charm with the rollicking Mridangam and the subtle guitar throbbing with melody and love. The sangatis in ‘Degam’,’Megam’, the harmony with the chorus joining, the sudden jump to the upper ‘Ri’ from ‘dha’,the short sangati (RiSadhaSa) after ‘silirkinRathe’ and the shrill flute at the end of ‘kaadal’ and ‘kaNgal’, carry the stamp of the genius.

The first interlude starts with the mellifluous strings moving somewhat leisurely. Even as this is on, a new set of violins playing totally different sets of swaras join. The suave flute repeats this with a smile on its face. With palpable vigour, the violins play in higher octave. The chorus appear again singing ‘nom tom tanam ta’. It is then a riot of colours with the flute playing classical Suddha Saveri which is superimposed on the chorus which has the guitar backing. Towards the end, the guitar playfully plays an alien note or two and the awestruck flute sings like a cuckoo, all in a matter of seconds.

The CharNams have passionate passages.

We also see the brilliance of the composer in structure of the CharaNams:

1.The sangati after the first line has the avarohaNam followed by the arohaNam.

2.The fourth line goes upto the upper ‘Ma’.

3.The last line going in a group of 3 swaras, with the first 3 groups going in descent-Ri Sa pa, Sa dha ma, dha pa ma- and ending with ‘ri sa ri’.

Classically marvellous!

The second interlude shows yet another dimension and also takes a lesson or two on how to use guitar in carnatic ragas.The first guitar piece is soothing and almost sounds like a Veena. The percussion is minimum here with the drums appearing only now and then during the gaps. The following guitar piece moves with a sense of reverie ably supported by a sharp percussion that plays ‘ta ka dhi mi’’ta ka dhi mi’.. The male voice and the chorus repeat the guitar bit. The flute takes over and moves with energetic briskness. The Masterstroke appears in the end with the higher octave violins bringing in the alien vivadi note showing shades of Raag Jog!

இது ஒரு இசை மயக்கம்!

 

ILaiyaraaja-The Phenomenon!

Before writing the great epic Ramayana, Kamban dreams about the kingdom of Kosala. And what a poetic dream it turns out to be..  While it will take pages to describe the different verses from this chapter called ‘Naattu Padalam’, let me just give one sample.

The women of Kosalam-as seen through the eyes of the poet- it seems were well read, well educated, rich, and most importantly independent. They welcome all their guests and feed them with sumptuous food. Therefore, is there any doubt that their progeny was great too?

பெருந்தடங்கண் பிறைநுதலார்க்கெலாம்

பொருந்து செல்வமும் கல்வியும் பூத்தலால்

வருந்தி வந்தவர்க்கு ஈதலும் வைகலும்

விருந்தும் அன்றி விளைவன யாவையே?

I find two words to be very interesting.

‘பெருந்தடங்கண்’ may mean ‘beautiful eyes’, ‘blissful eyes’, ‘eyes that reflect intelligence’ ‘eyes full of compassion’.. The very use of this word gives us a picture of women with pure heart, for is it not true that the eyes reflect the heart?

Look at his use of the word ‘ஈதலும்’- which means to give. On the face of it, it refers to the magnanimity of the women of Kosalam. But in the last line-which is the clincher-he says cryptically ‘what else will grow’. That ‘ஈதலும்’ now means to give birth to.

This brevity, poetic beauty and intelligence make Kamban the phenomenon.

While listening to many compositions of ILaiyaraaja, I am awestruck with his sensible use of ragas, brilliant orchestration and intelligent arrangement. Needless to say that he, like Kamban is a phenomenon.

Now, take this song, ‘Shreedevi en vaazhvil’ from ‘ILamaikolam’(1980). Based on that beautiful  raga called Hindolam, the composition is just one example of what makes ILaiyaraaja one of the greatest composers. Hindolam, a pentatonic raga which uses sa ga2 ma1 dha1 ni2 is a romantic raga but is also full of Bhakti. Contradicting?

In Indian tradition and poems, Bhakti and romance go hand in hand. Considering God as their lovers, the poets have written reams and reams of poems.

As per the situation of ‘Shree devi..’ the character tries to woo a lady by singing a classical devotional song(Godess Lakshmi is known by the name Shree devi). The Emperor of film music chooses HindoLam to compose this(he might not have ‘chosen’ in the literal sense since he is very spontaneous and has said time and again that he never breaks his head on the raga aspect and composes whatever strikes him at that very moment. But, as I have already reiterated in some of my earlier posts, the fact remains that he thinks at the speed of the light and the tune flows at the speed of the sound. Therefore, it is highly likely that the thought of this ragam crossed his mind at a lightning speed.

As regards the orchestration and arrangement, Traditional Indian instruments are used as a base but western instruments-including new instruments hitherto not used in Indian Film Music- peep in suddenly and say hello with a romantic smile. The composition is rounded off with a short and precise rhythmic calculation (called as ‘theermanam’ in Carnatic music parlance).

The composition starts with a short aalaap in the hypnotic voice of Yesudass. It is organic, linear, curved, virtuous and curvilinear .

Form and spirit of HindoLam evoked beautifully.

The Pallavi has an unusual start with the swara ‘ni’ which goes and joins the upper ‘sa’.It is a gracious exposition of the raga with the last line that has the ‘podi sangatis’(‘malar’) in the beginning, is rounded off with the arohaNam(sa ga ma dha ni).

With a touch of finesse, the Bass Flute moves with poise in the first interlude.It gives a mellow and pleasant lilt and smiles at Veena with a request to join.The Veena obliges and gives two very short repartees. The Veena in fact repeats the notes of the vivacious violins too, which join after the flute.

The first two CharaNams have the same structure, with each of the four lines being different.The first line with a profusion of ‘ma’ is clearly etched, while the second line with the elongated notes is lucid. The third line has a surprise with the sudden appearance of ‘ni3’ that adds a new colour to the composition. The higher octave notes(Sa Ga Ma) dominate the fourth line. The last phrase with the akaaram post-‘ponguma’ is melodically opulent.

In the second interlude, we see the introduction of the new instrument and the guitar. This instrument that gives a shrill sound somewhat like the chirping of the birds, follows the energetic violins.The guitar that comes rushing in is distinctively beautiful apart from beimg dazzling. The Veena and Guitar alternate with the former playing the end notes of that of the guitar’s. Finally, the Veena guides us to the second charaNam.

The third interlude and the third charaNam are played in the ‘mel kaalam’ and we see the Laya Raaja here.

The Violins follow the Veena that follows ‘ta ka dhi mi/ta ka dh mi/ ta ka dhi mi/ta ki ta/ta ki ta/ta ki ta’[(3x4)+ (4x3)]. This happens twice with subtle change in the sets of notes. It gathers momentum with the violins then being set to ‘ta ka dhi mi ta ka’ and the veena echoing notes in ‘ta ka ta ka ta ka’- again twice- and then the Veena going in ‘ta ka’ 36 times.

