Spoken and the Unspoken

 “Avoid using cuss words”- said I.

“But why? We are not Buddhas”- replied somebody.

I do not want to reveal as to where and when this happened. All I can say is that the topic was ‘How to stop energy leaks’ and that it was an online discussion.

Not many in the present times-whether it is Gen X, Gen Y, Gen Z- realise the power of words, and this is not a healthy sign. Though it is a well- known fact that without words expressing oneself is tough (there is ‘sign language’, but how many even know this or can understand this?), people do not understand its value. Said with proper intonation, the words spread vibrations- positive and negative. In fact, that is why slokas are recited and one is asked to say it correctly with the right pronunciation so that positive vibrations are created. This is common for all religions though the language may vary.

But tune into any OTT platform. Not a single movie or show passes without the characters uttering swear words. Even if the character does not (which is a rarity), people who write the subtitles see to it that it is part of it.

‘So what if I say cuss words’, is a question which will be asked by many, especially people who cannot survive without that (in fact, some even ‘breathe’ those words!).

1.When you use such words, it creates negativity in your subconscious mind without your being aware and it manifests itself later in your life.

2.It makes one believe that your vocabulary is very poor and that instead of saying the appropriate word for the occasion, you end up using such words.

3.Invariably, you end up abusing your life itself by using such words constantly.

What is of great concern is the fact that people take pride in using such words without realising the negative impact these are likely to give, later.

It is not without any reason that a very popular English monthly known for making readers digest information, has a section called ‘Word power’ and this is meant not just to improve one’s vocabulary!

Let us see a song whose first line talks not about words, but the absence of it.

 Like many other compositions of his, ‘Maata raani mounamidi’ (vocals: SPB and Janaki) from ‘Maharishi’(1987) is beautiful, but what makes it unique is the leitmotif.

Listen to the repetitive guitar piece in the beginning. As if to complete a circle, it occurs yet again at the end of the prelude. But the circle is not complete (can you find the beginning and end of any circle), because one sees yet another circle in the second interlude as the guitar piece occurs and continues even as the piped instruments (sax and allied instruments) and flute alternate with each other. But even before we beat an eyelid, there is another circle, this time in the form of piped instruments which play the leitmotif played until now by the guitar alone!

This composer who is always different and who makes a difference by understanding the different sounds of all the instruments, brings a difference in the second CharaNam. The entire composition follows the 4-beat cycle, but he just modifies the pattern of the cycle by changing the percussion instruments and also making these sound in ‘mel kaalam’(faster mode). Now, listen to the first CharaNam and skip to the second CharaNam, and you will know what difference it makes to the composition.

After all, subtle changes make a huge difference!

In fact, this difference occurs in the beginning itself when the piped instruments take over after the guitar piece, though this difference is different from that of the one in the second CharaNam.

A closer look also suggests that even the second interlude sees a change in the pattern with the percussion sounding

 ‘1 - 3 –‘ in the slower speed followed by another set of percussion playing ‘ 1 2 3 4’ twice. Note that the first one is equal to the second because of the speed (a.k.a kaalam).

Just towards the end of the first interlude, which sees the different forms of the guitar and the piped instruments, there is that ‘mel kaalam’ just for four micro-beats, but this time it is the bass guitar which sounds it.

Bass guitar in fact sounds throughout the Pallavi as well, making it powerful.

Isn’t it a fact that the patterns matter in life- whether in music or in the formation of words?

Profundity

Inspiration is part of creativity.

I have made the aforementioned statement many times in many forums . But the fact of the matter is, many find it difficult to distinguish between ‘inspiration’ and ‘copying’. The reasons for the difficulty vary depending on the people and their mental make-up.

 Long ago, I wrote about 3 poets belonging to three totally different eras and also about how the 2nd one  got inspired by the 1st one and how the 3rd one was inspired by the 1st and the 2nd one. I shall just give the names of the three poets and without any further elaboration move on to ILaiyaraaja.

The 3 poets were – Thirumangaiyaazhwar(8th Century), Kamban(12th Century) and KaNNadasan(20th Century). 

When it comes to ILaiyaraaja, there is a group which would criticize him even if he sneezes. Needless to say this group would have heard not more than 5% of his compositions. People in this group do not know that when he scored music for a full fledged play (MaasatRa Manam) way back in 1969, he used original tunes. Nor do they know that he did some movies for free even when his market price was the highest among Indian composers (one of the movies was the Malayalam movie ‘Sammohanam’ which even won an award at an International Film Festival). 

And it is mainly this group which with its half-baked knowledge, brands his as ‘copy cat’. One of the songs cited by this group is ‘Endha Poovilum Vaasam UNdu’(MurattukkaaLai-1981). 

Let us first look at the facts. 

Antonio Ruiz-Pipó was a composer from Spain who wrote and composed some beautiful pieces. One of the pieces is called ‘Cancion Y Danza No.1’. This piece is in fact part of Trinity College syllabus for classical guitar grade 8.

The accusation is- ILaiyaraaja copied from Antonio Ruiz-Pipó.

