thiruvasakam in symphony

Alwarpet Andavaa ! VijayR has mostly answered you. However, I am reproducing my posting in IR-yahoo club regarding "Putril Vazh". Since many here may "hate" or "advice" against such analysis, I am requesting intersted people to look for such thing in the Ilaiyaragam yahoo site & file sections (http://launch.groups.yahoo.com/group/ilaiyaragam/files/) or mesage sections of IR-Yahoo club (http://launch.groups.yahoo.com/group/ilaiyaraaja/)


QUOTE

Hi All,

I just wanted to share my first time thoughts about the scale / raga modulations of the last song of TIO “Putril Vaazh”

Basically the whole song is set with “C” as the tonic. (Assuming my keyboard and ear is OK) So there is no tonic shift which is normally employed for modulation.

As per WCM modulation concept, you change just a note (or two) from previous scale and reach for another scale. Here IR starts with “C-Major” and for each paragraphs he changes one note in succession and reach another scale. While deliberating on Ragam will lead to a lot of debates, explaining Raaja’s approach/ concept for this song Scalewise, it is relatively easier ! Here it goes !

First Humming – C Major – with the prayogams he could give me the feeling of “Maandu”raagam or Behag etc. I am not sure ! (If somebody is reminded of “Aayiram Kan pOdhadhu Vanna kiliye” they can support me !) But that’s only the humming portion !

Now Para-1 : Putril Vazh Aravam Anjen ! – Here he has started with C-Major (sankarabaranam); and for better (!?) understanding of the balance analysis by all people (including who does not know scale, as they can at least see the mathematic/visual pat of it!) I am putting the following table of notes:

C D E F G A B C

In Para-2 : VanPulal Velum Anjen – Here the same C-Major continues and he settles well there.

Para-3 : Kiliyanar Kilavi Anjen – The journey of modulation starts right from the interludes betweerrn para 2 & 3 . – As anticipated, he changes one note, which is B and
gets the B-flat . (also retains the original B for a beautiful flavor) . So the para-2 deals with following notes:

C D E F G A Bb C

I can guess some janya raga of harikamboji or so. (I am confused with feelings of thilang, desh based songs etc anyway I am not the expert to confirm)

Para-4 : Pini Elaam Varinum Anjen – Now alongwith already modified B, you modify A also, and get the A-flat.

C D E F G Ab Bb C

Naturally, this leads to Charukesi based raga (may be exact charukesi or nearby).

Para-5 : ThariSeri Kalirum Anjen – Having understood the sequence, we have to change one more note fo another modulation and this times it is “E” and get the E-Flat.

C D Eb F G Ab Bb C

We are getting the kind of minor scale, say melodic minor. Natabairavi, Aberi, karaharapriya janyam etc etc may be mentioned by experts, I am not sure !

Para-6 – Konila Vaalum Anjen – Having changed already three notes, now comes the ingenuity of the one and only King ! Here he tries to use all the three original and their corresponding modified notes !

C D Eb E F G Ab A Bb B C

If anyone notice the dramatic interlude between the 5th and the 6th para, this chromatic usage of all the notes can be felt. Such a clever usage of the swaras according to me gives the feeling of Kaapi raagam or its nearby!

So its all about change of Nishadam, then Dhaivadham and then Gandharam and finally using all these changed swaraas with the original that’s what the scheme of the song is about !

Those who have keyboard can try these and confirm my feeling!

Another aspect of this song is the bhaavam expressed by Raaja in each paragraph, it’s quite amazing and extra-ordinarliy matching with the selected ragas ! Starting from humming in a folk style in the beginning as if some ordinary man just like that started singing to…….. very much romantic feeling in para-3 (Kiliyanar )…… to….strong deep sorrowful sentiments feeling in para-4 charukesi raagam…… to ….. very polite pleading tone in last few lines of last para in kapi raagam………., the ranges he shows are enormously overwhelming !

I don’t know whether others will agree or not, IR is in such youthful voice never before one can imagine, and reminds me in many places yesteryear songs/voices/modulations of singer PB Srinivas! Of course that’s my personal feelings !

UNQUOTE

Poovar Senni Mannan - is in E-Minor indicating the "SIndhuBairavi" o nearby raaga. "PovomKaalam Vandhadhu Kaan" has some deviations might have given you the feeling of "Vahulabaranam

Pooveru Konum - yet to analyse - but SD and SUmanesranjini is clear. But"Naayenai Thannadigal Paduvitha Nayakanai.." appears different breed. To be checked

Regards

CSRamasami

Vijayr,
Thanks a lot for the reply...

And Ramaswamy,
Thanks for your analysis too :)
In fact, i didn't get the attachment you'd sent in the yahoo groups as i had not selected "individual mails" options then.....

CSR

Thank so much for the analysis. Like everybody has their favorite in this album - mine turns out to be 'Putril vazh'. It is a simple tune and now I understand why it sounds so folk blended with western. Great piece.

Thanks csramasami
very informative and enlightening!

Shankar - just to let you know I have put the side banner of tis-usa in my blog: http://naan-yaar.blogspot.com

Thanks for all the comments..

What i liked about the KO Thumbi track is the scale changes are so seamless.

I still wish he had one more track similar to that.. :-)) we always complain Huh..

Cheers
MSK

Thanks a lot, Mr. Arjun! Its a great help!
Wish more people promote like this!
YIA!

could somebody check if they can play this stream and let me know...

mms://38.119.36.227/ssarc/300k/27_07_2005/Maestro Illaya Raja.wmv

fixing the URL...first attempt

mms://38.119.36.227/ssarc/300k/27_07_2005/Maestro%20Illaya%20Raja.wmv

nope!