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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Effervescent

This could come as a surprise to some.

This might even sound ludicrous to some.

But the fact remains that I have never been a Sridevi fan despite having grown up during the period when she ruled the hearts of millions of men (or should I say boys?). Though comparisons are odious, I consider the likes of Shobha and Phataphat Jayalakshmi more talented and spontaneous (of course, I am talking purely in the South Indian context now and therefore I am leaving out the names of great actors from the North). Even in terms of looks, there was that childlike face (anyway, she was a child as per Indian law until the year 1981) which somehow never appealed to my heart. And there was that touch of naivety in her dialogue delivery which too played a huge role in my forming an opinion..

My view changed slightly after watching ‘Jhonny’(though as a film, it was very disappointing as I went to the theatre with a lot of expectations). In a way, ‘Meendum Kokila’ was a turning point because for the first time I felt that she did have some real talent in terms of acting. ‘MoondRam PiRai’ confirmed it. But even then I did not accept her as a beauty...and then this happened.

Before I continue with ‘what happened’, let me confess that I never had any ‘dream girl’ during my formative years. The only person who was my ‘Dream Man’ entered my life with his music and he continues to be my Dream Man even now(yes, he is the only person to have appeared a record number of times in my dreams). Yet, I did appreciate beauty but still felt that the ‘Dream girl’ tag given to Sridevi those days was not justified.

That was when I watched a song on ‘OLiyum oliyum’ on DD. I felt I was seeing a totally different Sridevi. Somehow, that ‘childlike’ (or even ‘childish’) looks were gone and here was a dazzling beauty. It was a dance sequence and though she was not a great dancer when it comes to classical or semi-classical, this one was an exception.

I am surprised (and at the same time not so surprised) not to find reference to ‘Bala Nagamma’ in any of the tributes I read since yesterday. Yes, people always go with the tide and remember only the ‘popular numbers’ and refer those songs ad nauseam conveniently ignoring the other gems (it is a different issue that they are not aware of the existence of many other gems!). But this film was popular and many Raaja fans remember only ‘Koondalile’ though there are some more magnificent compositions in this movie (I have discussed 4 compositions in my other blog rajamanjari.blogspot.com some years ago).

In fact, the early ‘80s(1981 and 1982) was the period during which the Maestro started experimenting with some very different classical ragas in his films(examples- Kovil Pura, Thai Mookambigai, Kaadal Oviyam). It must be admitted that though he had scored for 100 plus movies, there was not one single album which was full of songs based purely on classical ragas .Though he had used ragas like Kedaram, Malayamarutam and even Khamas, these were just part of albums which had other melodies not based  on pure ragas.

When ‘Bala nagamma’ happened, he grabbed it with both the hands. This was his first mythological movie and he experimented with electronic sounds in the background score. But it was his experimentation with some beautiful ragas in the album which made sceptics accept and acknowledge his classical prowess ( he even used a very rare vivadi ragam which is seldom sung in a concert platform, but that is a different song, which, as mentioned before, has been discussed in my other blog).

What makes ‘PaLLiyaRaikkuL’  from this album most exciting is its sensuousness. That might sound too general and therefore needs more elaboration and I shall try and keep the technical details to the minimum. VakulabharaNam is a raga in Carnatic Music which has an unmistakable Arabic tinge. To a certain extent, this applies to Mayamalavagowla too and it is not a mere coincidence that the two ragas appear one after the other in the melakarta system with the former appearing first. It is not uncommon for film music composers to use this raga to give that Arabic effect(‘Pattathu RaNi’- Sivantha MaN, is a classic example).

Raaja sir must have used it in ‘PaLLiyaRaikkuL’ because the ‘Rakshasa’ who imprisons ‘Bala’ for marrying her, dreams about her in an inebriated state. And what a dream it proved to be musically!

There is so much of talk about world music now and sadly enough, not many in the present generation(and many in the previous generation and even previous to previous generation) do not seem to be aware of the fact that ‘world music’ entered Tamizh Film Music, many years ago. ‘PaLLiyaRaikkuL’ is just one of the classic examples.

It starts with an unusual sound (is it from the keys or is it from a new instrument? ). The trumpet blows in higher octave(though the genius composer hardly blows his own trumpet)setting the tone-literally and figuratively. Even as the sound sparkles with lustre, it goes out in a flash. If the trumpet gives the jazzy shades, the sound which appears again, gives the feel of a EDM(yes, in 1981!). But with a composer like ILaiyaraaja, can one predict anything? Isn’t his music known for that unpredictable element? The violin enters from nowhere and plays in higher octave with the style and the beats(claps) suggesting ‘Rock N Roll’! The bass guitar joins the violin towards the end and leads to the Pallavi.

The bass guitar sounds more resoundingly in the Pallavi which also has the electronic instruments and the resonant percussion which goes in the 4-beat cycle(chatushra ekam) in faster mode(mel kaalam). This is one my most favourite songs rendered by Uma RamaNan, whose voice and the style of rendering enhance the mood and the feel.

Bass guitar continues in the first interlude too, sounding a very brief melody in the beginning. The silence that follows for the next 4-beats yet again shows how much the composer values silence. What follows is a mix of Spanish and Arabic music with the guitar playing the same notes and an Arabic instrument moving with melodic ebullience. Yet another Arabic instrument takes over and smiles cheekily with the bass guitar backing like a karma yogi. The long flute draws a luminous arc with some special sounds from the keys making it mystical.