Is this true?

Listening to the piece, the first humming of Janaki and most part of the Pallavi resembles the piece. But then what happens after that?

The guitar strums for 6 seconds. Suddenly the flute appears from nowhere and sings like a bird. Record this piece separately and play it to anybody. I bet they would say, ‘Oh, South Indian folk with guitar as the background’. Even experts in WCM would not associate this with Antonio Ruiz-Pipó.

Play the following piece where the violins and violas alternate between the cello, with each set playing different melodies and WCM aficionados would ask, ‘Is this piece from a classical symphony?’

The bulbul thara piece with bass guitar in the background would of course make even people not exposed to any major form of music, sit up, simply because of the way it pulls the strings of one’s heart.

How is the CharaNam? A mix of folk and semi-classical? But there is more to it. 

The higher-octave notes-going up to ‘Ma’in the third and the fourth lines- would make an Indian classical musician wonder as to how brilliant the composer could be.

The second interlude would probably make a poet with musical knowledge come up with a caption like- When Thames met Cauvery. This is because of the sound of the strings in WCM style backed by the folk instrument. And what would people say if they listened to the romance between the flute, the strings and the keys in the next segment?

The bulbul thara at the end puts things in a nutshell:

If a musical piece of a great composer can be taken as the base from yet another genius and expanded so beautifully like this, does it not speak volumes of his greatness?

After all, what is life without inspiration and creativity?

Warbler

 In the year 2020, during the month of October, the picturesque hill town of Vaalpaarai, a place close to Pollachi in Coimbatore district saw something unique. The walls were full of posters. No, there was no byelection nor was the town being visited by a political dignitary or any Big Boss (pun intended!). The posters had a picture of a bird (yes, you read it right) with wordings which read ’Thanks for travelling all the way from the Himalayas to our Vaalpaarai to feed on insects and to protect our ecosystem.’

This bird which goes by the name Grey Wagtail (scientific name- Motacilla cinerea) travels from the upper Himalyan Region during the month of September and goes back to the Himalayas when summer sets in. It has a long tail, which it keeps wagging. While the tail is yellow in colour, its body is greyish giving it the name Grey Wagtail. It is also beautiful to look at. It feeds on insects and therefore is a dear friend of people in general and farmers in particular. It is said that it works with clockwork precision and has site fidelity-that is it knows the geography like the back of the palm, oh sorry, like the back of its tail!

Though there are some avid birdwatchers, the fact of the matter is a majority of us do not pay attention to the birds around us. It is a fallacy that birds are found only in villages. The recent pandemic has come as a blessing in disguise to the mankind in general. If you think I am crude and heartless, so be it. Rather than cursing nature or god or even that poor number 2020, it will be wiser on our part to try and understand what the Universe is teaching us. We get to listen to silence and we get to see birds now, birds whose existence we would have never got to know. For that matter, even the Vaalpaarai posters happened because of the pandemic.

Recently, I also read a very interesting article in The Hindu in which a reader describes about a bird being caught on the window pane, as to how its mate arrives listening to the plaintive cries and as to how the little bird manages to extricate itself after seeing its beloved.

These are life lessons for humans!

Talking about lessons, music is a lesson too-rather a series of never ending lesson- and in the hands of an expert musician, it teaches us a lot about life just like how a bird teaches us naturally.

The most beautiful thing about ‘KaNdo KaNdo’ from ‘Innathe Chintha Vishayam’(2008) is the bird call. The sound of the birds keep occurring through the song and one can even call this the leitmotif.

It is not that this alone is responsible for the song sounding nice. The folksy tune in the different voice of M.G.Srikumar, the orchestration in which the synth melodic instruments meld with the folksy percussion make it a classy song.

The twin-violin backed by the synth instruments in the beginning gives a sleek silhouette and if you get instantly transported to a forest in the Western Ghats, you are not to be blamed.

The Pallavi starts after the ‘welcome music’ by the birds and it takes a different turn in the second half. Poignancy is not bad after all!

The flute mimics the birds in the first interlude but what is different here is the ‘call and response’. Generally, ‘call and response’ happens between two different instruments. But here is the case where a flute responds to another flute. Symbolism perhaps!

What happens after this is interesting as well. The synth melody (strings) moves with poise and with an unmatched elegance. There is a profusion of synth sound but this time it is backed by Jaalra. I can guarantee that if only Edward de Bono were to listen to this, he would give a charming smile.

The different bird calls follow in the CharaNams as well. So do the synth melodic instruments. The sudden entry of the tavil in the second half is yet another example of lateral thinking.

The melody picks up pace in the second interlude giving even shades of jazz. Rich and imaginative indeed!

Ah yes, aren’t birds rich without knowing what money is?

Sixteen Forever..

 I cried a lot when my mother passed away in August 2013.

I cried more when my father passed away in June 2019.

I cried inconsolably on the 26th of September 2020 and the reason is obvious. If there is one person's death I am yet to come to terms with, it is this gentleman's death. Even now tears well up in my eyes when I listen to his songs and even if I simply hum the songs mentally(attendees of Raaja Deepam -25 know this!).

