Musings on Brindhavana Saranaga and Madhyamavathi

Musings on Brindhavana Saranaga and Madhyamavathi

I trust the first two chapters on Kapi and sindhubhairavi were of some use to you all. In this chapter we will see two closely related ragas namely brindhavan saranga and madhyamavathi.

Recently there was this friend of mine who wanted to know the raga for the song “poongaatre theendaadhe” from kunguma chimizh…the song is a lovely brindhavana saranga based number. Talking of brindhavana saranga, old timers will say "ponnonru kandaen pennangu illai", which too is a very good reference...You can easily see the parallel between "ennendru naan sollalaaguma" with "kallukulle anbin eeram enna"...the similarity in the glide is so much perceptible...Or if the slightly faster tempo of the latter confuses you, you can compare with the slower number 'muthamma muthu muthu" from thandhuvittaen ennai.

Raja's brindhavana sarangas are very simple to figure out, and it does not require musical expertise. That is because raja has this god given ability dilue ragas without losing their native merit. He only enhances the raga beauty.

Some select songs in brindhavana saranga...

Indha Jilla Muzhuka Nalla Theriyum - Priyanka

Kannukullae Anbin Eeram Enna - Unakaagave

Konjum Kuyil Paattu - Kanna Unai Thedugiren

Kovil Mani Kaetene- Kanna Unai Thedugiren

Muthamma Muthu Muthu - Thanthuvitten Ennai

Dheivangal Kan Paarthadhu - Pudhiya Ragam

However, amongst IR's compositions, the best two i would say, for a beginner, would be the Priyanka song and the 'Unakaagave vaazhgiraen" song...Both have the full flavour of the ragam.

The charanams of "Indha jilla muzhukka " song display the core essence of the raga the first four lines...Especially the lines "pasikku udhavaama pannuriyae perum paade" continued with "naalu ennadi naalu, sattunnu sammadham podu"...

And the first line of the charanam of the song "kallukulle anbin eeram" and the first line of the charanam in "jilla muzhukka" show a similar pattern. You are now begining to get a hang right :-)

You shouldnt miss "dheivangal kan paarthadhu" in Pudhiya ragam. One of the nice numbers from Mano. The pallavi by itself gives a good taste of brindhavana saranga.Other orthodox numbers would be "Konjum Kuyil Paattu" and "Kovil Mani Kaetene" - (I think both are from Kanna Unai Thedugiren).

You now have some fair idea of brindhavana saranga, I am sure. See, it is as simple as this. Who wants to know all those detailed grammar? ;-) …What say you? Anyways, just lets get some quick basics here. As said earlier, grammatically, there is a close relative to brindhavana saranga, which is Madhyamavathi.

Brindhavana Saranga is | S R2 M1 P N3 S | S N2 P M1 R2 S

Madhyamavathi is | S R2 M1 P N2 S | S N2 P M1 R2 S

Ilaiyaraaja’s use of Madhyamavathi thus can be summarized as “Thalaatu”…Yes, madhyamavathi usages by IR are (90%) hypnotic lullabies. So why not start off with Thaalattu Pillai Ennai from Achchaani. The entire pallavi is a neat usage of madhyamavathi. See how raja has stressed on the raga flavour right at the start by the way SPB sings “thalaattu”…..Just do this mini exercise…after you sing for yourself the pallavi of the song thalattu, dive to “thunbam endrum aanukkalla” charanam from “thulli thulli”…You would have no problems shifting to back “thalaatu” once you finish “thulli thulli charanams”… another good example would be “Thazham Poovae Vaasam from Kai Kodukum Kai”

There are innumerable madhaymavathis in IR’s isai pattarai (music workshop). The vintage hits include Aagaya Gangai - Dharma Yudham , Anandham Then Sindhum - Mann Vasanai , Kuyile Kuyile - Aan Paavam (see madhyamavathi bubbling with enthusiasm), Adi Pennae Ponoonjal Aadum - Mullum Malarum , Ammamma - Thalaattu Padava, Vanamellam Senbagapoo - Naadodi Pattukaaran, Vennilavu Kodhipadhenna - Chinna Mapillai , Eeramana Rojave - Ilamaikalangal, Ariro Araro - Indiran Chandhiran, Poo Arumbuthu - Kutti, Sembaruthi Penoruthi - Raman Abdulla, Ejamaan Kaaladi Manneduthu - Ejaman, Kumbam Karai Sertha Thangayya - Kumbakarai Thangaiyya, Damakku Damakku Damm - Azagki, Kavithai Paadu Kuyilae - Thendralae Ennai Thodu, Sevanthi Pookalil Seidha Veedu - Mella Pesungal