The third CharaNam brims with musical intensity with the melody rhythm romancing each other.

The repetitions of the lower ‘sa’ in the first half, the ‘ma’ in the second half of the first line and juxtaposition of Veena/ankle bells in between the first two lines lend a poetic intensity. The mid-‘ma’ combines with the upper ‘Ga’ in the ‘Ragam’ phrase in the third line making it a soothing experience(such an usage is called ‘Daattu prayogam’).

The mridangam plays 4 ‘ta ki ta’ after this, enticing us and preparing us to view a mini Laya spectacle.

The penultimate line that has the higher octave Sa, Ga, and Ma prominently is divided into small ‘maatras’ of 4,4,4/3,3,3,3 and the last line is divided as 6,6/4,4,4.

Melodically exuberant and Mathematically Mellifluent!

Music that blesses us!

நமக்கு அருள் வழங்கும் இசை !

 

ILaiyaraaja- The Adventurous Musician- III

காதல், காதல், காதல்,

காதல் போயிற் காதல் போயிற்

சாதல், சாதல், சாதல்.


நாதம், நாதம், நாதம்;

நாதத் தேயோர் நலிவுண் டாயின்,

சேதம், சேதம், சேதம்.

These verses are part of the ‘Kuyil Paattu’, which is considered to be one of the greatest philosophical works in Tamizh poetry.

Mahakavi Bharati –whose 130th Birth anniversary is celebrated today-, is something more than the usual terms like Poet, Visionary, Revolutionary..

He gave a new lease of life to Tamizh poetry by using very simple words and broke many conventions with courage of conviction and with a spirit of adventure.

The ‘Kuyil Paatu’ verses quoted above talks about the extreme contrasts- Love and Death, Music and Cacophony.. ..

Though it is said that ‘Kuyil Paattu’ is a kind of tribute to his idol Poet Shelly, the fact remains that ‘Kuyil Paattu’ is considered to be one of the greatest philosophical works in Tamizh poetry. But what is more important and relevant here is that this kind of structure was entirely new to Tamizh poetry then. It maybe noted that this structure and the ‘Vachana Kavita’ of Bharati set the tone for the emergence of ‘Pudhu Kavitai’ in Tamizh, a totally new form.

Bharati did it because of his adventurous spirit and mastery of Tamizh language.

In the previous two posts, we saw how ILaiyaraaja with his deep knowledge used some new scales in music with a sense of adventure.

The third part in this series too features a song which follows a new and a different scale.

In fact, the notes of the song of the day -‘Adho mega oorvalam’ (Eeramana Rojave-1991).- are almost the same as the ones used in ‘Oru Poongavanam’ and yet are used differently.

Just to recap, the latter’s scale is ‘sa ri2 ga3 dha1 ni/ ni1 dha1 ni1 pa ga3 ri2 sa.

'Adho mega..’ follows a scale that can be put like this: sa ri2 ga3 pa dha1 ga3 ni1 ni1 Sa/Sa ni1 dha1 pa ga3 ri2 sa- the swaras of the 25th melakarta ‘Maara Ranjani’ without the ‘ma’.

Note how the arohaNa is devious with ‘ga ni ni’. You will be amazed to see how this phrase adds a special colour to this song. More about this soon..

Another speciality is the ‘Hamsadhwani’ shade by using ‘ni3’- only in the prelude and the interludes and not in the Pallavi/CharaNams.

The sympathetic strings in the beginning pull the strings of our hearts with the ascending notes and the three descending notes of Hamsadhwani. The chorus along with the ennobling Veena nurses us and takes us to the Pallavi.

The Pallavi which starts with the ‘sa’ uses ‘ri’, ga’ and ‘pa’ making us believe that the song is in Hamsadhwani. But the ‘dha1’ in ‘ange’ hits us with a force. Even then, ‘it could be Vaasanti’, with the prelude in Hamsadhwani’, Or it could also be ‘TaaraLam’, like ‘Kaalam maaRalaam’’, we think.

The first part of the first interlude with the mellifluent twin flute in two different octaves is in Hamsadhwani. The zestful strings too move in this raga until the flute interjects and plays the ‘dha1’. The romance between the flute and the Veena also has the ‘dha1’. It is surely ‘TaaraLam’, we almost conclude.
We find the swaras of Vaasanti in the first two lines of the CharaNam with the ‘ga pa dha pa’, ‘ga dha pa’ phrases even giving the flavour of Bowli(common notes anyway). The defining moment arrives in the third line as the vivadi note ‘ni1’ is introduced. This note joining with ‘ga’ in the third, fourth and the fifth line and as a ‘janta swara’ once in the last line make it placid musical experience.

Time for a small clarification: The logical question in the minds of some of you is:

‘How can you call it as a new scale? Is it not Hamsadhwani/TharaLam/Vaasanti plus a vivadi note?’

Yes, it is Hamsadhwani’ in the prelude and Hamsadhwani/TharaLam/Vaasanti in the interludes.

However, the Pallavi and CharaNams do not have the ‘ni3’ at all. And the vivadi note in the CharaNam follows a certain pattern. Therefore, I feel it-that is the Pallavi and the CharaNam- is surely a new scale not hitherto used.

Continuing with the description of the song, we hear the notes of Hamsadhwani zealously played by the sympathetic strings twice. It then overlaps with the chorus that hums Hamsadhwani with the endearing flute imitating the chorus musically. The bells then move in Vaasanti with the subtle strings in the background.

It is an illuminating spectacle.

A musical procession.

ராக மேக ஊர்வலம்..

ILaiyaraaja-The Adventurous Musician-II

How difficult is it to tread a new path?

Very difficult since we do not know what awaits us. Questions like ‘what if it is a failure’ and ‘what will others say’ always lurch in the mind. ‘And why do we have to do this at all? Why don’t we follow what others have told us to do, taught us to do ,what we are conditioned to do or simply what others do?’, we think and nip it in the budding stage itself.

Most of us dismiss the thought itself as a chimera and go back to our comfort zones while some of us go one step ahead, venture into something new but drop it somewhere down the line. It indeed needs a steely resolve, commitment, focus and a thick skin to ignore others’ sneer, derision and scorn. But above all, it needs a firm grip and mastery over whatever we plan to do.

Thiruvalluvar had all of these and something more too. Not only did he tread and chart a new path but also was adventurous enough to innovate and improvise.

He composed 1330 couplets that follow a form called veNba (வெண்பா) and a pattern called kuRaL(குறள்). This pattern as defined in Tamizh grammar must have just 2 lines. If it is already defined, what is new about it is the logical question. The fact remains that before him no poet tried using this pattern.

‘ThirukkuRaL’ is neither a scripture nor a testament. It is a treatise on life itself. No area of human thought and behaviour has been left untouched by Thiruvalluvar. So much so that it covers even Communication skills, Administration and Management. Remember, all these more than 2000 years back.. Yet each and every kuRaL is absolutely relevant to the present day.