"You have a very nice voice. But let me tell you two things. One, you tend to imitate Mohammed Rafi. Please do not imitate anybody. Have your own style. Two, you are looking very weak and puny. If you aim to become a professional singer, you need to have good stamina. Please become more strong physically..", said a leading female singer- when she presided over a Inter-College Music competition.

Even in their wildest dreams, the two would not have dreamt that they would sing together one day and go on to become one of the most successful and loved Duet voices of South India.

The female singer’s name is Janaki and the ‘boy’ was S.P.Balasubrahmanyam.

He tried to follow her advice but could not shed his imitation of his idol Mohammed Rafi for at least 10 years ,a fact reflected in his earlier songs like ‘AvaL oru Navarasa Naatakam’(Ulagam Sutrum Vaaliban) and ‘Thoduvathenna thendralo malargaLo’(Sabhatam).The last mentioned song is special for some other reason and I shall come to that soon.

We all know how religiously he followed her second advice!

Sripathi Panditaradhyula Balasubrahmanyam was born in a village near Nellore. His father was deeply into music and used to perform Harikatha. He was steeped in classical music. However, Balasubrahmanyam did not have any formal training on music despite this. He wanted to pursue a career in Engineering, and joined the Engineering college in Anantapur.This is when fate intervened. He developed typhoid and had to discontinue his studies.

With the tag of ‘Engineer’ in his mind he travelled to Madras and enrolled himself for the AMIE course. Of course, he could not forget his ‘Hobby’ and regularly participated in Inter-College Music Competitions.

Having won the first prize in a prestigious event-Music Competition organized by the Madras Telugu Cultural Academy, he was offered play back singing by the great legend S.P.Kothandapani (don’t be misled by the similarity in the initials. Both are not related).SPB recorded his first song in the year 1966 when he was just 20 years old. He continued to pursue his studies since there were not too many offers.

Once Director Shridhar heard him sing in his office and immediately put him on to MSV sir. The great MSV who never fails to spot and appreciate talent gave him a chance to sing in a movie called ‘Hotel Rambha’. The movie was dropped and SPB was waiting for that big break.

His first recorded song that also appeared on the screen was from the film ‘Paal kudam’, MSV being the MD.

And then it happened….

SPB was practising a song in a studio when a person called MGR passed by. The great Rasika in MGR was instantly impressed with the voice and he decided to give a chance to the new kid in his forthcoming project ‘Adimaip peN’ with music by K.V.Mahadevan.

SPB was thrilled. His Dream finally came true!

The ‘D-Day’ arrived. Fate intervened yet again and SPB was down with very high fever on the day of the recording. Opportunity of a life time lost!

After about a month or so, he was pleasantly surprised to see a car waiting outside to pick him up. He was told that it was sent by MGR who wanted to know if he had recovered from the fever. The excited SPB rushed in the car and saw MGR surrounded by a posse of press people. MGR quietly introduced him as the ‘young singer’ who was going to sing a song for him! 'Aayiram nilave vaa’ was recorded after 11 takes.. and the rest is history.

SPB’s association with Raaja sir started around the same time. Raaja sir and his brothers joined his light-music troupe on the recommendation of Bharathirajaa (who was an assistant to Puttana Kanagal on the recommendation of SPB!).

The ‘Five-man army’(Raaja, Gangai Amaran, Bhaskar, SPB, Bharathirajaa) became very close sharing almost everything!

SPB started singing fairly a good number of songs. The ‘Sabhatam’ song quoted in the beginning was composed by G.K.Venkatesh with Raaja playing the lead-guitar.

As he recollects his nostalgic moments, SPB would never fail to mention the spark he found in the eyes of the ‘guitarist’ when he played in his troupe!

Frequently, he also talks about ‘Naan pesa vandhen..’ because that was his first song for his long-term friend.

Today’s song is also special for some other reason. This was the first song for his yet another close friend.

The song is ‘Mudhal mudhalaaga Kaadhal duet’ from the film ‘NiRam maaratha PookkaL’(1979).

But was this not Bharathiraaja’s 5th film? Why did he not sing in his first 4 films?

Another interesting story!

Songs for ’16 Vayathinile’ were being recorded and SPB was the obvious choice for ‘Aattukkutti Muttai ittu..’.On the eve of the recording, both the Raajas warned him to be careful and give up his ‘nocturnal habits’ at least temporarily. But SPB being SPB would not listen to them and arrived at the recording studio with a bad throat!

But Bharathirajaa is not MGR. He refused to accept any excuse. The song was finally sung by Malaysia Vasudevan.

Bharathirajaa was angry beyond words. Yes..he was the one who introduced him to Puttanna. He was the one who helped his close friend. He was the one who helped all of them whenever there was a problem. In fact, even the script of ’16 Vayathinile’ was with SPB for a long time(it was called ‘Mayilu’ then).

But how could he make himself not available in his very first movie?