Madhyamavathi, as said earlier, is S R2 M1 P N2 S and same backwards…. I had mentioned that you can keep remembering the word “lullaby or “thalaattu” while trying to decipher a madhyamavathi based song…If you want to also see some songs that are hardcore madhyamavathis, take En Kalyana Vaibhogam - Azhaghe Unnai Aaradhikiren. One of those rare combination of raja and vani jayaram. Don’t you get a feeling as if vani jayaram was sitting in a oonjal (swing) while she sang it…or even better, don’t you feel that you are yourself are being put in a musical swing (oonjal or thooli). The same swing effect can be seen in the first few lines of Nee Thane Enthan - Ninaivellam Nithya .

The song “thulli thulli nee padamma” starts with a humming and mini alapanai session between SPB and S.Janaki. That vocal prelude bit is the best crash course you will ever get on madhyamavathi in the shortest of all times (roughly 1 and a half minutes). You might do well to listen to that initial humming alone n number of times, until you start to understand madhyamavathi…Because, that’s all you need to know to recognize a madhyamavathi based song. Solaikuyile kaalai kadhire from ponnu Oorukku Pudhusu is another vintage composition, wherein just the pallavi is enough to teach you madhyamavathi. See the how the pallavi lands down to a sweet musical swing (as if you were in a thooli) in the lines, “thullum ragame, thullum raagame”…Ange thullum ragam madhayamavathi thaan….Avvalave dhaan :)

If you asked my personal choice amongst all madhyamavathis, I would say it is Thanga Nilavukkul Nilavondru from Rickshaw Maama. It just does not get better than this. Raja in a thaalaatum mood and his best partner SPB to carry the tune forward. Who wants the heavens, it is here and now, right in your room. Just plug in to raja’s music :)

Lend your ears, I will tell you a simple trick that works 90% of the times in deciphering madhyamavathi in IR’s songs. There would invariably be a scintillating usage of the instrument Shenai. You wont find many madhayamavathi based songs from IR which didn’t have the shenai, used in a mesmerizing fashion.

Madhyamavathi belongs to the same sruthibedham family as mohanam, sudhadhanyasi, sudhasaveri. Shall we take up sudhadhanyasi next then?

For the time being though, are you are now ready for the madhyamavathi lullabies?

JUST SIT BACK AND ENJOY !!

A Simple Introduction to IR's Sindhu Bhairavis

A Simple Introduction to IR's Sindhu Bhairavis


Remember the DD television song “Milae sur mera thumhaara” (where various artists including Balamurali Krishna, kamal hassan, cricketer Hirwani, lata mangeshkar, Big B Amitabh etc appeared?) long time back? ..the entire song is sindhu bhairavi ragam. You may read on with that song in mind for theoretical reference. Another excellent reference could be “unakenna melay nindrai” from simla special…that is full loaded with sindhu bhairavi flavour. OK, over to Maestro now.

First shall we roughly define how sindhu bhairavi feels? It evokes a karuna rasam (empathy) as well as a very light tinge of melancholy at times. To my knowledge, there are around 50 raja songs in sindhu bhairavi. [Raga Arohanam| S R2 G2 M1 G2 P D1 N2 S | Raga Avarohanam = N2 D1 P M1 G2 R1 S N2 S

But as usual of raja, it is not just limited to karuna rasam or melancholy, but many different emotions and colours. Once you finish reading this, you should have a very fair knowledge of sindhu bhairavi….