The verses have poetic excellence, are crisp, are musical and rhythmic and most importantly are very easy to remember.

I was also talking about his innovation and his ability to improvise. See this verse:

‘Thuppaarkku Thuppaaya Thuppaakki Thuppaarkku

Thuppaaya Thoo ummazhai’


"துப்பார்க்குத் துப்பாய துப்பாக்கித் துப்பார்க்குத்

துப்பாய தூஉம்மழை.''

It simply means that the rain (and therefore water) helps cook pleasant food and is itself food.

This verse is in the second chapter which pays obeisance to the rain. The verse itself states the obvious and this being the case, what special message does it give?

The verse not just pays obeisance to the rain but also asks us not to be selfish. But what is more significant and of interest to us is the rhythm in the verse..

It is this sense of adventure with a proclivity to innovate, that drives and motivates people who are daringly different.

In my previous post, we saw how ILaiyaraaja innovatively used the swaras to form a pattern which while sticking to the grammar of music does not find a place as a ‘raga’ in any text book. I had also mentioned that it uses ‘vivadi’ or dissonant note, note that gives a very different feel not always pleasant. But remember that he used it in a song the sequence of which is very sensual.

Today, let us look at a composition, where he has used the vivadi note yet again but this time in a romantic duet. ‘Varudu Varudu iLankaaththu..’from ‘Brahmma’(1991) follows a pattern/scale which is again not defined in any of the texts.

Let me clarify that this is different from songs that have a raga as base and has a dash of alien notes too. ‘Oru Poongavanam’ and ‘Varudu Varudu’ are different in the sense that they do follow a particular structure throughout, but this structure (arohana/avarohana) is not defined in any text. This obviously means that these are new ragas invented by the composer. Moreover, as already mentioned, vivadi notes/ragas sound very different and are at best avoided even in classical concerts. In fact, when classical compositions are sung in vivadi raga, the musician tries and conceals the vivadi note as much as possible.

But this music composer has not just dared to use it in romantic situations but has also made the vivadi note sound beautiful.

‘Varudu Varudu..’ follows sa ri2 ga3 ma1 pa dha3 ni3 Sa/Sa dha3 pa ma1 ga3 ri2 sa-with ‘dha3’ being the vivadi note. Going by the notes used, one can deduce that it is derived from of the 30th melakarta ‘Nagaanandini’. But as I said, a thorough search of raga texts indicates that no raga follows this structure-that is dropping the ‘ni3’ in the descent.

‘Varudu Varudu’ starts with the sound of the wind. The chorus backed by the very subtle strings, hums with zeal and the flute curves along giving a caressing touch. The puissant percussion plays ‘ta ki ta/ta ki ta/ta ka’ with a ‘fade’ effect leading us to the Pallavi.

The Pallavi in the voices of Janaki and SPB is laden with passion. The third and fourth lines are dominated by the ‘pa’. The ‘ma’ sandwiched between a plethora of ‘pa’ makes it more special and attractive. One more thing to be noted here is that there is no vivadi note in the pallavi and it sounds more or less like ShankarabharaNam.

The ‘ta ki ta/ta ki ta/ta ka’ pattern is beautifully followed in the pallavi- Varudu( ta ki ta) Varudu(ta ki ta) iLam(ta ka).

Imbued with elegant patterns, the first interlude is a melodic treat. First the flute moves with a willowy grace. The strings then express themselves enticing the flute which jumps and dances with unbounded enthusiasm. The pattern of staccato notes alternating between a single note is musically brilliant.

The interlude is rhythmical too following the 4-beat chatushram cycle-despite the absence of a percussion instrument.
The CharaNams see a profusion of melodic phrases. The vivadi note that appears twice in the first two lines is somewhat prominent in the next 2 lines. But rather than sounding eerie, it s zestful and romantic.

The ‘ta ki ta’ ‘ta ki ta’ by the percussion in the end says it all.

The percussion makes its presence felt in the ensuing interlude.

In the beginning, it plays ‘ta – dhi -/ ta ka – mi’ for a full avartana(cycle) of Adi talam. It is then joined by the fascinating guitar that charters a melodic territory with the flute peeping in now and then with a single note. The chorus then sings slivers of melody which too follows the ‘ta ka dhi mi’ pattern –rendered 24 times.

The short piece of flute towards the end makes an indelible impact.

இனிது இனிது இந்த பாட்டு இதயம் ரசிக்கும் என்றும் அசை போட்டு..

ILaiyaraaja- The Adventurous Musician-I

The young poet smiled to himself. The reason for his amusement had more to do with the serene and sylvan surroundings than about the comments around him.


Being a child prodigy who composed verses in a jiffy, he was extremely popular across the Tamizh land.

But this place was slightly different. Though everyone liked him and his poems, they were also commenting that his poems became very popular mainly because of one gentleman who accompanied him on the ‘Yaazh’, a traditional musical instrument. ‘If not for NilakaNta YaazhppaNar’s music on the Yaazh, this small boy’s verses would sound mediocre’, they averred. The reason was obvious. In that beautiful place called Dharmapuram lived a lot of friends and relatives of YaazhppaNar.

But YaazhppaNar, could not take all the adulation since he was a great admirer of the ‘small boy’.

The small boy then started singing:

மாதர் மடப்பிடியும் மட வன்னமும் அன்னதோர்

நடையுடைம் மலைமகள் துணையென மகிழ்வர்

பூதவினப்படை நின்றிசை பாடவும் ஆடுவர்

அவர் படர் சடை நெடு முடியதொர் புனலர்

வேதமொடேழிசை பாடுவர் ஆழ்கடல் வெண்டிரை

இரைந் நுரை கரை பொருது விம்மி நின்றயலே

தாதவிழ் புன்னை தயங்கு மலர்ச்சிறை வண்டறை

எழில் பொழில் குயில் பயில் தருமபுரம்பதியே.

The foamy waves dance, touch the shore and retreat. Arrested by the nectarine Punnai flowers, the bees buzz musically. The cuckoos learn and practise their singing in the beautiful garden. This is Dharmapuram,the abode of the Lord, who sings and recites the Vedas, who dances to the music of his Bhoota army, who carries the River on his matted hair and whose consort’s gait is as majestic as an elephant’s and as graceful as a swan’s.’

The musician was stunned as he could not play this song on the yaazh. Heart broken, he wanted to break the yaazh itself. But the small boy stopped him, and explained that the composition itself was beyond the scope of the instrument. The people then realised their folly and realised the real value of the ‘small boy’ whose name was Thirugnanasambandar.

