Inscrutable?

Last night when we were listening to the songs, suddenly I said ‘Oh this is one of my most favourites’. My son asked me ‘Tell me one song which is not your favorite’. I had to then tell him that some songs are extra special and this one is one of those. But it also set me thinking. Supposing I was asked to list out my most favourite songs (in his music of course), how many songs would be part of the list?

It is a question difficult to answer. One day if I sit down and list out all these special songs, I am sure it will extend like the tail of Hanuman. I must then make a tabular column and mention the reasons for the special like. Of course this table should have the Name of the song, Name of the movie, Year of release, Singer(s), Raga ,TaaLa and finally the Reasons. An interesting exercise, no doubt! In some cases, the last column might even say ‘Don’t know. Can’t describe’J. 

Though this particular song which was played last night and set me thinking may not fall in that ‘Can’t describe’ category, I must also say that even after listing out the reasons, there will be one last line which would say ‘There is something more in this and that cannot be described’.

So, what all could be the reasons for considering the song- Thaen poove poove vaa from AnbuLLa Rajinikanth (1984)- as one of my special favourites?

In the order of priority, I would first mention about the Bass Guitar in the second interlude. Bass Guitar is an instrument which looks longer than the normal guitar and as the name suggests, it gives the bass sound. Seldom does one use it as a melodic instrument for it does not have the sweetness of a guitar. Before 1976, it was used as an instrument just to ‘back’ the other instruments and (at times) the vocals too. It was not given too much of an importance or prominence. Post- May 1976, the instrument acquired a special status by the gentleman who knew its capabilities. In fact, he used it even in songs based on Classical Ragas. He made the Bass Guitar play totally different notes from that of what the other instruments were playing or what the vocals were singing. Many times, it would be in a different Shruti or even a different Raga. Yes, normally we wouldn’t realise all these while listening to the song as a whole, but the fact remains that it gives an impetus to the entire composition.

What is amazing is that he went a step ahead and elevated Bass Guitar to a higher plane and gave it a very special place by using it as a melodic instrument in some compositions. In some other, he used it in lieu of percussion. ‘EndrendRum aaanadame’(Kadal meengaL) is a classic example of the latter while the song of the day is a classic example of the former.

Let us see how.

Bass Guitar which is slightly dominant in the prelude becomes very subtle in the Pallavi, the first interlude and the CharaNam. As if waiting for an opportunity to attack (musically), it responds to the call of the vibrant Flute as soon as the second interlude starts. Though it lasts for just about 15 seconds, the impact it has on us is unimaginable. It is zestful; it crackles with energy; it is lustrous.

The next reason (though I said ‘in the order of priority’, the difference between ‘reasons’ in a scale is just a micro point!) is the musical bit that appears towards the end of the prelude. I am not sure if the sound is made from a key board but I can say that it is wondrously beautiful and slides from the higher notes to the lower notes with felicity.

The Flute in the second half of the first interlude is the next one in the list. The composition is in minor scale with predominant notes of Kiravani plus the ni2 and dha2, which of course is allowed in western music where there is no raga concept. Now, in the piece under reference, the flute traverses to the major scale and then goes back to the minor scale. This technique called as ‘modulation’ has been used by the Maestro in many compositions  (‘Pudhu MaappiLLaikku’, ‘Puththam Pudhu Kaalai’, En KaNmaNi’ are just some examples). This particular piece is mesmerising to say the least.

The staccato Flute backed by the subtle Bass Guitar and the keys in the last half of the second interlude is effervescent and literally transports me to a garden full of flowers.

The prelude in its entirety…Scintillating to say the least.

The somewhat sober but resonant Guitar in the first interlude and the Strings in higher octave. In fact, the Strings are in higher octave all through making it a fantabulous experience.

The rhythmic pattern. Long back, I remember reading a comment in a forum that it is impossible to decipher the taalam of this composition. I think it was made to feel that way because of the strings piece in the first interlude. However, it clearly follows the Chatushra Ekam.

SPB and Janaki. Being a great admirer of both the singers, this point should have come much before. But I can also take liberties with people I like the most  J.

Last point- There is something more in this song which makes it so special. Can I explain?

No, next to impossible..

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