Ethos

 What is energy? What is spirit?

This is not a post on science class nor is it an article on occult sciences. But the idea behind that question is simple. I just want to know if any of you have experienced vibrations in some particular places(not during an earthquake or during a flight/train journey).

At least I have experienced such vibrations. It is said that one experiences this when the energy levels match with that of ours.

Take some temples; or concert halls; or even places not popular but are very special to us. I shall come to the last mentioned in a while.

That is why, places where some legends were born or where they grew up or even places frequented by them carry that value. And that is why, such places are converted into memorials.

In Salzburg, Austria – the place where one of the greatest composers of Western Classical Music lived has been converted into a beautiful museum which houses the artefacts used by the composer.

In Bonn, Germany, Beethoven’s birthplace is a memorial, museum and an institution.

In Eisenach, Germany, there is a museum dedicated to Bach with more than 250 exhibits.

At Stratford-upon-Avon, Warwickshire, England, a 16^th Century half-timbered house has been restored and has been converted into a small museum.

Then we have memorials for John Keats, William Wordsworth and for many other poets and writers. A book ‘Second Thoughts’ written by Navtej Sarna, a book which I own with a lot of pride, describes the houses and memorials of many writers and poets across the world.

What about our ‘Bharat’? (and I am focussing only on Dakshin Bharat as of now).

Ettayapuram- the place where Mahakavi was born is very poorly maintained, though there is a MaNi Mandapam which was constructed thanks to the efforts of writer Kalki.

Thiruvaiyaaru- Musicians who make a living singing a majority of his kritis, assemble once in a year, ‘sing’ the pancharatnas looking at the TV cameras, pack their bags and never bother to even look at that place for the next 362 days. Since I went there during one of those 362 days, I know what condition that place is in.

There are more such namesake memorials in our country, but let me stop here.

One must thank their stars for the existence of such memorials. But many legends do not have even this ‘luxury’.

So, why am I writing all these now?

The house of T.N.Rajarathnam PiLLai- considered to be the father of Nagaswaram, who would play a single raga Todi from midnight to early morning with people listening with rapt attention, and a vidwan who was asked to perform on AIR on the 15^th of August 1947- was razed to the ground 4 years ago!

What shocked me was the apathy of the Government of Tamizh Nadu who decided to shut their eyes and be a mute spectator. It is more shocking because Karunanidhi, the former Chief Minister of TN was a huge fan of Rajaratnam PiLLai and had wanted to convert his house into a memorial. But somehow this did not happen during his time. It is unfortunate that people in his lineage do not share his musical taste and also the sensitivity to respect legends.

What is also surprising and shocking is the fact that none from the Carnatic music fraternity have bothered to raise their voice. Goes to show that most of them just pay lip service and keep their mouth shut when it comes to some real issues.

Now, I was mentioning ‘places which are not popular but are special to us’. TNR’s house is an example. Likewise, places frequented by us during our childhood also carry that stamp of speciality.

The song of the day is special essentially because of this fact.

‘ALLi thandha bhoomi’ from NaNdu (1981) kindles such memories without a doubt.

Rendered by Malaysia Vasudevan in a very different voice, the song has nostalgia written all over it.

Take the beginning. The humming tinged with a sense of poignancy is backed by the strings of the guitar- which plays the chatushram beats with joy- is followed by the keys which is backed by the bass guitar and this is followed by a unique sound which almost ‘speaks’ to us.

The Pallavi starts and to our surprise- and not to our surprise- it is set in Tisram , the 3-beat cycle and not in Chatushram (prelude). Laya Raaja does not stop here. The beats follow a peculiar pattern in tisram – ta ta tataaa- which is 1 2 3 4/ 1 2 but played with gaps giving a unique complexion. There is more too.

The word ‘ini’ in the second line is rendered plainly the first time and is extended the second time to make it sound like off beat though it follows the beat.

In fact, rather than an experiment done just for the sake of being done, this one is in line with the emotions and the feelings conveyed by the song.

Doesn’t the bell sound in the beginning of the first interlude remind you of your school bell? To me, it does! And along with that it also gives me some memories of many things associated with the school.