It must be understood that ego played little role here and the point the young prodigy wanted to prove was that everyone is equal in front of the Supreme. This is obvious even if one looks at the meaning of the poem at a deeper level. Note his mention of the Lord as a singer and dancer and his mention about the ‘arrested bees’ and the cuckoos ‘learning and practising singing’. One can interpret that however great you are in music and dance, you are nothing in front of the greatest musician. Please also note the ‘big river’ residing on his head and the gait of his consort being compared with that of an elephant (a huge creature) and that of a swan (a small creature).

Most importantly, we also see the adventure of a young poet who, when challenged, chose an uncharted path, hitherto not covered by anybody.

Now, let us take a more recent example. ILaiyaraaja was asked to compose a song for a situation which involved a lot of sensuality. Though unlike Gnanasambandar, this Gnanadesikan was not challenged by anybody, he decided to challenge himself. ‘Why compose a fast beat sensuous song’ thought he. For quite sometime, he had been wanting to compose in a particular raga- sa ri2 ga3 pa dha1 Sa. This is not a very rare raga and I shall come to the nomenclature soon.

He went a step ahead and added a vivadi note ni1. He did not stop with that. He completely omitted the upper ‘Sa’(called as Taara Shadjam). But the story is not over yet.

He formulated a structure skipping the ‘pa’ in the ascent and adding a devious ‘ni dha ni’ phrase in the descent.

This is how the structure looked now:

sa ri2 ga3 dha1 ni/ ni1 dha1 ni1 pa ga3 ri2 sa.

There are a lot of very interesting facts and points and let me try and explain one by one:

1.The structure sa ri2 ga3 pa dha1 Sa is defined as a raga called Vaasanti. Though this is obtained by changing the ‘dha’ variant of Mohanam, the feel of this raga is totally different as it gives a sense of poignancy.

2. I mentioned that ‘ni1’ is a vivadi note.I had already explained the concept of vivadi in some of my posts here. ‘Vivadi’ itself means dissonance.

3.There are very few ragas in the carnatic system that omits the upper ‘Sa’. A classic example is ‘Chitta Ranjani’. But I cannot think of any film song that has totally avoided this note.

4. The structure of this raga is not given in any raga text. Going by the swaras used, one can say that it is a janya of the 25th melakarta Maararanjani or the 61st melakarta KantamaNi(since there is no ‘ma’).

Now, let us collate these details- Poignancy, Dissonance, Lower/middle octave notes, a newly defined structure.

Go back to what he was asked for by the Director- A song rendered by the female character dressed in a swim suit with the male character watching clandestinely from a distance.

Tell me if any other composer would have conceived a tune that has the 4 factors listed.

Having a sense of adventure with a proclivity for innovation is fine. But here is a composer who also has the courage of conviction. To top it all, it is an outstanding tune backed by excellent orchestration and arrangement.

‘Oru Poongaavanam’ from ‘Agni Nakshatram’(1988) starts rather symbolically with a sweet tweet. To me, the chirping of birds suggests that music after all, is in the nature and we mortals try to arrest it by giving different forms and structure to it. The birds then flap the wings giving way to the drums, which almost imitates the action of the birds. The strings and the keys meld together to give beguilingly facile movements.

The Pallavi with the ‘Ateeta eduppu’ is sung with melodic finesse by Janaki. Intriguingly, the first 2 lines have only the three notes-sa ri2 ga3- giving an illusory Mohanam. The following lines go in the descent-‘ni1dha1ni1 pa ga’. The repetition of ‘dha ni’ phrase thrice in the second half of the third and the fourth lines gives a soft and silken touch.

The water splashes in the beginning of the first interlude as if there was a pre-destined rendezvous. The brass flute plays the vivadi note with a palpable lilt.The keys just amble across even as the strings float on the vivadi and samvadi notes.
The CharaNams have melodically sequenced phrases. The first 4 lines have the same 3 notes-sa rig a- as that of the pallavi, but sound differently from the Pallavi because of the permutations and combinations. In the following 2 lines, we see the other 2 notes-including the vivadi note- peeping in with flamboyance and fidelity. The second half of the Pallavi is repeated but it does not sound redundant at all, maybe because of the structure and combination of the notes.

The second interlude is a gracious exposition. The strings move placidly leaving a pause for 1 and half cycles of Tisram in between. It then arches beautifully with the drums playing 3 Tisrams, ta ki ta/ta ki ta/ta - - .The keys and the strings then give caressing touch with harmony with the former moving with nonchalance and the latter dancing like the waves. The short piece of strings towards the end with repartee by the birds says it all.

This new musical forest gives us eternal Goosebumps.

இது ஒரு புது இசைவனம்.இதில் ரோமாஞ்சனம் தினம் தினம்.

PS:Adventurous Musician..


This is a new series and plan to take up compositions in some 'undefined' ragas..

Watch this space!

ILaiyaraaja - The Artistic Musician

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

குன்ற நாடன் குன்றத்துக் கவாஅன்

பைஞ்சுனைப் பூத்த பகுவாய்க் குவளையும்

அம் சில் ஓதி அசை நடைக் கொடிச்சி

கண் போல் மலர்தலும் அரிது இவள்

தன் போல் சாயல் மஞ்ஞைக்கும் அரிதே.

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

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

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

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

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

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

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

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

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

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

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

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

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

ரோஜாவையும் தாலாட்டும் ராஜ இசை..

ILaiyaraaja's Music is Empyreal!

Absorbed in the beauty of the Divine, the great Tamizh poet Thirugnanasambandar sings,

‘You are the flaw/blemish. You are the good virtues/qualities.

You are the family/kinship. You are the Lord, You are the ever-glowing light,

You are the scriptures, You are the Joy, You are the wealth,

You are everything, How can I even praise You?’

The poet attributes everything to the Divine and means to say, ‘Without Him, nothing is possible. Therefore, how much ever we praise Him, will it be enough?’


குற்றம் நீ குணங்கள் நீ கூடல் ஆலவாயிலாய்

சுற்றம் நீ பிரானும் நீ தொடர்ந்திலங்கு சோதி நீ

கற்ற நூல் கருத்தும் நீ அருத்தம் இன்பம் என்றிவை

முற்றும் நீ புகழ்ந்து முன் உரைப்பதென் முகம்மனே.


It may be noted that the poem itself starts with the word ‘kuRRam’ (flaw/blemish) and ends with ‘You are everything’ clearly pointing to the fact that everything in this world starts with a blemish..

Another great poet Nammazhwar sang, ‘Us, He, She, Me, That, This, What, Unwanted things, Good, Bad and the Ugly- Everything is Him’.

நாம் அவன் இவன் உவன்,அவள் இவள் உவள் எவள்,

தாம் அவர் இவர் உவர்,அது இது உது எது,

வீம் அவை இவை உவை,அவை நலம், தீங்கு அவை,

ஆம் அவை, ஆயவை, ஆய் நின்ற அவரே.

Both the verses no doubt have great poetic value but apart from this, there is something that makes these great. Both are soaked in divinity..

