Linear and Sinuous

What makes the Sea look so beautiful?

Is it that azure blue colour?

Or is it that grey and green shade?

Or is it that reflection of the sun rays during the day and reflection of the moon in the night?

Is it that sunrise or is it that sunset?

Is it that boat/catamaran/ship floating at a distance?

Yes, all these are beautiful and no doubt embellish the sea but in my opinion, there are two more things which combine to make the sea an eternal beauty.

One is the Horizon and the other is the Wave.

The former is considered to be an imaginary line but whenever I see the sea, I am flummoxed and astounded by the straightness of this line. Whoever has drawn it is the best artistic engineer ever. How can somebody be so perfect?

Talking about the waves, these are formed as a result of the wind blowing over the surface. This is what science says and I would like to be less of a scientist (anyway I know very little of science) and more of an artist(this too, I know I am not but who can stop me from imagining?). When I look at the waves, I look at the zig zag pattern and the way these approach the land, fade away and then come again. What an amount of energy these have! Don’t these tire at all?

When I look at the sea, I don’t look at the horizon first and the waves next(or the other way around) but look at both together. And whenever I do this-looking at the sea from a distance and then looking at the horizon and the waves at the same time- I can’t help marveling at the beauty of this sight. This is a perfect example of contrast. At a far distance, there is that perfect straight line and closer to us is this zig zag curve. Isn’t this poetic and musical?

People familiar with my posts know how much I love the contrasts in poetry and in life. If poetry and life combine together, don’t we get that ‘M’ word without which I cannot breathe?

Contrast in music is a very wide topic and it would serve little purpose if I were to take up that topic- which is full of technical details- here. However, this C word is also so simple that all it need are the ears, a little observation and focus.

What adds beauty to Raaja sir’s music is this C (oh, doesn’t it rhyme with ‘sea’?). People who attended Geetanjali-2014 , I am sure remember my presentation on ‘Contrasts in his music’.

Today, I am taking up a song which typifies the word ‘Contrast’. In my opinion, ‘Kaalaipaniyil aadum malargaL’ from Gayathri(1977) should rank as one of the best compositions in the world.

Let me first mention what all I find to be unique in this composition and then move on to describe some of these. I say ‘some of these’ because certain things don’t need descriptions and this applies as much to music as to life.

First is the tune. Generally, an Indian film song follows a particular raga(not talking about exceptions-which are in fact too many now- which have only ‘rogaa’) or a scale. This topic too is huge and beyond the scope of this post. However, let me say that a composer composes the song in a particular scale which has a repetition of some particular notes while ascending and descending. This particular pattern can be said to follow a raga, but most of the composers take liberty with this and add alien notes.

Raaja sir is known for using some beautiful known, rare and unknown ragas in his compositions with or without alien notes. At the same time, he has also composed tunes which cannot be termed as falling under the classification of any raga. ‘Sendhoorappoove’ and ‘ILamai enum poongaatRu’ are just some examples of this. ‘Kaalaipaniyil’ too falls in this category.

The Pallavi has notes of Kharaharapriya while the CharaNams have the other ‘ga’(ga3) and also the other dha(dha1). What is amazing is the fact that in some phrases, both the ‘ga’ s and both the ‘dha’ s appear one after the other giving that chromatic effect. For example, in ‘kalaigaL aayiram’(first charaNam), the ‘dha’ s appear one after the other and in the third and in the sixth phrases of the humming at the end of the CharaNam, we see both the ‘ga’ s.

There is also change in the shruti in the first segment of the second interlude.

But what is wondrous is the ‘usi’ in the humming at the end of each CharaNam. The concept of ‘usi’ in a taaLa has been explained by me in some of the posts here and also during Geetanjali-2015. Wait for more detailed explanation in this year’s Geetanjali.

‘Usi’ is a speciality of Carnatic Music and we see the pattern is in usi when the stress is on the even count(2,4,6..). ‘Kaalaipaniyil’ is set in the 3-beat cycle tisram or one can even say in the 6-beat rupakam depending on the way we look at it. I know I am getting too technical but certain things surely need explanation so that the brilliance of the composition (and therefore of the composer) can be appreciated more. The pattern changes to the 4-beat cycle chatushram during the humming part towards the end of each CharaNam. Not only does 3 change to 4, but also the stress (percussion) is on the even beats.

Usi at its uchcham (best).

