What gives the right mood?
I know I have asked this question before albeit in a
different form and have also discussed about this at length, but since I am now
in a mood to talk about this again,
I am trying to create the mood for the
topic again so that I can influence and affect your mood.
The word itself gives some very different connotations. It is a ‘temporary state of mind’, ‘a distinctive
emotional quality’, ‘general attitude’.
How many times would we have come across this statement
or how many times would we have told others this- I am not in a mood now-?
At the same time, don’t we also say, ‘I am in a good mood’?
And generally, if we say somebody is ‘moody’, don’t
we always say it in a negative
context?
At the same time, we also say ‘this sets the mood’. This expression of course means that ‘we have the right atmosphere’.
If a simple four letter word (I meant only this
word!) can give so many moods, then
it surely must be very special.
This ‘mood’
applies to music as well. It is said
that certain ragas have some specific
moods and can be used only in
specific instances-that is to create the mood
a raga is meant to create.
Hindustani
Music follows the ‘time concept’
strictly. A particular raag is to be
sung only during a particular time of the day (or night). However, I have seen
musicians render ‘Todi’(carnatic
equivalent- SubhapantuvaraLi) during
the evening though it is to be sung during late mornings only, but that is a
different issue(and can be taken up in one of my forthcoming posts, as usual ).
But apart from the ‘time concept’, there is also the
‘mood’ created (supposedly) by a
particular raag. A raag like Ahir Bhairav gives a pathos mood(in fact this applies to most of
the raags in Bhairav thaat). ‘Poorvi’, ‘Poorya Dhanashri’, ‘Lalit’ always sound plaintive. ‘Malkauns’ on the other hand(don’t ask me
which hand) gives shringar rasa(or a
romantic mood).
In Carnatic
Music too, one often comes across this ‘mood factor’. One of the most
popular ‘beliefs’ is about Mukhari,
which is supposed to be a ‘crying raga’. That this ‘belief’ is just a myth will be taken up by me soon. However,
I feel many theories about on the mood
of the raags are just myths. Or at least, that is what ILaiyaraaja has proved.
Though film
music is a genre by itself and cannot be compared strictly with Classical music(isn’t this a myth as
well?), ILaiyaraaja has time and
again challenged this through his compositions and has come up trumps in such
exercises.
For example, he has used SubhapantuvaraLi, which is considered to be a raga full of melancholy in a humorous situation (Kandupidichchen
KaNdupidichchen- Guru Sishyan), in romantic situations( Porapattadhi- Ladies’
Tailor), and even in a sensuous situation(AlaigaLil Midhakkudhu-Andha Oru
Nimidam).
Same is the case with Shivaranjani, Chakravagam etc., He has done the reverse too making
happy ragas like KalyaNi, Mohanam
etc., sound plaintive (no, I am not going to list the songs now).
That brings me to the basic question (at last...) – How does he create the mood for a song?
In other words- What
makes him decide on a particular raga for a particular song?
It is of course complicated and can be answered only
by him (really not sure about this too!).
I was talking
about him challenging the mood concept.
But there have also been cases where he has stuck to the concept. Today’s Rare Gem is an example.
Jog
is a raag which is supposed to give
enchantment.
‘Podu Thanthaana tham’ from ‘Nalla NaaL’(1984) is based on this raag. If one looks at the mood evoked by
the song, it is romantically sensuous. But what makes this gem shine with a
special radiance is not just the raag
and the way it has been used, but also the kind of instruments used and the way
these have been used.
Take the prelude.
The shrill flute in the beginning is
somewhat deceptive as gives a folksy feel. But the bass sound from the keys,
which backs it, gives us an indication of what could be in store. The fact that
both play different sets of notes, makes it even more interesting and
intriguing. Enter the sax in its
unique tenor and the intrigue factor goes up. In fact, this sax plays a very significant role in
the composition and can as well be called as the X factor. Raag Jog could
then be the ‘Y’ factor and the
percussion could be the ‘Z’ factor.
That ‘Z’
which starts along with the sax,
plays 1 2 3/ 1 2 3/ 1 2 in two
different sets, with one set sounding
only the first, the fourth and the seventh with resonance and the other set sounding all the
syllables, though some are sounded subtly. The composer whose love for variety is well –known, changes this
pattern when the sax stops playing
and sounds only for one beat on the drums followed by one beat
on the more resonant percussion.
This goes on for one cycle of chatushram.
In the next cycle, the same pattern
continues but this time, the flute
plays a short melody and takes us to the Pallavi.
The original pattern (the one played during the sax melody) continues but this time a synth sound is added on the 7th micro beat once per
cycle. That is, the chatushram cycle
is divided into 16(I have explained
this many times in many of my posts) with 1
2 3/ 1 2 3/ 1 2 occurring twice and the synth sound is played only during the first 7th micro beat. But this synth sound occurs only in the Pallavi
with the CharaNams and the first interlude following the pattern
of the prelude. We shall come back
to this ‘Z’ factor soon when the second interlude is discussed.
Now, for the ‘A’
factor - the vocals. If only I had the stamina, I would climb atop Mount Everest and would shout at the
top of my voice that no other two singers would have done justice to this song
except SPB and Janaki. Rather than my explaining this, it will be nice if you all
listen to the vocals (especially in
the second charaNam and in the end)
and make your own judgement.
The ‘X’
factor comes into play in the first
segment of the first interlude
and in the last segment of the second
interlude. If it is smooth in the former, it is rousing in the latter. But
in both occasions, it gives a very special feeling which can be at best
described as musically romantically sensuous.
There are other factors too and since I am not here
to list out the English alphabets, I would refrain from naming these factors.
One is the violin in the first interlude which gives the
melancholic feel of the raag and two
is the flute which follows, which
sounds plaintive. If you wonder what these feelings play in a ‘romantically sensuous’
song, my answer is ‘Contrasts are poetic
and show the genius of a composer’.
Then there is that wonderful instrument called as
the guitar which suddenly appears in
the second interlude elegantly and
gives an exemplary display of brilliance etching some beautiful patterns.
That ‘Z’
factor comes into play again here keeping quiet when the guitar starts and playing 4 beats at the end of the cycle. After
two cycles, it plays continuously. Note that that it is totally a different
percussion instrument from the guitar section. When the sax(the ‘X’ factor) enters, the pattern changes again with the drums playing only the first and the third syllable and the sharp percussion
playing all the 4 syllables as
response. At the end of the interlude,
the drums play 16 in faster mode (mel kaalam).
‘XYZ
ABC’-
Are these the ones which create the mood?
Or is the mood
created in the mind of the composer with all the factors racing with and
against each other?
Let me think when I have the right mood.
Until then, let me listen to songs like this one
without bothering about any factor.
After all, Mood is a Mood is a Mood!