The first 4 movies -16 Vayathinile, Kizhakke Pogum Rail, Sigappu RojakkaL, Puthiya VaarpugaL- had the voice of Malaysia Vasudevan, Jayachandran and ILaiyaraaja.

Finally, it was truce and SPB’s voice made its first appearance in ‘NiRam Maaratha PookkaL. Ironically, the Pallavi is ‘Mudhal mudhalaaga kaadhal duet paada vanthene’(I have come here to sing the first Love duet for you).It could also be that Gangai Amaran wrote this line intentionally.

The song is a kind of comedy song with the hero trying to pacify the heroine.

The song starts with a very different music that straightaway makes us visualize a comical scene.

We see the hero running after the Heroine on the street with the Heroine giving him a short shrift.

Can any other composer even think of giving such a Prelude?

One cannot miss the Rafi influence in SPB in the Pallavi.

The use of trumpets and other wind instruments in the first interlude gives a jazzy feel. And suddenly what do we hear? The Harmonium!

Seamless transition..

The first CharaNam is interesting with the Heroine throwing rotten eggs at the Hero as the Hero is busy acting in a play with another woman.

Janaki’s voice typifies a possessive woman while SPB’s voice cringes like a hen-pecked husband.

The second interlude starts with a differently sounding flute followed by the strings and the wind instruments. Do not miss the Bass guitar!

The next part is what makes SPB, a singer nonpareil. He changes his voice like a ‘AaNdi PaaNdaram’( a roadside beggar). Who else can make a soft voice sound so differently?

That is where the greatness of SPB lies.

What differentiates a genius from ordinary is the ability to adapt to situations.

He waited patiently and sang for a great legend- saying ‘Oh..you are equal to one thousand moons!’.

He waited patiently for his musical close friend to make it big as a composer and sang for him-‘I came to speak to you but am lost for words(looking at your genius and success!)..’

He waited patiently and sang in his yet another close friend’s movie-‘Came to sing my very first duet for you..’

SPB -The Maarkandeya!

Ps: Indha Degam MaRainthaalum Isaiyaai Malarvaai. You will emerge as Music and will live forever!

Sense and Sensibilty

 What makes him write the notes for the prelude and the interlude? Is it the explanation of the sequence by the director alone or is there something else too?

 A director can at the most say (for example): It is a love duet where the hero describes the beauty of the heroine and she reciprocates. They keep dancing and go to places like Switzerland, Ooty or even Parangimalai.

Prior to this, the outline of the story and of the characters would be briefed. The relevance (if at all there is one) of the song in the movie would also be told.

With such limited details, he first plays the tune. Once it is accepted by the director, he sits down with the lyricist and the song is born. Now comes the stage of orchestration and I am sure he is all alone during this stage. He takes the sheets and starts writing. The music keeps playing in his mind as he writes and he instantly decides on the instruments to be used for each piece (some pieces are written keeping the instruments in mind). Alongside, he writes parallel melodies and also the notes for bass guitar. He then writes notes for the instruments to be used in the Pallavi and CharaNams (and very rarely the postlude).

The sheets are given to his assistant who would take copies and distribute the sheets to the instrumentalists accordingly. Finally, the recording happens.

What does the director do now? Sit and listen to the song multiple times and forms ideas of picturising? Does he focus on each and every bit? Does he understand the melodic and rhythmic patterns? Do his creative juices flow vigourously?

Going by the visuals of a majority of songs, I really doubt if all these happen.

Let me take an example. ‘Yaava Shilpi Kanda Kanasu Neevu’ from ‘Janmajanmada Anubandha’(1980) is an all time favourite of mine. It is a fast paced love duet and yet it sounds classic. It is a marriage between peppiness and subtlety.

 While listening to the entire song, I see so many visuals and images in my mind. But when I watched the song today expecting at least some aesthetics, I was utterly shocked. The images I had all these years in my mind crumbled. I cursed myself and decided to get those images back. Let me try and describe the song and see if I get my lost treasures back.

It starts with the resonant guitar and the dulcet flute drawing a graceful silhouette.  The drums, bass guitar and the synthesiser jump into the fray and pump adrenaline. It is a burst of colour as the sax plays with a charming splendour and the violin(s) crackling with energy.

A chiaroscuro!

The Pallavi in the voices of SPB and Janaki is a true delight with the percussion instruments playing the chatushram with gusto. The flute bit that appears now and then, lends a quiet glow.

Unimpeded flow of melody. This is how I can define the first interlude. The romance between the saxophone, which gives some free flowing expressions and the violin, which gives some sprightly variations in a matter of few seconds, is something which gives surreal images. The piquant flute then undulates playing vivadi notes(I am not going to discuss or even mention the raga details here. All I can say is that it is a very different raga and I had already written about this in the My Journey thread long back in Orkut community).

The CharaNams are ingeniously structured with classical touches being seen and felt in the second half.

 The second interlude is deftly framed too. The percussion plays the chatushram for one cycle. Now, it is a fiery romance between two violins. This sparkling piece is followed by the flute which now gives a folksy shade even as it plays the vivadi notes and we reach empyrean heights..