Divinity. The very mention of this word will make a non-believer laugh.

But what exactly is divinity?

Is it the preserve of the so-called theists? Don’t all of us have it too?

Let us think for a moment.

All of us experience certain moments in life that cannot be explained. Moments when we forget ourselves, moments when we feel the time ceases to exist, moments when we feel ecstatic, moments where we experience vibrations, moments that give us peace and tranquility.

When does this happen?

When we listen to melodious music.

Is it then wrong to call this as a divine experience?
One of the greatest things about Music is that it appeals universally to believers, atheists and agnostics.

Music can never be seen. It can only be experienced. That is why, it is considered to be divine whether one is a believer, atheist or an agnostic.

Though Music to a great extent is subjective, any form of music that gives us joy, peace, and happiness is great music.

The world has seen some great music composers whose compositions have stood the time and whose music has influenced our life.
ILaiyaraaja is one such composer. Though his compositions are mainly for films, the depth, the breadth, the height, and the range in the compositions make us discover new dimensions in music and in our life. His music reverberates within us making us resonate with it. That is why, his music is equally appreciated by pundits and the common man.

The composition we are going to see on this special day talks about the greatness of divinity. It is also very special musically.

A single composition having different ragas is not very uncommon in classical music and in film music and these are called as Ragamaalika. The song of the day is also a ragamaalika. There are 8 ragas in total, out of which 3 fall in the same chakra in the melakarta system.

Without getting too technical, let me tell you that there are 72 melakaratas, which are called as the parent ragas and these 72 are divided into 12 chakras, with 6 ragas-which have the same variant of the notes ‘ri’, ga’ and ‘ma’- grouped in one chakra. These ragas have the same ‘sa ri ga ma’ while the variants of ‘dha’ and ‘ni’ are different. I shall explain this when I describe the composition.

Such a composition is very rare and as far as I know the only composition that has ragas in the same chakra is Koteeswara Iyer’s Mela ragamalika.

What is this special song of the special day?

It is ‘Aayiram kodi kaalangaLaaga’ from ‘Kavikkuyil’(1977).

It starts with the sublime Jalatarangam accompanied by the robust pakhawaj giving a sensitively refined musical expression in Mayamalavagowla. Rustling with beauty, the evocative flute continues with a spiritual fervour. The delectable veena nods its head to mark the beginning of a divine experience.

The Pallavi has the ‘anaagata eduppu’ with the song starting after the TaLa begins ( 3/4th place to be precise). Classic depth mingles with the sweetness of expression with Dr.Balamuralikrishna rendering ‘Aayiram kodi kaalangaLa’. The raga changes to VakuLabharaNam in the next phrase ‘Aananda leelaiyin’.

Mayamalavagowla is the 15th melakarta and VakulabharaNam is the 14th. Both are part of the Agni Chakra and only the variant of ‘ni’ separates the two.

The resplendent Jalatarangam beams spiritually and a magic happens. The Flute plays in the next Shruti. It is a completely different ragam called Vagadheeshwari which is the 34th melakarta. Two things are to be noted here. One- It is not a graha bedam. Two- only some swaras of Vagadheeshwari are played.

The flute throbs with devotion and glows ethereally. The dainty Veena brings Mayamalavagowla leading us to the first charaNam.

The first part of the CharaNam shimmers with elegance.. The raga changes to VakulabharaNam in the line ‘Margazhi maada..’.

Marvellously seamless!

The second interlude sees another dramatic change. The flute plays Valaji, a pentatonic raga which does not have the swaras ‘ri’ and ‘ma’. On paper it is derived from the 28th melakarta Harikambhoji. As the flute shows the melodic dimensions of the raga, another surprise is in store.

The Veena plays Chakravaagam, the 16th melakarta. This is a Master stroke in two aspects. On paper, Valaji is derived from the 28th melakarata Harikambhoji. However, the 5 swaras that are inherent in the raga- sa, antara gandharam, panchamam, chatushruti dhaivatam, and kaisiki nishadam- are also part of Chakravagam. Secondly, Chakravagam is the melam next to Mayamalavagowla. So, we have the third ragam from the same ‘agni’ chakram in the same composition.

The additional attraction in the flute piece is the use of Kanjira, a percussion instrument not normally used in a film composition.

The second charaNam shows the different facets of Chakravagam. Apart from the poetically musical phrases, it also has the exhilarating akaaras with a pensive appeal for two tala cycles. We feel the characteristic fragrance of the raga in the line ‘Paarkadal amudaaga..’.

The third interlude starts with the flute playing Mohanam in the first half and Mohana Kalyani in the second half. The Veena that follows with melodic finesse has strains of Mohana Kalyani. The Kanjira appears again and smiles along with Mohana Kalyani.

The third charaNam that starts in Mohanam takes us to a supreme spiritual plane.

Mohanam changes to Charukesi with poise from ‘aruL kaakkum..’

It is back to VakuLabharaNam from ‘Margazhi maada’..

The flute bit that follows in Mayamalavagowla is intense, profound and delicate.

It is a composition that takes us on a journey into the realms of divinity making us feel the core of spirituality..

This aananda leelai will continue for thousand million years!

ps: This post and the previous post in Tamizh were read out to an exclusive audience in Chennai on the 26th of Aug 2012.

இளையராஜாவின் இசை- சுவர்க்க பூமி

தெய்வீகத்தில் மூழ்கி, லயித்த திருஞானசம்பந்தர் இவ்வாறு பாடுகிறார்:


'குற்றம் நீ குணங்கள் நீ கூடல் ஆலவாயிலாய்

சுற்றம் நீ பிரானும் நீ தொடர்ந்திலங்கு சோதி நீ

கற்ற நூல் கருத்தும் நீ அருத்தம் இன்பம் என்றிவை

முற்றும் நீ புகழ்ந்து முன் உரைப்பதென் முகம்மனே.’

‘அழுக்காறும் நீயே. இனிய குணமும் நீயே. உறவும் நீயே. எப்பொழுதும் கனன்று கொண்டிருக்கும் ஜோதியும் நீயே. நான் படித்த, கற்றுணர்ந்த நூல்கள் யாவையும் நீயே. செல்வ வளமும் நீயே. இன்பமும் நீயே. அனைத்தும் நீயே. உன்னை நான் என்ன புகழ்வது?’

என்பது இதன் பொருள்.

அழுக்காறில் தொடங்கி, இறுதியில் ‘அனைத்தும் நீயே’ என்று கூறியதும், ‘உன்னை என்ன புகழ்ந்தாலும் அது போதுமா’ என்றும் பாடியிருப்பது தெய்வீகத்தில் மெய்மறந்த நிலை எனலாம்.