Now, count the contrasting elements-

1. two variants of two swaras occurring one after the other

2.tisram to chatushram

3.usi

4.change of shruti in the beginning of the second interlude.

There is one more (the fifth one) about which I shall explain soon.

So, does it mean that the composition has only the contrasts?

No..

It has a beautiful straight line called as ‘melody’.

One feels the evanescence of the morning mist while listening to the song.

The initial bell sound reminds one of the dew drops falling off the petals of the flowers while the humming of Sujatha(her second Tamizh song after ‘Kaadal oviyam’ from ‘Kavikkuyil’) is like the morning breeze. The santoor depicts the swaying of the branches.

The Pallavi is a blend of intuition and expression with the sangati after ‘maayam’ shining with a special radiance.

I mentioned about a ‘fifth contrast’ while listing out the C, didn’t I?

This occurs at the beginning of the first interlude. The sitar follows tisram while the rhythm guitar which backs it follows the chatushram.

 Cross-rhythm!

Crossing others’ path is not good manners generally but if the rhythm crosses like this, isn’t it lovable?

The violins and santoor-to the backing of the tabla in tisram - guide us to the first CharaNam.

This Laya Raaja can never rest. Or at least he will not let us rest. He loves to play with the TaaLa and he does it in the CharaNams too. The tisram  which goes as ‘1 2 3’ on the tabla in the first part of the first line(paarvaiyodu paarvai seRum ) changes as ‘1 2 3 4/1 2 3 4/ 1 2 3 4’ in the next half(bhavam mudhalil and siRu naaNam manadhil).

And ah yes..that wonderful humming where the notes go in pairs with the percussion in usi.

The second interlude is more powerful than the first with the santoor sounding like a bird in the beginning and the violins moving ardently. But the piece I love is the one by the violins after the sitar- which sounds with sobriety. There is a very brief classical touch in that piece of violins which always touches a chord in my heart. 

The brief rendezvous between the  sitar and the keys in the end, is musically romantic.

In fact, everything in this world is romantic- sky, sea, horizon, waves, music.. and.. ..contrasts.

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Attribute

One of the topics which I have discussed quite a number of times in various forums (here, in Orkut Community, and during Geetanjali)- and the one I wouldn’t mind discussing repeatedly- is Ragas and Moods. Indian Classical Music is unique and distinct because of the raga system. There are of course many other features too like the gamaka, sangati, briga, akaaram etc., but all these revolve around ragas.

Talking about the ragas, it is said that each raga evokes a certain kind of emotion. In fact, there is a song from the old film ‘SampoorNa RamayaNam’ in which RaavaNa is asked by his sons, brothers and his wife about the moods of various ragas and he answers the questions musically-singing and playing the veeNa(exquisite rendering by Shri.C.S.Jaraman!).

The Hindustani system of music goes a step further and even classifies each raga as suitable for singing only during a certain time (day or night).

My intention is not to question this or even say that it is all a myth- though I can’t agree with the belief that Mukhari is melancholic or that if one sings Aahiri in the morning, they will starve throughout that day. At the same time, I feel that by restricting the ragas to just some emotions, we are imprisoning not only the ragas but our free thinking.

Our mind always believes what we want to believe and refuses to believe what we do not want to believe.  It always helps to question beliefs. In fact, that is how rationalists came into existence in the world- though this is a different issue and a different topic. In any case, I am not advocating anything here and not for a moment am I saying that all traditional practices must be changed. However, it is better to be convinced about anything after questioning rather than accepting things as they are just because those are part of tradition. This also helps our thinking and also activates our brain.

Apart from this, there is one more angle too. There is a special beauty if one goes off the beaten track and this can only be experienced and can hardly be explained. ‘Being different’ is different and beautiful though one need not be different just for the sake of being different.

As mentioned in many of my posts and also during the Geetanjali Events, ILaiyaraaja , who has a great respect for tradition has time and again challenged some widely held beliefs about the moods of ragas. Not as a rebel but as a true musician. For, there is no trace of arrogance in the deed. On the other hand, it leaves connoisseurs awe stuck and one is left wondering if a particular raga can be used this way too.

He has composed humorous and romantic songs in ‘pathos-evoking’ ragas and melancholic songs in ragas considered to be ‘happy’. In ‘Kotha pittaro koko’ from Detective Narada (1993), he has done the former.