I think I would start with one of my all time favourites in this raga….It is “Muthu mani maala” from Chinna kounder. A meditative quality overwhelms the listeners throughout the song…ippadi oru closely knit (intricately woven) song is possible only by raja…in the charanams, the ending line SPB sings,“lesa degam soodera”…that “soodera” is excellent touch of sindhubhairavi (correlate this with “tho sur bane humaara” of the DD song mentioned earlier)

Ok, now to some very hardcore sindhu bhairavis…..listen to the following song before you go to any other sindhu bhairavi based compositions… Mani Osai Kettu from payanangal mudivadhillai…Raja, in this song, poses as a personal classical music teacher for you, highlighting the soul of sindhu bhairavi in such a riveting fashion, that too in 5 minutes flat … Another riveting tune is it is Madha Un Kovilile from Achchaani …and If you know these two songs, you already know sindhu bhairavi raga.

Take Kalyana Maalai Kondaadum Penne from Pudhu Pudhu Arthangal – What can you say about this song? Unimaginable that one can power-pack & load up a 5 minute song with so much punch, and still keep it to look very simple. …In pallavi see “sudhiyodum layam polave” and in charanams watch,”azhagaana manaivi…amaindhaalae perinbame”…

“Nilave mugam kaatu”…from Ejamaan….therein watch the line in charanams,“ unai serndhadhu kodi mullaiyae, ini endha kuraiyum illayae..dhinam theerum theerum thollaiye”….u can compare the sympathy evoked in these lines to that is “ennai yaarendru enni enni nee paarkirai”, a olden days classic set in same raga)…“Nilave mugam kaatu” song is an amazing composition, with or without sindhu bhairavi…

In the same film there is another sindhu bhairavi number …“oru naalum unai maravaadha” from Ejamaan…oh, another gem this. The entire song is soaked with the essence of the raga. You would want to notice the little nuances of sindhu bhairavi elaborated by SPB and SJ right in the pallavi (watch in “vizhiyodu imai polae”… see the thoivu evoking sympathy…)

Shenbagame Shenbagame - Enga Ooru Paatukkaran - seems Asha bhonsle wept after listening to the tune…very powerful tune in sindhu bhairavi…in the pallavi, each time “shenbagame / thenpodhigai” words are sung, different Asha (also Mano in his version) brings out various characteristic curves / flavours of the raga.

Valaiyosai Kala - Sathya – Entire song will help, but especially the first line of pallavi “thendral kaatrum veesudhu” and in charanam first line “unnai kaanaadhirukkum nodi neram…..varudam ena maarum”

The following lines in the following songs would highlight the flavour of the raga very clearly…

Aatama Sadhiratama - Captain Prabhakaran – yaarukkum theriyaadhu naan potta mudichu

Aasa Adhigam Vachu - Marubadiyum – in the very first line manasa adakki aikalaama - the word “maama”, note how it is sung…

Amman Kovil Kumbham Inge - Aranmanai Kili - Ponganum ponganum ponga soru (look at that kuzhaivu / thoivvu / elegant slide)

Arunamalai Guru Ramana - Raajaavin Ramanamaalai – charanams – “unnai aridhal perum peru, seivaen enna kaimaaru

Bommukutty Ammavukku - En Bommukutty Ammaavukku – thedamal thedi vandha thaazham poo charam

Chinna Kuyil Oru Pattu Padudhu - Chinna Kuyil Pattu (one of the best sindhu bhairavis ever !!!! that too in raja’s own voice)

En Mana Vaanil Siragai Virikkum - Kaasi - the entire song, but watch pallavi “siragugal thannal moodikollum”

Enna Marandhalum - Kadhal Saadhi (the song is jam packed with emotion !!!) – see the lines “unna marakka manam koodudhillaiye"

Enna Satham Indha Neram - Punnagai Mannan – entire song, but see pallavi’s “uyirin uyirai” every time SPB sings it…also “aariraro, ivar yaar evaro” – SPB brings about subtle styling unique to sindhu bhairavi

Enakena Oruvarum illamal Ponalum - Thaalatu – the pallavi

Ennamma Kannu Sowkyama - Mr.Bharath - ” aamamma kannu sowkyam dhaan” – stamp of sindhu bhairavi

Ilamai Enum Poongaatru - Pagalil Oru Iravu - charanam last line “indha nilai dhaan, enna vidhiyo” – brilliant

Inji Idupazhaga - Thevar Magan – “maane vaa” in pallavi

Kadalile Ezhumbura - Chembaruthi - the way the very first line ends

Naan Oru Sindhu - Sindhu Bhairavi - charanams ending “sollungale” and “kandupidi” – executive summary for the raga

Nilavu Paatu Nilavu Paatu - Kannukkul Nilavu – charanam ending ‘kanavugal kavidhaigal ragasiyam” – aaha, oru mini “haiku” kavidhai

Oh Vennilave - Aananda Kummi – the way the pallavi ends (pai podalaam)

Thol Mela Thol Mela - Poomani – pallavi end – “nenjame nenjamae”


Now you basically have an idea how Sindhu Bhairavi flows, right ? …Get on to explore more !!!