இன்னொரு கவிஞராகிய நம்மாழ்வார்,


'நாம் அவன் இவன் உவன், அவள் இவள் உவள் எவள்,

தாம் அவர் இவர் உவர், அது இது உது எது,

வீம் அவை இவை உவை,அவை நலம், தீங்கு அவை,

ஆம் அவை, ஆயவை, ஆய் நின்ற அவரே’

என்று பாடுகிறார்.

‘'நாம்' என்ற பெயர்ப்பொருளும், ஆண்பால் பெயர்ப்பொருள்களும், பெண்பால் பெயர்ப்பொருள்களும், ஒன்றன்பால் பெயர்ப்பொருள்களும், பலர்பால் பெயர்ப் பொருள்களும், அழிகின்ற பொருள்களும், நல்ல பொருள்களும், தீய பொருள்களும், உண்டான பொருள்களும், உண்டாகும் பொருள்களும், ஆகி நிற்கின்ற எல்லாப் பொருள்களும் அவனே’, என்பதே இதன் பொருள்.

இது மெய்மறத்தலில் இன்னொரு நிலை.

இரண்டு பாடல்களிலும் கவி நயம் இருப்பதோடு, தமிழின் அழகு மிளிர்வதோடு இன்னொரு விஷயமும் இருக்கிறது.தெய்வீகம் அல்லது இறைமை என்பதே அது.

இந்த தெய்வீகம் என்பது என்ன?

இறைமறுப்புக் கொள்கையுடையவர்களுக்கு, இந்த சொல்லைக்கேட்டால் நகைச்சுவையாக இருக்கும்.

இந்த உணர்வு என்ன இறை நம்பிக்கை இருப்பவர்களுக்குத் தான் சொந்தமானதா?மற்றவர்களுக்கு அறவே இல்லையா?

மனிதனாகப் பிறந்த அனைவருக்கும் இவ்வுணர்வு உண்டு. எப்படி?


சற்று யோசிக்கலாம்.

நமது வாழ்வில், சில அல்லது பல தருணங்கள் மிகச் சிறப்பு வாய்ந்தவைகளாக இருக்கின்றன.அந்தத் தருணங்களில் நமக்கு நிகழ்வது என்ன என்பதை நம்மால் கண்டிப்பாக விவரிக்க இயலாது. அந்தத் தருணங்களில், நம்மை நாமே மறந்து விடுவோம். அதிர்வுகள் ஏற்படும். காலம் நின்று போனது போல் தோன்றும். ஆனந்த பரவசம் தோன்றும் அப்பொழுது. மனம் அமைதி பெறும். எங்கும் சாந்தி நிலவும்.

இவையெல்லாம் நிகழ்வது எப்பொழுது? இனிமையான இசை நம் செவிகளில் பாயும்போது.
இசையை நாம் காண முடியாது. அனுபவிக்க மட்டுமே முடியும்.இப்படி நம்மை மெய்மறக்கச் செய்யும் இசையனுபவத்தை தெய்வீக அனுபவம் என்று கூறுவதில் தவறேதும் இருக்க முடியுமா?

இசை, அக‌ உண‌ர்வு, அக‌ எண்ண‌ம் சார்ந்த‌தாக‌ இருந்தாலும், எந்த‌ இசை ந‌ம‌க்கு ம‌கிழ்ச்சி ம‌ற்றும் அமைதி த‌ந்து ந‌ம்மை ல‌யிக்க‌ வைக்கிற‌தோ, அதுவே சிற‌ந்த‌ இசை என்று க‌ருத‌ப்ப‌டுகிற‌து.

கால‌த்தைக் க‌ட‌ந்து, கால‌த்தையும் வென்ற‌ ப‌டைப்புக‌ளை அளித்த‌ ப‌ல‌ சிற‌ந்த‌ இசை வ‌ல்லுன‌ர்க‌ளை இந்த‌ உல‌க‌ம் க‌ண்டிருக்கிற‌து.அவ‌ர்க‌ள‌து இசையின் தாக்க‌ம் ந‌ம் வாழ்வில் ஏற்ப‌டுத்திய‌, ஏற்ப‌டுத்தி வ‌ரும் பாதிப்பு அள‌விட‌முடியாத‌து.

இந்த மிகச் சிறந்த வல்லுனர்களுள் ஒருவர் திரு.இளையராஜா அவர்கள். அவரது படைப்புகள், பெரும்பாலும் திரைப்படங்களுக்காகவே இருந்தாலும், அவற்றின் ஆழம், அகலம், உயரம், அளவெல்லை இவை யாவும், இசையின் புதிய பரிமாணங்களை நமக்கு அறிமுகப்படுத்துகின்றன. கண்டுகொள்ள வைக்கின்றன. நமக்குள்ளே அதிர்வுகளை ஏற்படுத்தி, நம்மை ஒத்திசைக்க வைக்கின்றன.

எனவேதான், பண்டிதர்களையும், பாமரர்களையும் ஒருங்கே கட்டிப்போடுகிறது அவருடைய இசை.

இன்றைய தினம் நாம் காணப்போகும் அவரது பாடல் மிகவும் சிறந்த ஒன்று. இந்தப் பாடல், இறைத்தன்மையை புகழ்வதோடு மட்டுமன்றி, இசையின் பல நுணுக்கங்களும் கொண்டிருக்கிறது. இதில் யாருமே இதுவரை செய்யாத ஒரு புதுமையும் இருக்கிறது.

ஒரே பாடல், பல ராகங்களைக் கொண்டு அமைந்திருப்பது புதிது அல்ல.கர்னாடக இசையில், இந்த வகையினை 'ராகமாலிகா' என்று அழைப்பார்கள். இந்தப் பாடலிலும் மொத்தம் 8 ராகங்கள் இருக்கின்றன. ஆனால், அதில் 3, மேளகர்த்தா முறைப்படி, ஒரே சக்கரத்தில் அமைந்திருக்கிறது. அதிக நுணுக்கங்களுக்குச் செல்லாமல், மேலெழுந்தவாரியாக இதனை விளக்குகிறேன்.

மொத்தம் இருக்கும் 72 மேளகர்த்தா ராகங்கள், 12 சக்கரங்களாக பிரிக்கப்பட்டு, ஆறு மேளங்கள் அதாவது ராகங்கள் ஒரு சக்கரத்தில் இருக்கின்றன.இந்த 6 ராகங்களிலும் 'ரி', 'க,' 'ம' என்ற 3 ஸ்வரங்களும் ஒரே வகையைச் சார்ந்தவை. 'த' மற்றும் 'நி' மட்டும் மாறுபடும். இதைப் பற்றி இன்னும் சற்றே விரிவாக பாடல் பற்றி விளக்கும்பொழுது காணலாம்.
இது போல் ஒரே சக்கரத்தில் அமைந்த ராகங்கள் ஒரே பாடலில் வருவது இதுவே முதல்முறை. திரு.கோடீஸ்வர ஐயர் இயற்றிய மேள ராக மாலிகாவில் மட்டுமே எனக்குத் தெரிந்து இவ்வாறு அமைந்திருக்கிறது.