The keys that follow to the backing of the rhythm pad reminds me of the games we played and the fights we had. The two sets of strings with different melodies in different octaves remind me of different sets of friends and the debates we used to have. The guitar which bends towards the end, makes me feel melancholic.

The first CharaNam gives me memories of the paths and ways I took to reach my schools(in Madras, Hyderabad and Cuddalore).

The guitar playing the same melody repeatedly with the different sets of strings playing different melodies again remind me of my college surrounded by the sea which had different colours in different places and dirctions.

The flute and the single-stringed instrument remind me of the birds perched on the trees on my way to the college and their songs.

The second CharaNam reminds me of my trips to the library and of me sitting under the trees with a book in my hand.

Life is a lesson. What we experience cannot be taken away. This is what is energy. This is what is spirit.

Wish people in our country were more sensitive to this fact and respected what needs to be respected!

 

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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Cerebrum

Recently, I read a very interesting article on Synethesia. 

This is a condition in which one of the five senses simultaneously stimulates another sense. People with such a condition in brain may smell rose while seeing a water falls; or taste chocolates while listening to some sounds; or see a colour while touching something. This condition occurs when different parts of the brain responsible for sensory perceptions somehow get interlinked and in effect trigger two senses at the same time. Syn in Greek means ‘joining’ and aesthesis means ‘perception’. In a way, it is the opposite of anesthesia (which means the absence of sensation). At the same time, this should not be confused with ‘hallucinations’ which is different.

It is said that some people have this condition which is considered to be a disorder. Is this a disorder or a gift?

When I read this article I was reminded of two different experiences narrated by a couple of artistes. The first one (which I read in a Tamizh magazine long ago) has to do with music. A very famous duo who plays the flute, Sikkil Neela/KunjumaNi once said they see colours while playing some ragas. They did mention some ragas and colours. It was a sort of eye opener for me and it made me appreciate music more and also sharpened by perception. The second one was said years ago by a very popular Bharata Nrityam artiste during a Lecture/Demonstration at The Music Academy. She said, ‘I see music and listen to dance’. Yes, she is known for some flowery expressions- exaggerated ones included- but this too left me thinking.

The fact that these two left an indelible mark in my subconscious mind is known to me because not only do I keep thinking about this quite often but also unconsciously apply this concept while doing certain things. This has surely helped me in sharpening my sensory perceptions and in observing and appreciating finer elements in life in general and in arts in particular. At the same time, I must confess that until very recently I was not aware of the term called synesthesia.

Going back to the question on whether it is a disorder or a gift, I feel that it is more of the latter simply because it questions and changes our conditioning. As J.Krishnamurti said, we are all ‘conditioned’ to perceive things in this world and this has seriously impacted our free thinking. In my personal opinion, all of us need to develop this condition and use it when required, because I feel this aids in ‘out of the box’ or lateral thinking. Most importantly, we are not chained by our thinking.

I am sure geniuses like Raaja sir get into this condition very often while composing. When he closes his eyes and conceives the tune or when he writes the notes for orchestration, I am sure more than two senses are working simultaneously. Otherwise, how is it possible for him to conceive novel ideas breaking the shackles in the process?

The Rare gem of the day is an example.

Going by the title of the movie and the orchestration, it is obvious that ‘KaNdadhai Solladhe’ from ‘Kanni theevu’(1981) is sung in a tribal setting.

It starts with a very brief humming by Janaki followed by the Viruttham to the backing of the chorus and the guitar. The percussion plays ‘ta – dhi –‘ 8 times. The chorus follows, first with ‘ha haa’ for 4 ‘ta – dhi –‘ and then with ‘luu luu’ for 4 fours again. The humming pattern changes again after one 4 and finally the rhythm guitar takes us to the Pallavi.

We are in for a surprise here as the ‘four’ becomes ‘three’. Yes, it is now in Tisram with the percussion-which starts only ‘sonnadhai’- plays ‘ta ki ta/ta ki ta’. The ‘viruththam’ rendered in the beginning is sung towards the end in higher octave!