Relish Raja’s majestic Sindhu Bhairavis.

Having Kapi with ilaiyaraja :-)

Having Kapi with ilaiyaraja :-)

This write-up is for all beginners who are interested in figuring out carnatic ragams used in IR's songs...How about a small trip on kapi raga usage by IR, over a cup of kapi (sorry coffee).

Kapi, as a raga, has a distinct flavour, that is very tough to miss. Forget the swarams used, all you need is a pair of willing ears. Just stay with me, as we take some beautiful numbers by IR in kapi. Lets will start with an obscure song from an even more obscure film. It is sung by TMS and starts something like this - "Sirithal Sirippen Aval Oru Rajakumari" from film Mariamman Thiruvizha. Pick the lines next two lines after these first two lines. Thats your first taste of kapi :-)

Then take the song "Thayum Naane Thanga Ila Maane" from the film Engeyo Kaeta Kural. The pallavi is pukka kapi flavour. Ok, now pick up specifically the pallavi line "thalaatu paadum...vanna poondhene"...That is the maestro's kapi touch for u. Same with "Sangathil Paadatha Kavigal" from Auto Raja...the pallavi is a good tutorial on kapi flavour. To quote another example, take another obscure song titled "Sugamo Aayiram" from film Thunaiyiruppal Meenakshi. The last line of the charanams...adhai gettiya pudichikunga...

Now that you have made ur mind curious about kapi, slowly move on to more heavy ones...Repeatedly hear the following songs...Ada Maapila Summa Moraikkadha - siva, Vizhiyile Mani Vizhiyil Mouna Mozhi - Nooraavadhu Naal (kapi or no kapi, this song is a masterpiece), Hey Paadal Onru – Priya, Thanni Thotti from Sindhu Bhairavi...[in charanams,"oru raja dhesa maari yesa paaduraan..." and subsequent lines remaining in the charanams are the very essence of kapi...oh my, how very beautifull...]

Then move on to more subtle ones...inge kapi konjam light'aa irukkum ;-)...Based on my opinion, songs in this category would be....Chembaruthi Poovu - Chembaruthi, Sami Kitte Solli Vachu - Aavaaram Poo, Chinna Chinna Malar Ondru - Kavalai Padathe Sagodhara, Kanne Kalaimaane - Moondram Pirai, Oranjaram Usharaiyya - Kakai Chiraginile (pallavi mattum...charanam'la IR mixes "Desh" )...


Ivlo dhaan sir kaapi :-)

All said and done, "Ada mapila summa muraikaadha" will remain etched in my heart for the stunning tune and baffling way in which SPB has rendered it..We didnt have a more versatile & rocking usage of kapi before this song, and probably we may not have such a vibrant usage of kapi in any song in future...

A small point here...there is a portion in the song where SPB sings the "mangalyam thandhunaanena" manthiram..First & Second line: Mangalyam thanthunaanena Mama Jeevana Hethuna (not much kapi taste)...but in the third line - Kanthe badhnami subhage - ilaiyaraja brings out the nuance of kapi stunningly..


Kelunga...Rasichu kelunga ...IR's Kapi is sure to delight you..

nandalala

Saw the movie...i felt as if my soul was sent for a overhauling...what a refreshing movie ! How good a thinking director this fellow is....Music was great as always..Any other composer would have spoilt the natural flow of the movie with his sounds. Raja elevates the story telling to a new level ....