இவ்வளவு சிறப்புகள் வாய்ந்த அந்தப் பாடல்தான் என்ன?

'கவிக்குயில்' என்ற திரைப்படத்தில் இடம்பெற்ற‌

'ஆயிரம் கோடி காலங்களாக..' என்னும் பாடலே அது.

உன்னதமான ஜலதரங்கத்திற்கு, திடமான பகாவஜ் பக்கபலமாக அமைய கூர் உண‌ர்வுடன் பண்பட்ட இசை மாயாமாளவகெளள ராகத்தில் ஒலிக்க, ஆரம்பிக்கிறது பாடல். உணர்ச்சி பொங்க எழும் குழலோசை, சுடரொளி விட்டுவரும் ஆன்மீகத்தன்மையுடனும், சலசலக்கும் அழகுடனும் ஒலிக்கிறது. இனிய இன்பமூட்டும் வீணை தனது தலையை அசைத்து, தெய்வீக அனுபவத்திற்கு முகமன் கூறுகிறது.

பல்லவி, அனாகத எடுப்பு, அதாவது தாளம் ஆரம்பித்த பிறகு - இந்தப் பாடலில் குறிப்பாகச் சொல்வதானால் முக்கால் இடம்- தள்ளி ஆரம்பிக்கிறது. திரு.பாலமுரளிகிருஷ்ணாவின் இனிமையான குரல், ஆழ்ந்த செவ்விசையுடன் ஒன்று கலந்து, 'ஆயிரம் கோடி காலங்களாக' என்று ஒலிக்கிறது. 'ஆனந்த லீலையின்' என்ற சிறுதொடர் வரும்பொழுது, வகுளாபரணம் என்னும் ராகமாக மாறிவிடுகிறது.

வகுளாபரணம் 14 ஆவது மேளம், மாயாமாளவகெளள, அதன் அடுத்த, அதாவது 15ஆவது மேளம். இரண்டையும் வேறுபடுத்துவது, 'நி' என்ற ஸ்வரம். முன்னதில் உள்ளது கைசிகி நிஷாதம், பின்னதில் உள்ளது காகலி நிஷாதம்.

முதலாவது இடையிசையில், முதலில் பிறங்கொளியுடன் ஜலதரங்கம் மின்னுகின்றது. இப்பொழுது ஒரு மாயம் நிகழ்கின்றது. அடுத்த சுருதியில், குழல் வாசிக்கிறது.இப்பொழுது ராகம் 34ஆம் மேளகர்த்தாவாகிய வாகதீஸ்வரியாக மாறுகிறது.இதில், இரண்டு விஷயங்களைக் கவனத்தில் கொள்ள வேண்டும். 1.இது கிரஹ பேதம் அல்ல. 2.வாகதீஸ்வரியின் சில சுவரங்களே வாசிக்கப்படுகின்றன.

பக்தியுடன் துடிக்கும் குழ‌ல், புல‌ன்க‌ட‌ந்த‌ த‌ன்மையுட‌ன் சுட‌ர்விடுகிற‌து.

வீணை ஒயிலுட‌ன் மாயாமாள‌வ‌கொள‌ள ராக‌த்தை அழைத்து வ‌ருகிற‌து.

முத‌லாவ‌து ச‌ர‌ண‌த்தின் முத‌ல் ப‌குதி, நேர்த்தியுட‌ன் மினுமினுக்கிற‌து. 'மார்க‌ழி மாத‌' என்ற‌ வ‌ரியிலிருந்து வ‌குளாப‌ர‌ண‌ம் ம‌றுப‌டி வ‌ருகிற‌து.

இடைவெளியில்லாத‌ அற்புத‌ம்!

இர‌ண்டாவ‌து இடையிசையில், இன்னொரு திடீர் திருப்ப‌ம். வ‌ல‌ஜி என்னும் ராக‌த்தை குழ‌ல் இசைக்கிற‌து. ஐந்தே சுவ‌ர‌ங்க‌ளைக் கொண்ட‌ இந்த‌ ராக‌ம் மிக‌வும் இத‌மான‌தொரு ராக‌ம்.இந்த‌ ராக‌த்தின் ப‌ண்சார்ந்த‌ ப‌ல‌ ப‌ரிமாண‌ங்க‌ளை குழ‌ல் இசைக்க‌, இன்னொரு அதிச‌ய‌ம் ந‌மக்காக‌க் காத்திருக்கிற‌து.

தொட‌ர்ந்து வ‌ரும் வீணை, ச‌க்க‌ர‌வாக‌ம் என்னும் ராக‌த்தை வாசிக்கிற‌து. இது இரண்டு வித‌ங்க‌ளில் த‌லைசிற‌ந்த‌ வ‌ரைக்கீற்று.வ‌ல‌ஜி என்னும் ராக‌ம் இசைக்கோட்பாட்டின்ப‌டி, 28ஆவ‌து மேள‌மாகிய‌ ஹ‌ரிகாம்போஜியில் உத‌ய‌மாகும் ஒரு ராக‌ம். என்றாலும், இதில் உள்ள‌ சுவ‌ர‌ங்க‌ளாகிய ஷட்ஜமம், அந்த‌ர‌ காந்தார‌ம், பஞ்சமம்,ச‌துஸ்ருதி தைவ‌த‌ம், கைசிகி நிஷாத‌ம் என்ற‌ சுவ‌ர‌ங்க‌ள், ச‌க்க‌ர‌வாக‌த்திலும் இருக்கின்ற‌ன‌.அதாவ‌து இவ‌ற்றுட‌ன், சுத்த‌ ரிஷ‌ப‌ம் ம‌ற்றும் சுத்த‌ ம‌த்திய‌ம‌ம் என்னும் சுவ‌ரங்க‌ளைச் சேர்த்தால், ச‌க்க‌ர‌வாக‌ம் ஆகும்.

மேலும், சக்கரவாகம் மாயாமாளவகொளள மேளத்திற்கு அடுத்த மேளமாகும்.எனவே, அக்னி சக்கரத்திலிருக்கும் அடுத்த ராகம் ஒரே பாடலில் வருகிறது.

குழலோசை இசைத்துண்டின் இன்னொரு சிறப்பு, கஞ்சிரா என்னும் கர்னாடக இசைக்கச்சேரிகளில் மட்டுமே பெரும்பாலும் காணப்படும் தாள இசைக்கருவி உடன் ஒலிப்பதாகும்.

இரண்டாவது சரணம், இந்த ராகத்தின் பலமுகங்களைக் காட்டுகிறது. இசைக்கவிதை சொற்றொடர்களைத் தவிர, ஆழ்ந்த விசாரமுள்ள உயிர்ப்பூட்டும் அகாரங்களும், இரண்டு ஆவர்த்தனங்களுக்கு இருக்கின்றன. இந்த ராகத்திற்கே உரித்தான வாசத்தை 'பாற்கடல் அமுதாக' என்னும் வரியில் உணர்கிறோம்.