The strings play with impeccable precision as melody flows like a stream in the first interlude. The differently sounding guitar is enlivening while the accordion bends and rises with a beautiful smile. It is the turn of the strings again but this time it is rousing and enticing to be intercepted by the wind instruments which appear as boulders.

The lines in the CharaNams are powerful and mellow.

The second interlude sees shades of western classical music in the beginning with the trumpets and trombone playing with full vigour. The tribal humming of the chorus first goes in keezh kaalam (slow tempo) in Tisram and then goes in mel kaalam(faster tempo). In fact, there are three different hummings.  The strings glide and the accordion revels. It is the Flute which finally steals the show playing with a unique elegance.

I am tasting the moon and smelling the rainbow. How about you?

                  

                  

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Pit Pat

The drops which sleep on the green leaves suddenly fall on our cheeks even as the cool breeze blows. At times it is gentle. At times it is vigorous. At times it is a sprinkle. At times it is sharp. But it is always soothing.

Rains are poetic.

That is why, all great poets have sung about the rain. If ThiruvaLLuvar dedicated a whole chapter for it and also did some beautiful word plays, Bharati almost danced singing ‘Dheem ta ri ki ta’ and ‘chattu chada’ in Tisram. Sangam poets used the Rain as a symbol in Love poetry. In fact, a poet earned the name ‘sembula peyal neeraar’(செம்புலப்பெயல்நீரார்) because of the poem he wrote, taking the rain and the red earth as symbols. Then, we have our ANdaaL whose Aazhi Mazhai KaNNa decribes the Rain so beautifully.

Rains are musical too.

If the sound of the rain is a raga by itself, the sound of the raindrops hitting the ground is the taaLa. Apart from this, we have ragas dedicated to rains. In Hindustani Music, the entire Malhaar group of ragas pertains to the rains. In Carnatic Music , we have the likes of  Amritavarshini and Megaranjani.  But whether one knows the ragas or not, listening to music on a rainy day gives a special feeling which cannot be matched though the kind of music one would like to listen to depends purely on the individual.

Listen to the song of the day and tell me if it does or doesn’t give the feel of the rain.

The beauty of ‘Chinna Chinna Muththu Neerile’ from ‘Ninaikka Therindha Maname’(1987) lies in the tune, in the way the Pallavi and CharaNams are constructed, in the rhythm, in the orchestration, in the voices..(is there anything left out?)

If there is something called a ‘pop jazz’, it is this song surely. It has all the ingredients of Jazz and yet is fast-paced.

Let us see one by one (not in the same order though).

Vocals

Yesudass’ special ‘rolling effect’ is seen in the Pallavi and in the CharaNams while Janaki’s range is apparent throughout. And don’t they sound like young lovers? Mind you, both were in their 50s when they sang this!

Tune

 Basically Suddha Dhanyasi but mixes the other ‘ni’ in the penultimate line of the CharaNam(s).Other alien notes peep in too in the interludes, making it more romantic.

Pallavi and CharaNam

 Time and again I have written about the way Raaja sir constructs a tune.  One can find logic even in an abstract tune.  Pallavi has just four lines but each line is different. The first line has only two notes (sa ga) while the second line adds two more notes (lower octave pa. and ni.).Notes go in pairs (why wouldn’t they in a romantic song?) in the third line while the alien note (Ri2), enters for a second in the fourth line which otherwise has the typical Suddha Dhanyasi  prayogas albeit differently.

The CharaNams have five segments. The first segment is sober, the second one is long, the third, fourth and the fifth are shorter. The use of ‘ni3’ in the fourth segment and the finishing touch in the last line (which ends with the lower ni.) make it brilliantly beautiful.

Rhythm and Orchestration

 I have clubbed the two for obvious reasons. The song follows the Tisram pattern and the pattern of the percussion and the melodic instruments varies beautifully with role reversals at times.