Chakravakam is considered to be a raga for poignant mood even by film music composers. In fact, it sounds more sorrowful in film music than when sung in classical style. However, ‘Kotha pittaro..’ sounds romantic and even erotic. How and why he chooses a particular raga is a question even he will not be able to answer because to him these are spontaneous occurrences.  And anything which has that spontaneity has an unmatched beauty- the ‘aalapanas’ and ’kalpana swaras’ sung in a classical music concert being live examples. So how will ‘Kotha Pittaro’ not sound nice?

It has an unusual start with the sound of cockfight. What follows is a piece on the Sax which sketches a beautiful melody with the flute pitching in now and then and the group of percussion backing with chatushram beats.

It is not the prelude which is different. The structure of Pallavi is different too. The female (Janaki yet again!) sings a line and the male (yes, of course the inimitable SPB) responds in a very different way. Janaki sings for a period of two and half beats (in keezh kaalam) and SPB’s repartee is for one and half beats. And what a repartee it is! 3 ta ka dhi mi s in mel kaalam speaking technically but each line(there are 7 in total) and the reply are different and have their own charm. The 8^th line is only in akaaram (and that too in avarohaNam). If we assume that the Pallavi ends there, it means we do not know ILaiyaraaja enough. It is now the turn of SPB to sing and the turn of Janaki to respond. Finally, it ends with the akaaram of Janaki which gives the essence of Chakravakam.

Can any Pallavi be more beautiful than this? Yes, if it is composed by the Master (read this line in mel kaala chatushram ).

The banter continues in the first interlude too with the wind instruments like the sax and trumpets intercepted by the keys/flute in the first segment and the guitar being ‘replied to’ by the flute in the second segment. Note that this is almost similar to the Pallavi-not in terms of the tune or notes but in terms of the repartee. Playfully playful! In the third segment, the two guitars move with sobriety and play different sets of notes taking us to the first charaNam.

The lines in the CharaNam ooze with melody though there is no ‘repartee’ here. One also sees the different shades of Chakravaham .

The second interlude is another marvel. The sax group plays a melody and it is a different kind of repartee from the group of flutes with the latter playing the same notes as reply. Beyond a point, the Sax& co. starts playing those repetitive notes as if to teach a lesson to the flutes. It can even be taken in a positive sense- the sax decided to join hands with the flute! What happens after this is what makes ILaiyaraaja a composer par excellence. He stops the percussion and as he has done quite a number of times, decides to use the voice of Janaki as a lead instrument. She hums in Chakravakam-though in a different style- and the keys and a host of bass instruments back her gently. This goes on for 6 cycles and indeed takes us to empyrean heights!

How to describe this mood now?

Surely words cannot explain that. Because, after all moods ‘happen’ and are not created..

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H2O

I read something very interesting yesterday about thirst.

A recent research at California Institute of Technology has found a reason for animals and humans ‘gulping’ water-that is, drink very fast- when they are thirsty. It seems the speed at which the liquid is consumed plays a role in inhibiting the thirst neurons which get activated when we feel thirsty. Let us understand first as to why and when we feel thirsty. We feel it when there is a reduction in the volume of the blood or when the levels of Sodium and Potassium become elevated in the blood. The brain sends a signal to our throat which in turn becomes dry and starts crying for water.

Now, when the moment we find water, we tend to gulp it and that quenches the thirst instantly. However, it takes about 15 minutes for the water to get absorbed in the blood. So, shouldn’t we all be feeling thirsty during those 15 minutes despite consuming water? It is here that the neurons play a role. It commands, ‘Ok, enough!’ and the signal reaches our throat. But if we were to drink it slowly, we would still be feeling thirsty!

This might sound too basic as to drink water very fast when thirsty, is a natural process. But when we go deep into this, we will know the significance as this might help diabetics and also people with hypertension.

Having thirst is of course natural..I mean thirst for water. In a similar vein, having thirst for knowledge is natural too.

Or is it? Well, for some people it is natural while others are made to discover the thirst. But for all, the discovery of thirst happens only when one starts exploring things. Only when one gets out of the comfort zone; only when one thinks differently; only when one wishes to do things differently; only when one is a radical.

And these people invariably succeed in not only quenching their own thirsts but also in quenching the thirsts of others.

Take the song ‘Daagam Edukkura Neram’(Enakkaga Kaaththiru- 1980). The movie for which the song was composed ran for 1 week (or probably 2 weeks). Please do not compare this with the present day ‘runs’ when even a 10-day run is considered to be a Hit. Those days, a movie had to run at least for about 8 weeks (in ‘A’ ‘B’ and ‘C’ centres) to be called as ‘fairly successful’. 