Oh..yes..I have got my treasures back now.

In a way, isn’t that one of the main reasons for me to write here?

Boundless

 Can music be produced? Can music be cut and pasted?

If the answer is yes, I can safely say that what comes out as the output is surely not music.

Though it has been there for quite a while, the strident voice of netizens- who hardly know anything about music- has turned cacophonic of late. These people claim that music is beautiful only when different ‘elements’ which are ‘picked’ and ‘chosen’, are joined together in the recording studio.

Is music a product then?

Probably yes, for people who do not know or understand the real value of music. But people who really know the value, who know to appreciate music, know that music can never be produced.

Music has to be spontaneous. Music has to flow effortlessly. Music has to happen.

Only then will it touch the physical body, pierce the heart and stir the soul.

Listen to this piece from ‘Viduthalai-1’.

It starts with a sustained melody from two different instruments- one, a violin and the other a cello. This lasts for about 15 seconds.

The flute follows with the guitar backing it. Does it feel like a cool breeze blowing in a forest with the branches of the trees swaying and with the birds chirping?

Two things are to be noted here.

Why that sustained melody? To show that love blossoms slowly, steadily and beautifully.

Why that flute melody?

People who have either watched the movie or have listened to the other background pieces from the movie, know that the piece is just a variation of the theme music albeit in a different scale and in a different gait. They also know that the tune is also a variation of the most popular song from the same movie.

Now, would the composer have broken his head for getting this? Would he have asked his flute player, the violinist, the celloist and the guitarist to play different melodies and then cut and pasted? Would he have even spent time in deciding the melody?

It just happened..

..and that is why music from great composers is immortal!

Eternal

 

It was a bright sunny morning in April. We had just landed in that city and for a person who had hardly moved out of his hometown (home city!), things seemed exciting though a little alien. After a long train journey, I was a little tired too. Suddenly, a song started playing from a distance. It was from a loudspeaker. It said ‘Chura liya hai tumne jo dil ko’. Only the previous year did I start learning Hindi as part of my second language and therefore, I was able to understand the rough meaning. But what struck me the most was the different sound and also the voices.

Having grown up in Madras, my exposure to film music started and stopped with Tamizh films, and the only names I was familiar with were ‘M S Viswanathan’, ‘KaNNadasan’, ‘T M Soundararajan’ and ‘P Suseela’. During the Vinayakar Chaturthi festival, the temple close to our quarters in Madras would play MGR songs and Hindi songs. One of the songs that was played often was ‘Dum maaro dum’ (look at the irony!). Little did I know the names of the singers then, though the song would give a very different feel.

Going back to that sunny morning, I was attracted to that song instantly. After joining the school there (the only school in that city that offered Tamizh as a language), I was slowly getting into Hindi songs. Peer influence! There used to be a programme called ‘Binaca Geetmala’ on Sri Lankan Broadcasting Service every Wednesday between 8 pm and 9 pm and I started listening to that just to keep up with the trend. Over a period of time, it became a habit which would not leave me at least for the next 3-4 years.

My first attraction was the male voice in a majority of the songs. Bowled over by the magneticity in that voice, the person became my childhood hero. Then it was the female voice which was part of many duets with that male singer. In fact, her name was very popular even in Madras those days. I became a huge fan of both the singers – Kishore Kumar and Lata Mangeshkar. None of the other voices appealed to me as much as the voices of those two, until something happened.

There was a devastating cyclone that year in that state causing very severe damage in the coastal region and the Government sent a directive to the schools to collect Relief fund from residents in the city. The school in turn divided us into different teams and we had to go door-to-door to collect the fund. We took to the task with glee (no classes, you see!). Even as we were walking, a song floated in the air and it said ‘Mil gaya hum ko saathi mil gaya’. The male voice of course my most favourite voice. The female voice was different. It is not that I had not heard that voice before. In fact, I had heard the voice many times before in that Geetmala. Yet, it moved me for the first time.

That was the beginning.  

Though comparisons are odious, I must say that the voice of Asha Bhosle is unique in terms of the sweetness, versatility, ductility, and expressiveness. Most importantly, though it sounds effortless to a lay listener, the hard work is apparent to a trained ear. Disco, romance, sad, classical or for that matter any genre was handled by her with equal felicity.

The mutual admiration between ILaiyaraaja and Asha Bhosle is well-known to many. She has praised his genius on many occasions, one of them being an interview in Marathi in which she said how he changed a part of the CharaNam in a jiffy, in her first ever recorded tamizh song for him. Raaja sir in one of the interviews last year mentioned as to how pleasurable it was to work with her.

The song I have taken up is from the first Hindi film of ILaiyaraaja and probably the first ever song both worked together.

When the Hindi remake of Sadma was announced, my happiness knew no bounds when I came to know that Balu Mahendra managed to convince his dear friend to score in Hindi as well. Not many know that until then ILaiyaraaja had kept away from Hindi films in spite of many offers. The audio launch happened in a 5-star hotel in Madras with Amitabh as the chief guest. A Tamizh magazine while writing about this event mentioned that the songs were a ‘carbon copy’ of the ones in Tamizh! Later, when I listened to the songs in the cinema hall, I wondered if the person who wrote that piece was auditorily challenged. Except for two songs, the tunes of the other three were totally different and even those two songs had some subtle variations.