What instrument to use is as important as when to use and how to use. No composer can beat Raaja sir in this aspect. Listen to the prelude. It starts with the bass guitar sounding ‘ta ki ta’ and then pausing. The rhythm guitar is sounded along with the keys. It is repeated in the next cycle. Amazingly enough, one hears a very subtle voice saying the syllables during the following cycle to the backing of both bass guitar and the guitar. Trumpets and Saxophone join now even as the guitars play their own patterns with the drums backing them. The wind instruments reach a crescendo and then there is a pause for half a cycle before the Pallavi.

Silence is musical as ever!

We find this silence between the lines too (it does help to read between the lines at times).

The first interlude starts only with the percussion which plays ta ka ta ka dhi mi as ta - - -  dhi mi thrice and keeping quiet the fourth time with the keys sounding when it keeps quiet. After two cycles, the silky flute intervenes and plays melodically along with the percussion. In the following cycle, it changes the combination of the notes with the strings following it first in the mid -octave and finally in the higher - octave. The guitar and the strings take over and play with lustre with the drums now playing ‘ta ki ta’ in faster-mode (mel kaalam). The special percussion rhythm which one saw in the beginning of the interlude repeats again for two cycles.

Like a beautiful poem, we see the contrast as the second interlude starts without percussion. The saxophone calls. The guitar responds briefly.  What happens after this can be called as magical. The saxophone charts a melodic path giving shades of Jog. Parallely, we see the vamping of the guitar. The bass guitar and the drums literally dance to the tune of the sax and the guitar. It is then a mélange of sorts with the strings, guitar and a host of instruments giving some rich overtones.

Rain of rhythmic melody!

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Altruism

Sometimes in the most crucial moments, we forget basic humanity.

No, I am not talking about the Captain of the Argentinean Team, who walked off the field last night without bothering to shake hands with the opponents or the referees. Nor is this about his angry gesture at a Croatian player after the latter ‘fell down’ and was looking helplessly perplexed!

In fact, the line which I have quoted is from an article I read a couple of days ago and it had nothing to do with Football. The article is a chilling account of his encounter with a family of tigers; yes a perfect family of tigers with a Tiger, a Tigress and two cubs.

This happened some time ago at Todoba Andhari Tiger Reserve in Maharashtra and I still remember the news item -which appeared that time – about the ‘Tiger Family’ picking up the lunch boxes of the villagers and savouring the treat. Are tigers carnivorous or herbivorous or omnivorous? It is for the zoological anthropologists-if at all there is a term like this- to find out, and in any case this post is not so much about zoology or anthropology as about human behaviour during a crisis.

To continue with the story, there were two ‘Houseful’ tourist jeeps with many villagers perched on top of the jeeps. Some 15 villagers-who were grass cutters-, were on the ground. As a matter of principle, it is said that the tigers do not attack humans when they are on four-wheelers (yes, even animals have principles unlike our politicians!). Now, some of those villagers were pleading with the tourists to let them in even as the tigers were crouching and were getting ready to attack them.

The Tourists refused.

That line quoted in the beginning appeared now in the article and I am sure the relevance requires no explanation.

The author had the presence of mind to ask his driver drive very close to the villagers and made them jump inside his jeep..

..and that is when the tigers decided to have an altogether different lunch!

This story might indicate different things to different people, though the L.C.M. would be ‘Never forget basic humanity’, but to me it conjured up some images, images of what happened very recently.

‘Yours truly’ and his two children were sitting in front of the majestic monument, which is considered to be one of the wonders of the world. I, for one have never been enamoured of its perceived beauty, but that is a different story altogether and requires a separate post. The evening was bright and equally hot. A man along with a 4-year old kid came to us and asked for some water. We had 3 bottles out of which 2 were empty already and there was just a quarter(no, no, it was pure H2O  as you all know I am totally a teetotaller!) left in the third one. We had to walk back to the gate which was approximately 800 meters away and we would certainly need that water, especially the kids.