Acting - myskin has lived as the character and has not acted. Cant imagine anyone else doing this role now. It was 75% attendance at Padmam (sangam) and only the front 4-5 rows were empty. Some theatre comments were interesting, as listed below

a) Question - who is this actor?? Answer - yaaro myskin'aam !
b) music romba touching'aa irukku'la
c) ilaiyaraaja'vaala dhaan ippadi compose panna mudiyum

the guy next to me was sobbing while the song 'thaalaattu ketka naanum' played...my eyes were wet too...Another one was already humming the end card BGM as he knew it by heart.......i am confident this movie will pick up commercially too.

If you are not watching this in the theatre, you have no rights bragging about good cinema not being made.

Ilaiyaraja does not know music.

Ilayaraja recently said: “I am still in this field because I don’t know music. I still have so many things to pass on to the younger generation.”

Sounds like another philosophical rant, right? But there are many ways of looking at this statement. It will hit you depending on what category of fan you are.

category 1 fans - Fans that think Raja is past his peak - this group can probably reconcile / console themselves to the fact that raja is still learning (as admitted by him) and does not know music, while the "other MDs" (i made this plural) have already mastered the art of music making. So the friends in this group, you have to wait for your next 'virumandi' or 'sony music collaboration' to happen, to be happy with IR. Till then, its not a sin to have fun with your other MDs. Its good to drift away once in a while, just for the heck of it.

category 2 fans - Fans that think Raja has not finished yet or are mighty content with what they already have - This group does not feel hurt by market forces/realities / statistics or even comparisons with "Other MDs" on this basis - to this group of "selfish" fans, they dont want to expect anything more from their idol. They have their bags full already and it will take many "sweet" years for them to even completely figure out whatever he has given so far. To this category of fans, measuring IR on a commercial yardstick is like comparing a Kamaraj with a Chavan, a Kalmadi or a A.Raja (telecom minister). Kamarajar was not commercially successful either. But Kamarajar didnt take up politics to be commercially successful. The intent is different, the agenda is different, the purpose is different. The Game is played differently.

Raja started his musical journey, first as a professions, then a passion and then as a spiritual tool. The spiritual dimension at which he approaches music now is never going to make any sense or can never draw parallel to today;s materialistic / manupulative market environment. We just have to let him be what he is.

For me, a category 2 fan, the statement at the top of the mail sounds like IR has an agenda. Read the second part of the statement - Raja says - "I still have so many things to pass on to the younger generation." I belong to the group that knows or hope that the finish line is yet to be drawn.

We can talk of the winners once the race is over.

செவிக்கு உணவில்லாத பொழுது ..

ராஜாவின் சில வித்தியாசமான எண்ணங்கள்...

1. செவிக்கு உணவில்லாத பொழுது என்கிறார்கள் - அப்படி ஒரு பொழுது எங்கே இருக்கிறது?
2. சர்வம் சிவமயம் என்றால் அதில் நல்லதும் கெட்டதும் இரண்டும் அடங்க வேண்டும் - அடங்கும் !
3. எண்ணத்தில் நல்லது என்ன தீயது என்ன - எண்ணம் எதுவானாலும் அது தவறே ..எண்ணமே தவறு !
4. எண்களில் கடைசி எது - இதற்க்கு பதில் சொன்னால் ஒன்று....பதில் சொல்லவில்லை என்றால் பூஜ்ஜியம் !

பூவின் மலர்ச்சி

நாத வெளியினிலே புத்தகத்தின் முன்னுரையிலிருந்து .....

இன்று எல்லாம் உங்களிடம் இருக்கிறது ..பொருள் ஈட்டுவதற்காக படித்தீர்கள் ...படித்தது ஒன்று...தொழில் இன்னொன்று...அதனால் என்ன ..எல்லா வசதியும் உண்டு ...கார் ...பங்களா கம்ப்யூட்டர் .. வீடு...குளிர் சாதன பெட்டி ... ஆனால் எல்லாம் இருந்தும் என்ன பயன்? அதிகாலையில் எழுந்து வாக்கிங் போகும் முகங்களை பாருங்கள்...ஒருவர் முகத்திலாவது மலர்ச்சி இருக்கிறதா? ஒரு நாள் மட்டும் வாழும் பூ கூட மலர்ச்சியாக இருக்கிறது...அது அதன் இயல்பு ...இயல்பை தொலைத்த மனிதர்கள் முகத்திலாவது மலர்ச்சியாவது ...ம்ஹூம் !