This song – Yeh Hawaa- in particular sounds so different from Vaanengum Thanga ViNmeengaL and it will be hard for people to believe that the situation in the movie was the same.

It starts with the strumming of the guitar. Well, this itself is an understatement. The guitar caresses, cajoles, canoodles, dandles and fondles for 20 seconds. This does not mean that it does nothing after that. The brass flute joins after 20 seconds and the romance continues for the next 20 seconds.

The humming of Asha ji starts after this and goes on for a while, with the bass guitar and the rhythm guitar backing the vocals. The chorus takes over and continues the humming. Suddenly, there is a change. The melody which until now was soft, changes colour. With the trumpets in full flow, it gets peppy and ebullient. The subtle variation in Asha ji’s humming just before the chorus takes over cannot be missed by a trained ear.

After a very subtle guitar piece, the Pallavi starts in Asha ji’s voice. The way the Pallavi unfolds gathering momentum in a matter of seconds, shows the genius of both as also the trust the composer has on the singer.

After a pause, the bass guitar plays in its inimitable style and the trumpets take over with the percussion backing them. A very different sound follows. But what is amazing is the akaaram in the voice of Suresh Wadkar, which appears after that very special sound. To start with, the akaaram has the backing of the western instruments. The latter withdraw after a while. With the drone of the tanpoora in the background, the akaaram in pure Chandrakauns stirs one’s soul. Definition of Meditation!

Contrasts again in the CharaNam with the tune turning peppy with both the singers vying with each other.

Filled with joie de vivre, the second interlude is a treat to a connoisseur. For starters, there is that tribal percussion sounding in ‘3’s. The composition is set in ‘4’ and yet the percussion goes in ‘3’s (Gati Bhedam). Yet another percussion sounds only the fourth beat -if one takes the count as 1 2 3 4 in medium tempo. Note that the tribal percussion sounds in the next tempo. The small flute plays a melody and the trumpets respond like how a group of elephants would sound. The elephant army continues its march until the humming of Suresh Wadkar and Asha ji with the latter in particular showing her prowess in oscillation.

Some people do not leave this world. After all, does the wind ever stop blowing?

Illuminating Spectacle

One of my friends shared a very well written article in Tamizh about the song ‘Neelakkuyile’ from the film Magudi(1984). The article which appeared in the Tamizh edition of a leading newspaper described the song wonderfully and also rightly said that the amazement and the ecstatic feeling one gets while listening to a song are more than enough. When we listen to the chirping of an unknown bird or when we look at the cascading waterfall, do we break our heads or do we simply enjoy that moment? While I too agree with this, I must also add that there is nothing wrong in knowing the technical details as well, as knowing these will accentuate our feelings of amazement and ecstasy and elevate us to a new level intellectually and emotionally.

 The ‘sa ri ga pa dha Sa’ scale is one of the most popular in Carnatic Music. The different combinations of the variants of these swaras give us ragas like Mohanam, Shivaranjani, BhoopaLam, Vaasanti and Revagupti. In the year 1981, ILaiyaraaja came up with a composition that had the same swaras but with a new combination - sa ri1 ga3 pa dha2 Sa. Let me clarify that this was new only in the Carnatic System as the Hindustani System has a raag pertaining to this scale called Vibhas (which again has two versions).As far as Carnatic Music or Tamizh Film music is concerned, this raga was never used until then. Some texts define the name of this raga as ‘VarNa RoopiNi’ while some others call it as Rasika Ranjani. But since the Maestro himself has clarified that it is Rasika Ranjani, let us stick to this name.

 Thus ‘Amude Tamizhe’ from Kovil PuRa happens to be the first composition in Tamizh Film Music based on this ragam. While ‘Amude Tamizhe’ more or less stuck to Rasika Ranjani (excepting for the use of ‘ni’ in a couple of lines in the charaNams), ‘Neelakuile..’follows the Rasika Ranjani scale completely.

 Did I say completely?

Yes, but there is a hidden magic in the second interlude and we shall see that soon. The composition starts with a great delicacy of feeling as the swaras are rendered with mellow tonal depth by Janaki and SPB. With energetic briskness, the Violins enter the fray as the upper Sa is touched by the male voice. The Sitar soothes the heart while the radiant Veena highlights the beauty of the raga with finesse.

 The composition is set in Chatushra ekam tisra gati(cycle of 4 with a speed of 3) taaLam and has the ‘anaagata eduppu’ with the Pallavi starting after 2 aksharaas. The Pallavi is crisp and is dominated by the mid-octave notes (it starts with the ‘sa’ just like ‘Amude Tamizhe’).The last line is a beauty with the phrase ‘paamaalai’consisting of the combination of swaras in the arohaNam( dhaSa padha gapa).Note that the first swara in the preceding group becomes the second in the one that follows. The higher octave violins that back the lines rise like the huge waves with the sitar that says ‘dhapa dhapa dhapa dhapa dhapa dhapa’ moving like a small wave. Swaras blossom again with a fragrance in the first interlude as the Sitar and the Violin smile at each other with ‘ga pa dha pa’. The lilting flute joins and pairs with Sitar. There is more to follow after the strings flow like a stream. Basic and advanced lessons in Violin plucking, fingering and bowing are on display.