So, when the man asked for water for his kid, I flatly refused. My two children said in the same voice (yeah, it was counterpoint too, literally), ‘Appa, please give’. I looked at them with a stern face, turned towards the man and again said, ‘No’. He asked thrice and then walked away with his kid holding his hand. My kids gave a disturbed look. There was a mix of emotions written on their countenance. Sadness, Anger and most importantly Disappointment.. The last mentioned was because they did not expect their dad, who is known for care and concern for others, to behave the way he behaved that moment. I told them I cared for them more. My statement indeed lacked conviction, a fact which I could make out from my tone and from my kids’ expressions.

On the way back in the bus, my daughter was watching a Hindi movie , which according to me was ‘third rate’ and which according to her was ‘first class’, my son was busy fiddling with his phone and I was busy listening to songs. So, the incident was forgotten..Well, almost!

The following day, we went to Akshardham, a place meant to be spiritual , visited by people who confuse spirituality with something else. The long and short of it was that the place was over crowded and by the time the three of us joined the line to go inside, we had hardly any energy left. The Delhi heat made things worse. My daughter said she would faint soon and asked for water. There was no bottle with us and I spotted a man holding 2 mineral water bottles in the Q. Without any hesitation, I asked him for water. He hesitated for a moment. I said it was for the little one. His friend immediately asked him to oblige. And he obliged..

Needles to say, at that very moment what happened exactly 24 hours ago crossed my mind and I was left with a sense of shame. My daughter smiled at me and though there was a touch of innocence in that, my guilty conscience read a lot in that smile.

If I got reminded of a song that moment, it was not just because of the first line but due to a variety of reasons.

‘Mandira Punnagaiyo’ from ‘Mandira Punnagai’(1986) is undoubtedly a composition which spreads serenity and gives tranquillity. If I said that the composition is musical meditation, it would not be an exaggeration.

Listen to the prelude. Guitar string repeating the same extended note; keys responding with a string of notes; an oboe like piped instrument playing languorously; another set of keys striking at the right frequency.. Is this a lullaby? Or is it something more than that?

The absence of percussion during the entire prelude which runs for 4 complete cycles of 8 beats(aadi taaLam) with each beat consisting of 3 micro-beats(tisram) speaks volumes about the brilliance of the composer and the composition. Isn’t it a fact that silence speaks more than words, or that music speaks when words fail?

The Pallavi in the voice of Janaki is soft and sensitive and pierces the heart. The guitar piece which appears after the first line and the fleeting flute piece after the first and second phrases in the second line, complete the spiritual experience.

It would be difficult to believe –especially for first time listeners- that this indeed is a film song and not a western symphony. They can be excused for mistaking this to be the latter, for if one listened to only certain segments of the two interludes, without listening to the Pallavi and the CharaNams, it would seem surely like a pure western symphony.

The melancholic solo violin in the beginning of the first interlude is joined by another violin in higher octave and the latter is joined by two groups of violins, with each one playing different sets of notes. Note the shift from the minor scale to the major scale here. The brass flute repeats the violin melody even as the groups back it subtly with a parallel melody. Two sets of strings now move with grace, of course playing two sets of notes with the percussion-which was absent till now- and the bass guitar backing them. The solo guitar brings back the touch of poignancy with two sets of flutes replying with great discernment.

The guitar and the flutes combine together yet again but this time producing totally different sets of melodies, that is different from what these produced in the first interlude. In fact, one can even say that the guitar piece can be used as a teaching tool for aspiring western classical students in general and guitarists in particular.

The seamless transition from minor to major happens yet again with the brass flute and the strings enlivening the atmosphere and playing with verve and vigour showing us a sleek silhouette in the process.

Forgetting all these musical terminologies and technical terms, and listened with focus, the song-that is every bit of it- stokes some unknown and unseen emotions and most importantly calms our mind.

If only the group of tourists in a forest in Maharashtra had listened to this song when they saw the faces of helpless villagers..

If only the Argentinean Captain listens to the song in his hotel room in Russia before the final encounter with Nigeria..

If only the father of two kids had mentally played this song when he was sitting in front of the huge monument considered to be the Symbol of Love..

Well, the first two mentioned are unlikely to have happened/to happen.

The last mentioned did not happen though it should have happened. But the experience and the subsequent recollection of the song has made that father, a better human being..

                  

                  

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