The vocals, the instruments and the percussion show us the Arabian Nights in the CharaNams. Towards the end, it shows us Madrid as well, essentially with the guitar which backs the vocals.

We see the classical Laya Raaja too who makes one set of percussion sound 1 2 3 4 and making the other set respond with – 2 3 4. The Master of varieties changes this pattern subtly in the second CharaNam where the percussion and the bass guitar sound 1 and 3 while the second set sounds only 3 and 4!

The second interlude sees the ‘Game of the guitars’. To start with, one guitar strums for 2 full rhythmic cycles(or 8 beats). The second guitar responds. The first guitar asks a question again. This time, the second guitar plays the same notes but sounds the bass string too. The second guitar then, goes on a trip touching the realms of ecstasy. Has Spanish Music ever been shown as beautifully in such a short span of time? I doubt.

The composer takes to Arabia again in the last segment with the typical Arabian instrument which is backed by the bass guitar.

It is Laya Raaja yet again in the third interlude but here he dominates the entire proceedings. To start with, it goes in the slower mode(keezh kaalam).Note that until now everything was moving in a faster speed. The 4 beats are divided into 16 micro-beats and the resonant percussion plays only the 1^st,4^th,7^th, 11^th and the 13^th. This lends a kind of preternatural feeling. Meanwhile, the Arabic shades continue to spread simultaneously with the melody from the keys. After 5-cycles, the momentum picks up and the pattern changes.. Two different sets of percussion again, but that is not all.

Tabla is an instrument which can be tuned and can even be made to play different ragas. There is also an instrument called ‘Tabla Tarang’ in which each Tabla is tuned to a particular frequency and the group when played together gives the desired raga. Here, the Master has tuned just one Tabla and by striking on the different parts differently, has made it sound VakulabharaNam. Now, the second percussion –which backs this one-, sounds only the even beats. This technique of ‘playing only the even beats’ is called as ‘usi’ and as far as I know no other composer has used it as prolifically, effectively and effortlessly as much has Raaja sir has done.

This pulsating segment is spell binding and carries us to a higher plane. The ultra-faster speed (ati mel kaalam) patterns in the end, is dazzling!

Vivacious, Bubbly and Mysterious- That is how one can put this composition in a nutshell..

...And that is how one can describe that actor who performed to this classic song!

                  

                  

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Waves of Music..Waves of Strokes..

In this world which is full of superstitions, it would be hard to believe that some of the greatest things have started with an anti climax.

Amitabh Bacchan- whose baritone voice charms even a kid now- was rejected by AIR way back in late ‘60s when he applied for the post of Newsreader. Reason? ‘Your voice is not good and not suitable for this position’.

Albert Einstein was branded as a slow learner and a boy with low IQ in school.

When Rajinikanth  first appeared on the screen, the sub-title card carried the words ‘Shruti Bedam’.

I can quote many more from history but let me stop here and focus on what happened today.

The batsman, who was making his debut was at the non-striker’s end.As the bowler delivered the ball, the shining red cherry slipped from his hand and disturbed the bails with the non-striker being out of the crease. Technically, he was out. But the ‘sportive’ Aussies did not appeal and all the players on the field had a hearty laugh. What a ominous start to a career of an opening batsman!

This young lad then massacred the bowling striking the ball to all the corners and making the Aussies chase leather. At the end of the day (literally and figuratively), Stark and Clarke must be really wondering as to why they did not appeal when ‘technically’ he was run out.

All left handers have an innate grace and elegance. In fact, that is why I love left handers. Shikhar Dhawan is no exception. All his shots today were classic cricketing shots. What one liked the most was the way he fearlessly stepped out showing absolutely no signs of any nervousness. The single he took to complete his hundred showed his adventurous streak.

No doubt it is a great day for Indian cricket and I, on behalf of this community congratulate Dhawan on his stupendous achievement and  wish that he surpasses the 287 scored by the Englishman Reginald Foster and even records his triple century, a record which will surely remain undisturbed for centuries to come (pun intended!).

  Now, go back to the first line in the post. Most of you know that the career of the greatest film music composer too also started with anti climax with power going off the moment recording started and to top it all, nothing getting recorded on the tape even after the power was restored due to a technical snag. Therefore, I find it appropriate to dedicate a song of his to Shikhar Dhawan. I am sure he too will like the song, though he may not understand the language for music has no boundaries.

This rare gem ‘Alai alaiyaai’ from ‘NaaLai unadu naaL’(1984) is another beauty in Pahaadi by the Pahaadi Master.

It starts with the guitar and the claps with the keys jumping with joy. Dhawan walks to the crease.The Pallavi-in the voice of Uma RamaNan- sings about the aspiration, desire and the dream of the young lad even as he proudly wears the India Cap.

The Trumpets blow.It is like his exquisite cover drive. The bass guitar smiles.It is like his on- drive. The stringed instrument sings.It is like his leg glance.

Each and every line in CharaNam flows like the clear stream denoting his fluent straight drives.

The unusual sounds from a new instrument in the second interlude are like the reverse sweep while the shrill flute and the strings symbolise the occasional edge and the lofted shots. The sudden change in the rhythmic pattern, with chatushram changing to Tisram and playing exactly 28 Tistams, typifies the grace, elegance, class, beauty and above all the guts of the young lads.

Yes, two young lads, one who as a 32 year old made his debut in 1976 breaking all conventions and shattering all records and winning the hearts of millions of people and  the other, a 27 year old who made his debut today and who will surely break record after record and make all cricket lovers love him!