Harmony at its best!

 The CharaNams have succinct but powerful phrases. The first half is dominated by the higher octave swaras like the ‘Sa, Ri and Ga with the last line have all the ascending notes. It is rounded off with a short and sweet akaaram.

 The second interlude (remember the hidden magic I mentioned in the beginning?) shines with manifold beauties. First the ‘dha2’is substituted by ‘dha1’ and the raga becomes Revagupti. The strings play this and during the course of the journey adds two more swaras- ma2 and ni3- making it Pantuvarali. The Master then drops the ‘ri’ and ‘pa’ and substitutes ‘dha1’with ‘dha2’ making it Sunaadavinodini, a pentatonic raga.The flute and the Veena have a rendevouz with ‘dha ma ni’ with the former fondling ‘dha ma dha ni Sa’ and the latter caressing ‘ma ga ma ga Sa’. The magic happens yet again in the second time the Veena plays. It plays chromatic notes-ma2 ma1 ma2 ma1 ga3. Though it has only 2 swaras, the chromaticism and the contours suggest Lalit, another Hindustani raga. The strings then play Hamsanandi ( Sunaadavinodhini plus ri1) with the Lalit pattern peeping in again at the end.

So, what we have are 6 different ragas- Rasika Ranjani, Revagupti, Pantuvarali, Sunaadavonodhini, Hamsanandi and Lalit in a matter of seconds.

No doubt, Indian Film Music has seen great legends whose tunes are immortal and are still hummed. It has also seen composers some of whose compositions are packed with technical details. But ILaiyaraaja is surely the only film music composer whose music is full of technicalities and yet sounds great without being a mere intellectual exercise.. That is why, it attracts both the common man and the pundit.

 Blessed to be born in this era!!

Theology

 Certain things in our life are unforgettable.

And this applies more to things which happened during our childhood. What happens during this period remains firmly etched in our memory and even the loss of cells in the brain will not affect this memory. One of the reasons could be the freshness of the brain during our childhood, but most importantly it could also be because of our tendency and proclivity to enjoy nostalgia.

I am saying all this now not without a reason. When I was a child, I studied in a school which was part of an Institution known for respecting our culture. Every day during lunch hour, we were asked to repeat a small sloka. At the end of it, the teacher would sound the bell and only then were we allowed to open the lunch box.

Now, let me clarify a couple of things. By ‘respecting culture’, I do not mean any religion or ideology. The person who established the Institution, was known for her syncretic views. Though the sloka was in Sanskrit on a particular Hindu deity, it was recited by one and all-including the students from other faiths- without any reservations. During the assembly, representatives of 3 major religions would say the prayer on his/her God and all of us repeated it. I remember these prayers too just like how I remember the ‘Lunch Prayer’.

That Lunch Prayer was on a deity called AnnapoorNa, who is supposed to be the Goddess of Nourishment. It was composed by Adi Shankara as part of the ‘AnnapoorNa ashtakam’ ‘Anna’ in Sanskrit means ‘Food’ and ‘PoorNa’ is complete (or ‘whole’). The 2-line sloka, prays to Her for giving not just food but also knowledge, wisdom and will power. I would repeat that sloka during our dinner time at home and also imitate the sound of the bell before laying my hands on what was prepared by my mother.

After many years, I still remember the sloka with the intonation and the sound of the bell and whenever I recite it to myself (not necessarily during breakfast/lunch/dinner) it gives me nourishment spiritually, mentally and emotionally. In fact, the purpose of any recitation or even prayer to any icon is this- to make us feel better.

All these are symbolic and carry a lot of value. Unfortunately, we have (by ‘we’, I mean the people propagating certain ideologies and are bent on ‘constructing temples’) forgotten the purpose and objective behind each icon and have assumed that the purpose of a religion is to assert our superiority over people following other religions, hardly realising that the Divine is one and each has his/her own way of approaching it. And that is the reason for mindless ‘discourses’ done with an eye on the vote bank.

Going back to AnnapoorNa , what the icon-which has a golden ladle on the right hand and a pot full of porridge on the left hand- indicate are ‘Fullness’, ‘Nourishment’, ‘Wisdom’ ‘Truth’ and ‘Supreme Welfare’. It also symbolises ‘Shakti’ or the ‘Universal Energy’.

No other film song has depicted AnnapooraNi as majestic and melodic as ‘InnaruL Tharum AnnapooraNi’ (Athma- 1993) has done and reasons are not far to seek.

