MaarkaNdeya

The universality of Music is too well known and appreciated to be explained again. Yet I write about it again as the topic is more on paper than in practice. What is surprising is that even within our country proponents of the two major classical forms vie with one another to plead ignorance about the other form despite the obvious similarities.

This is where the film music plays a major role in terms of dispelling the ignorance of a majority. Since it is not necessary for a composition in film music to follow a particular grammar, one gets to listen to a mélange of forms in a matter of less than 5 minutes. But let me hasten to add that I am talking about composers who know the real value of each form and are equally knowledgeable about the respective forms.

As we all know, ILaiyaraaja is adept in integrating many forms not just because he loves all forms but also because he knows the intricacies of each form. So, what we get to hear is a synthesis with each form coalescing with the other. But what makes him great is the way the forms mingle without in any way affecting the melody. It in fact enhances the melody.

Take ‘SiRiya PaRavai SiRagai Viriththu PaRakkirathe’ from ‘Andha Oru Nimidam’(1985). The entire song follows the Charukesi scale. If we delve further into this raga/scale, we will know that the Indian melody Charukesi has been in existence in Western Classical form as Melodic Major since time immemorial.

The prelude is entirely in Melodic Major with the keys and the subtle bass guitar sounding a repeat melody which is repeated by the guitar and then by the strings in the higher octave, followed by the brass flute. Note the absence of the percussion here though it does follow a time signature. More on this rhythmic aspect, a little later..

Charukesi is present in the Arabic system as well and this gets reflected in the first half of the first interlude.

We get to see the Carnatic Charukesi in the first interlude with the chorus singing the swaras followed by the flute first and the veena later. Note that the second CharaNam is different from that of the first and the third.

Melodic Major returns in the third interlude with the first half sounding jazzy and the second half symphonic..

The starting music in the prelude, the Pallavi and the beats follow

1 2 3/ 1 2 3/ 1 2 3/ 1 2 3/ 1 2 3 4- with 4 subdivided into 16.

Does it indicate something?

It does, to me...

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