மூன்றாவது இடையிசையில், குழல் முதலில் மோஹன ராகத்தையும், தொடர்ந்து மோஹன கல்யாணி ராகத்தையும் இசைக்கிறது. இனிமையான நுட்பத்துடன் வீணையும் மோஹன கல்யாணியை இசைக்கிறது. வலஜி ராகத்தின் பொழுது ஒலித்த கஞ்சிரா, இப்பொழுது மறுபடி ஒலித்து, மோஹன கல்யாணியோடு சேர்ந்து புன்னகைக்கிறது.

மோஹனத்தில் ஆரம்பிக்கும் மூன்றாவது சரணம், நம்மை உச்சநிலைக்குறிய ஆன்மீக தளத்திற்கு அழைத்துச் செல்கிறது. 'அருள் காக்கும்' என்னும் வரியில், மோஹனம் சாருகேசி என்னும் ராகத்திற்கு மாறுகிறது. 'மார்கழி மாத' என்ற வரியிலிருந்து வகுளாபரணம் மீண்டும் வருகிறது.

இறுதியில் வரும் குழலோசை மாயாமளவகொளளயை முனைப்புடன், தீவிரத்துடன், ஆழமாக, மென்மையாக இசைக்கிறது.


இது, தெய்வீக மண்டலத்திற்கு நம்மை அழைத்துச் சென்று, ஆன்மீகத்தின் மையத்தை நமக்கு உணர்த்தும் பயணம்.


ஆயிரம் கோடி காலங்களுக்கு நிலைக்கும் இந்த ஆனந்த லீலை...

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-The Effulgent Sun..

‘The cuckoos get married. The peacocks dance. The bees sing a beautiful tune to wake up the royal swan which is sleeping on a bed of flowers.’

குயிலினம் வதுவை செய்யக் கொம்பிடைக் குனிக்கும் மஞ்சை,

அயில்விழி மகளிர் ஆடும் அரங்கினுக்கு அழகு செய்யப்

பயில்சிறை அரச அன்னம் பன்மலர்ப் பள்ளி நின்றும்

துயில் எழத் தும்பி காலைச் செவ்வழி முரல்வ சோலை.

This is the description of a forest in the Kosala Kingdom by Kamban. Kamban was a Master of descriptions and we have seen some very beautiful and interesting verses of ‘Kavi Chakravarti in this blog.

Look at the aforementioned verse.

How many can even imagine cuckoos getting married and peacocks dancing to celebrate the occasion? Or the bees singing a Sevvazhi paN( raga) to wake up the swan?(‘sevvazhi paN is the equivalent of the Yadukulakambodhi ragam)?

Most importantly, the verse conveys the harmony between the living creatures in the Kingdom of Kosalam.

The ability to interweave some beautiful stories in each of the verses, the choice of meaningful shimmering words, creative imagination, making the readers literally visualise the scene-these are some of the things that set Kamban apart.

That is why, his poems smile with effulgence even centuries after these have been composed.

If Kamban was an Emperor of Poetry, ILaiyaraaja is the Emperor of Film music.The works of both these geniuses shine like the effulgent sun.

What makes his compositions great is not just the choice of ragas but also the way he has handled these.

As we have been seeing in this blog, he has used very popular ragas, not so popular ragas, and relatively unknown ragas. Some of these ragas had hardly been used in film music while some had not been used even in classical music.

The song of the day falls under the former category.

The name of the raga is ‘Deva Manohari’ and the song is ‘Suga raagame’ from the film ‘Kanni Rasi’(1985).

The structure of Devamanohari is very interesting:

sa ri2 ma1 pa dha2 ni2 Sa/Sa ni2 dha2 ni2 pa ma1 ri2 sa.
If one looks at the scale, it is nothing but Madhyamavati plus ‘dha’.

However, the raga sounds different from Madhyamavati because of the way it is sung.

In fact, that is he basic difference between a scale and a raga. While the plain notes combine to give a scale, the notes are full of life in a raga.Moreover, some notes acquire special status in some ragas making the respective ragas unique.

For example, in Madhymavati, the swaras ‘ri and ‘ni’ are very special and are called as the ‘jiva swaras’. In Devamanohari, these swaras are not that special.

Devamanohari’s structure is also very similar to Narayani-the only difference being the absence of ‘ni’ in the arohaNam of the latter.

The other raga close to this is ‘MaNirangu’ whose structure is ‘sa ri ma pa ni Sa/Sa ni pa ma ga ri sa.

I have come across some sites that classify ‘Suga ragame’ under MaNirangu but I differ from this view because the ‘dha’-which is totally absent in MaNirangu- is somewhat prominent in the composition and ‘ga’ which is present in MaNirangu is not found except of course once towards the end of the pallavi.But since this appears as an accidental note and never occurs again, the composition is based on Devamanohari only and not in MaNirangu.

There are many compositions in Devamanohari in Classical music.

Some of these are- ‘Evarikai avataaram’, ‘Kanna tandri naapai’-both of Saint Tyagaraja and ‘Yaarukkuthaan theriyum’ of Gopalakrishna Bharati.

‘Sugaraagame..’ starts with the mirudangam sounding ‘ta ka dhi mi’ twice completing 8 beats. This sharp and sustained percussion sets the tone for the marvel that is to follow.The Veena plays with comely grace and it is joined by the enlivening flute after exactly 8 beats. They coalesce to present a dexterous delineation of the raga.

There is a pause for 4 beats and the Pallavi starts in a very different voice of Malaysia Vasudevan-who mimics the voice of yester-year singer and legend Chidambaram Jayaraman.

The Pallavi is lucid and is rendered with zeal by Vasudevan and VaNi Jayaram. The Veena piece that appears between the lines gives a touch of serenity.

In the first interlude, the Veena gives a brief spell of shiny phrases in the beginning.The Jalatarangam and the Tabla play with each other with glee first in different variations of 4 beats producing some colourful patterns. The flute combines with a bass instrument showing the beauteous facets of the raga. The Jalatarangam and Tabla join again continuing the colourful sequence.

The CharaNam is peppered with lovely phrases.
The first part gives succinct expressions while the second part is steeped in classical canons. The last part is scintillatingly brilliant.

The second interlude shows the nuances of the raga beautifully.

The sympathetic/resonance strings nod their heads and the flute sparkles. The chorus sings the syllables with the Tabla moving with the micro count of 6-ta ka dhi mi ta ka. This tuneful rhythmic pattern that creates kinetic images lasts for 4 cycles.The flute takes over with an aesthetic flourish.

Scintillatingly brilliant!

The second charaNam sees the original voice of Malaysia Vasudevan and a variation of the Chatusram pattern.

Suga raagams always emanate from Isai Raaja’s veena..