First and foremost, it is based on the Raag Durga. As many of you know, Durga is a form of Shakti and I am sure the composer tuned it in this raag not without a purpose (of course, he does not break his head on the tune or on the raga to be used and this too must have occurred to him spontaneously like ‘Lalita’ in Rudra VeeNa/Unnaal Mudiyum Thambi.

Secondly, it is rendered by a carnatic music legend. Though Shri.T.N.Seshagopalan did sing before in a movie in which he played the major role (an experience he would ‘like to forget’- as told by him), this one is unique. It is not uncommon for classical musicians to sing in movies but the fact that a musician of the stature of Shri.T.N.S., agreed to sing a song  in a commercial movie in which he played no role one, shows the respect and admiration he had for Raaja sir.

The very first piece in sitar gives the sketch of the raag. The violin expands it and we see the charming silhouettes that seem delightfully fresh.

The energy continues to flow in the Pallavi with the dholak and the tabla sounding in rupakam (it can be ‘tisram’ too but I am more comfortable with a 6 - beat cycle in this composition). The subtle sound of the jaalra makes it livelier.

The sitar plays lustrously with vigour and vitality while the flute plays with an evocative grandeur in the first interlude.

The major attraction of the second interlude is the shehnai. It is soft, buoyant, intense and sparkling. When it touches the higher octave ‘ma’, it seems as if it has discovered the Divine.

And the ‘akaaram’ of Shri.T.N.S. in the second charaNam seems to confirm this..

After all, where is the Divine- In Mandir? In Masjid? In Church?

Let the Divine give us the wisdom of seeking the Truth, so that we find the answer ourselves.

Jnaana Vairagya Siddhyartam Bhiksham Dehi...

Antique

 How do things become extinct?

Is it Nature’s Law or is it a man-made law?

Now, see this- Two species of plants first discovered more than 125 years ago in Andamans and Meghalaya are now extinct. Both incidentally belong to the ginger family and are classified under Boesenbergia. The reasons for their extinction , given by two botanists from Kerala, include Climate Change and over-exploitation from man.

Can one hope to find these again?

Before I get into that, let me think of things which have become extinct- Fountain Pen, Cassette Recorder, CD Player, Transistor radio.. The list also includes DVD players and i-pods!

Why did these become extinct?

Technological advancement? Or is there any other reason?

Well, I am not a person who closes his eyes to modern development chanting ‘Old is gold’. At the same time, to me such extinctions suggest things which might appear ludicrous on the face of it, but at same time could also trigger some thoughts.

When we give up things which were in existence once, don’t we also give up the value we attached to those things once upon a time? Can we ever give up or even attempt to give up the joy, the satisfaction and the ecstasy these gave us? Most importantly, can those moments ever be erased?

Yes, we move on but not without reliving those moments and also looking back with reverence, with fondness and with love.

‘Change is the only constant in the world’, said somebody. I look at this rather from a different angle. To me, that ‘constant’ is as valuable as ‘change’ and that ‘constant’ signifies the moments in the past, moments which left an indelible mark in our life.

Whenever a particular date appears on the calendar (which itself has become extinct), one cannot help reminiscing about the previous 364 days. To some, it would give sadness. To some, it would give happiness. To some, it would give a mix of both. But unmindful of all this, the date smiles at us like Mona Lisa and bids adieu.

No points for guessing the date which is Dec 31^st.

What is interesting and intriguing is the fact that invariably everyone looks at the next year with hopes irrespective of whatever had happened before. If not for any other reason, this alone makes the date very valuable.

Let us make this valuable day more valuable by looking at a song which too is extinct, or rather very rare.

What makes ‘Happy New Year’ from ‘Oh Maane Maane’ (1984) special is not just the first line. The composition has shades of Baila, a form of music popular in Goa and in Sri Lanka. The ubiquitous bass guitar throbs almost throughout the song. The lead guitar too leads the orchestra in many places.

Are these the only specialities?

Of course, there are more. Let us look at the song from the beginning.

The song starts with those three words which one will hear ad nauseam tomorrow. The claps are joined by the bass guitar and the lead guitar and even as the claps gather momentum, the piped instruments enter and dance with a feeling of joie de vivre.

The Pallavi in the voice of Malaysia Vasudevan brings more joy as the singer modulates his voice and is joined by another singer (Sundararajan, Raaja sir’s assistant for many years).

The guitar and its cousin bass guitar sail smoothly in the first half of the first interlude but it is the brass flute which grabs our attention not least because of its varied usage. Gliding smoothly to start with, it moves picks up pace and even gives a feeling of poignancy. The guitar cousins back it throughout albeit differently.

The lines in the CharaNams move cheerfully in the major scale and this has to do also with the rhythmic pattern in tisram. The female voice(Janaki) is a bonus while the bass guitar which is present throughout adds pulsating weight.

The different sounds of guitar make the beginning of the second interlude graceful and elegant. The piped instruments enter in the second a la first interlude but the similarity ends there. These have more vigour and zeal in this interlude with the dash of alien notes adding to their winsome variations.

Joy, happiness, hopes and yes…nostalgia. These will exist and will continue to exist without ever becoming extinct.

Happy New Year!