Now, there is a reason for me to talk about the movie and its so called ‘success’. Nowadays, you find popular and established film music composers signing up only for projects that are huge. They may have their own reasons for that and I do not think it is necessary on my part to comment on that. However, ILaiyaraaja has never hesitated to work with debut directors and with people who make movies which would go back to the box (this is the opposite of ‘Box-Office’) in no time. But most importantly, he has created compositions which are gems. This is because to him music matters the most and it is this quest which has driven him all these 4 decades. This is precisely the reason for his compositions sounding so fresh after so many years, and after listening repeatedly.

‘Daagam Edukkura Neram’ is one of his thousands of compositions which shows his thirst. I have not bothered to watch the visuals as that would leave me disappointed. I care more for the musicality and the imagery the music creates in my mind and less for the sequence or the placement of the song in the movie. It is (probably) a romantic sequence. To me, it creates a vision of a young girl sitting at the foot of the Himalayas watching the snow-capped mountains and the clouds which hang above, and singing with innocence. It must be said that Uma RamaNan’s voice fits this song to a T.

The tune in pure Madhyamavati is alluring, no doubt but as I keep saying often it is not the raga which matters as much as the way it is used. And in this composition too, the raga assumes some special shades and colours because of the way the Pallavi and the CharaNams are structured and also by the way the instruments are used. We shall see this soon..

But before that, in my opinion, the percussion and the rhythmic patterns play a major role in making this composition an outstanding one. Let us see how.

The first line is rendered first sans percussion though one hears the strumming of the guitar in the background. The percussion starts after the first 6 phrases are rendered (which takes 8 taaLa cycles). Now, there are two sets here (like most of his compositions) with the first set playing 1 2 3 4/1 and the second set playing 3 and 4. The 2^nd micro beat is left blank. While 2 sets playing alternately or leaving a blank are not new, the first set playing the beginning of the next 4(it can be called as the 5^th micro-beat, but since the division happens distinctly, I would rather call it as the 1^st beat) is surely innovative. The different kinds of sound produced by the two sets also make this unique.

What is also unique is the silence at the end of the Pallavi(after ‘Makarandam’) which exactly lasts for one 1 2 3 4. This is slightly modified when it is rendered after the end of the first CharaNam and we shall see this later.

The first segment of the first interlude moves without percussion. The strings enter in higher octave in the following segment and the percussion enters now along with them. But now, it sounds only the 3^rd micro-beat! The brief strings section moves without percussion. So does the guitar segment which follows. But there is a difference. Even as the acoustic guitar plays a melody in Madhyamavati, yet another guitar backs it but only with one string which sounds the 1^st and the 3^rd micro-beats. In short, the second guitar acts as a percussion instrument. But this is not all. The flute plays a very brief melody and sounds 1 2 3 4 in faster mode(mel kaalam). The tuned percussion repeats this and this happens twice..

Magically Musical!

The pattern in the CharaNams is almost the same like that of the Pallavi. Well ‘almost’ because there is an addition here. The tuned percussion sounds – 2 3 4 at the end of every alternate cycle. This continues till the end of the CharaNam. Now, the silence for one entire cycle (4 beats)-which occurs at the end of the Pallavi is replaced by silence for just one beat. The next 3 beats are sounded by the tuned percussion.

The percussion takes rest during the first strings segment in the second interlude.It enters only in the middle of the segment and sounds the first micro- beat with resonance for 2 cycles. A different percussion plays the 1^st and the 2^nd micro-beats during the flute segment.

So many variations in just mater of 3 minutes..

We see the variations in the melodic instruments too.

There is that South East Asian instrument in the first interlude, followed by the higher octave strings with the keys making brief appearances.. And of course there is that acoustic guitar and followed by the flute which mimics a cuckoo call.

The beginning of the second interlude sees the strings moving like waves-highest-high-medium high-low.Then there is a special sound(probably guitar with some contraption attached to it), followed by the flute which makes us feel as if we are in the midst of a green field, and finally the keys, strings and santoor, all moving in a flash. And then there is that ubiquitous bass guitar which charts its own course.

Now, can we say that the thirst was quenched?

I would say No, because it continued after this and still continues even after 4 decades. And our thirst continues too..

The reason is simple!

The inhibitory neurons got submerged in this great ocean of divine music!

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