CHORDS AND RAAGA
SEPT 11, 2004 – ANDHI MAZHAI POZHIGIRADHU from Rajapaarvai is surely one of Ilayaraja’s most beloved creations, but if fans were asked what they like about the song, most would simply confess, “Um… nice tune.” A few, more acquainted with vocal nuances, may venture that SPB and S Janaki have rendered it beautifully. Even fewer – those more visually oriented – may affectionately recall the picturisation, the images of Kamal and Madhavi romancing under a transparent plastic umbrella. Fewer still, the microscopic minority into lyrics, may appreciate the zeal of the early Vairamuthu in expanding the vocabulary of the Tamil film song, referring to a pearl by the more cryptic nithilam than the more clichéd muthu.
But only G Krishnan would probably express his admiration for the song thus: “It’s rare to find a more excellent use of classical concepts. From the Carnatic standpoint, the full flavour – the lakshanam – of the raaga Vasantha has been extracted. TV Gopalakrishnan’s alaap during the interlude is a Hindustani-style exploration. As regards Western Classical Music, it has the Major 7th chords, which were probably heard for the first time in Tamil film music.”
Krishnan is a Physics graduate with a Management degree, who’s now a Project Manager in the software industry. So if someone were to tell you he’s written a book, you’d expect it to be titled ‘Quasars & Photons’, or maybe ‘Bits & Bytes’ – instead, ‘Chords & Raaga’ is what his not-quite-magnum opus (coming in at a slender 170 pages) is called. It’s a study on the structure of Indian Film Music from the perspective of scales, chords and raaga.
With an uncle who was a disciple of GNB, with a father who was part of a group that organised classical music performances for Ashok Nagar residents, the infant Krishnan’s first wails presumably constituted a Karaharapriya alapana and his first steps probably kept beat with aadi taalam – still, it’s a long leap from korvais to Kodambakkam. How did that come about? He replies, “It was during my college days that I started thinking about the combination of film and classical music, when I was part of a light music troupe, playing the violin.” An interest in Western Classical Music arose after visits to the US, whose public libraries helped him bridge the gap between Thyagaraja and Tchaikovsky.
That’s how Krishnan began to look at movie music from a new angle. He admits, “Had I grown up in the pre-Ilayaraja era, I would have probably seen film songs only from a Carnatic point of view. But Ilayaraja’s use of complicated chord progressions and the sheer depth of his compositions made me appreciate things from a Western viewpoint as well.” (In case you were wondering, Krishnan also singles out some AR Rahman tunes as examples of good use of chords – July Maadham Vandhaal (Pudhiya Mugam) and Anjali Anjali (Duet).)
So what made him want to share this private passion with the public? Krishnan says, “Most musically-inclined people look at melody solely from the viewpoint of raaga. I wanted to tell them that it’s not always so. Some songs are constructed on Western scales, and unless viewed from that context, a change from, say, a Major to a Minor scale could be misinterpreted as a raaga shift. For instance, the main melody in vellai puraa ondru (Pudhukkavidhai) is in Kalyani, and in the charanam, the ma is brought down – but this isn’t a move to Shankarabharanam, merely an intent to move to the Major scale.” Phew – but how nice it is to know that film music isn’t always about two stick figures in black simulating electrocution to the raucous rhythms of manmadha raasa!
Copyright ©2004 The Economic Times – Madras Plus. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
raj
March 5, 2008
Hey BR, thats a good one. Enjoyed the article. The take on Andhi Mazhai, you are right, I dont think anyone else could have thought of it from this angle – I doubt if even IR did – it must have been spontaneous flow for him!
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Sagarika
March 6, 2008
brangan: Thanks for this. Timely, again. I was just listening to Ilaiyaraaja’s How to Name It CD (that Shankar was kind enough to send my way) for the first time since college and was totally carried away by the violin pieces…they ended up leaving me craving the Andhi Mazhai number and I just listened to it online last night — now I can’t wait to catch the movie again…it’s been a seriously long while.
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arun
March 6, 2008
awesome article! very interesting take on andhi mazhai.
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s
March 6, 2008
nithilam than!
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Deepauk M
March 8, 2008
Awesome!! Superlative!! Definitely checking out the book. Thanks for the information. I do love the visuals in Raaja paarvai – especially when the portrait morphs to real life during the second charanam BGM interlude. And Andhi mazhai is one of my 2 favorite utilisations of Vasantha in Cine music. The other being the use of Ninnukori Yunnara in an “Aei Auto” ( a mallu movie ) song called Sundari by Raveendran master. Enthusiasts should check it out. The charanam “Soona Charu nee vaa” is integrated really well in a song that is very rhythm based – sort of a “kuthu” song. My point is even songs like Manmadha Rasa need not be bereft of nuances :)!
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Shankar
March 10, 2008
Baddy, awesome as usual!! Hey, it’s time you gave us a full length Raja article or at least something from the past…I’m sure you can come up with some thing. 🙂 For starters, how about reminiscing Agni? 🙂
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brangan
March 10, 2008
Shankar: You want me to reminisce about Agni? here’s one memory: One of my first instance of ragging was when a senior (whom, out of kindness, I shall not name) commanded me to “describe Amala’s breasts in Agni Natchatiram.” Oh, those innocent days 🙂
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Shankar
March 10, 2008
That was hilarious!! 🙂 Was that artistically inclined senior in your same bhawan in the upstairs T (terror?) wing? 🙂
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Shankar
March 10, 2008
For that matter, I have such fond memories too…pretending to sway on top of a swing singing “Thoongadha Vizhigal”…yeah, those were the days!! 🙂
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Sagarika
March 11, 2008
brangan/Shankar: Now, when the tables were turned and you guys became the “dreaded” seniors, was Agni Natchtram still the raggers-movie-of-choice? 🙂
Shankar, speaking of “pretending to sway on top of a swing,” here’s a vivid (related) ragging memory from my campus days: In my second year, a couple of guys (batchies) picked up some freshers/freshies after their EG (Engg Graphics) class and brought them to SKY. Surrounded by about 10 seniors, this one fresher (obviously a guy with longish hair and black framed glasses) was asked to do the “Oooooonjal” (the “Ooooo” accentuated for obvious reasons!) scene from the just-then-released movie Nammavar, you know the Kamal-Gauthami routine that only they could’ve pulled off so beautifully? He was nervous as hell and ready to burst into tears (of joy?) fearing the seniors would ask one of the better looking freshies to play Gauthami, but thankfully no such bold moves were made, and I remember being in splits as this fresher was enacting the whole scene with (guess what?) the super-size-me EG compass/protractor thingie doubling up as Gauthami…he actually wound up being great, it was one of those you’ve-got-to-see-it-to-believe-it moments…
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raj
March 11, 2008
Was that senior Shankar? 🙂
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Shankar
March 11, 2008
raj, do I know you? Can you please enlighten?
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Hawkeye
March 12, 2008
Hi Baradwaj,
Good article. However, I think only the alaapanam by TVG is in raagam ‘vasantha’. The entire song is not (sort of).
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archoo16
August 10, 2020
Thank you. I came here looking to find out who did the alaap part! Goose bumps every time I hear it.
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Ashwin Sundar
March 20, 2023
Any ideas where to buy this book from? I couldn’t find a hard copy version on Amazon.
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Madan
March 20, 2023
Is there anywhere where this book is available? If the author has spare copies left, I am willing to pay the book price plus courier charge to get one.
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