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Oldposts
3rd December 2004, 01:10 PM
Heres a new pick of the week
-'aruvi kooda jadhiyillaamal' From 'Gowri, Manohari', A classical duet by KJY and SPB.

http://tfmpage.com/cgi-bin/stream.pl?url=http://tfmpage.com/songs/aruvi.rm (http://tfmpage.com/cgi-bin/stream.pl?url=http://tfmpage.com/songs/aruvi.rm
)

The MD was a new guy(one film wonder?).
I watched this movie on Malaysian TV few years ago. It was actually a very good film with all new faces.All the songs were good. SPB,SJ and KJY were the main singers.
Its story about daughter of a music guru torn between her ex husband and new lover. This song is for the music guru and the lover.

-This is my translation of Mrs Charumathi analysis of the song. My apologies if i messed up with any technical info in my translation.

aruvi kooda jadhiyilaamal is based on 'sudha dhanyaasi' raagam . The raagam has the following aaroganam
and avaragonam

aaroganam: Sa Ga1 Ma1 Pa Ni1 Sa
avaragonam: Sa Ni1 Pa Ma1 Ga1 Sa

Sudha dhanyasi is janya raagam of karaharapriya.
chathurasra jathi, ekathaaLam, thisra nadai(gadhi) are
other features of this song.

The song, that starts with the thampura sruthi and carnatic aalapana, is mixed with brighas that touches 'thaarasthaayi
panjamam'.
Though the interludes has tabla, mridhangam,flute and keyboard, the interlude between pallavi and anupallavi
is devoid of any music but filled with swaras sung by KJY. This is quite unusual for a film song.
The structure of the song is also not in the usual format of a film song. It starts with a pallavi then takes on the
anupallavi/charanam and ends with swaras. This reminds us the style of sangitha mumoorthi Muthusami dikshithar.
The swara saahithyam is set to 'irandaam kaalam' and the music that comes before the starting of swaras is set to 'thisra merkaalam'
The end of swaras changes to '1- am agaaram'. This shows the creativity of the Music director.
To differentiate the swara saahithyam, the MD has used Mridangam along with swaras sung by KJYs and thabla for SPB's .
Though the song is set to chathursara aeka thaaLam, thisra gadhi, strangely the music in between pallavi and anupallavi misses the '1/2 aavarthanam(2 beat korvai).

-Lakshminarayanan Srirangam Ramakrishnan on sudha dhanyasi raagam

Sudha Dhanyasi is another janyam of Thodi ragam. Sa Ga Ma Pa Ni Sa; Sa Ni
Pa Ma Ga Sa. You can also (more appropriately) call it as a janyam of
Nadabhairavi. Illayaraja has been very generous in using this scale. MSV
made an indelible mark in this ragam earlier by presenting "neeyae unaku
enrum nigaraanavan" in balae pandiya. That is really fantastic! He has
wonderfully used the Ga and Ni with gamakam in the song. Illayaraja's first
Sudha Dhanyasi is perhaps siru ponmani in kallukul eeram. Later he gave
ragavanae (illamai kaalangal), pudhiya poovidhu (thendralae ennai thodu)
poojaikaetha poovidhu (?movie), vizhiyil vizhundhu (alaigal oivadhillai),
theem thanana (?enakkul oruvan), manasu mayangum (sippikul muthu), masi
maasam (dharmadurai), nanjai undu punjai (unnal mudiyum thambi), kotti
kidakudhu (theertha karaiyinilae), kadal vanilae (rasayya), unnai edhir
parthaen (vanaja girija). In many of these songs he uses other swaras like
Ri2 etc., and hence cannot be called as pure form. In nanjai undu, he has
not used any foreign notes. Then is it classical ragam? No! K.Balachandar
(a boot licker to Illayaraja at that time, so that he could sell the movie
by publicizing Illayaraja's name), made a big arguement in the movie that
even "nanjai undu punjai" was a pure Sudha Dhanyasi. Dear sir, to call
something as classical, you should present it in a real classical form!
Just going up and down the scale wouldn't make the raga form appear in that
tune! Use the gamakam, use the nuances of the ragam, then even Semmangudi
will call it as Sudha Dhanyasi!

If one changed the kaisiki nishadham (Ni2) of Sudha Dhanyasi to kaakali
nishadham (Ni3), then is there any ragam like that? If so, what is it
called as? Illayaraja has given a couple of songs in this type of scale.
One of them came in the movie poonthotta kavalkaran. Radhika gets pregnant
and then the song goes in the background! I have read in my school biology
class (with lot of curiosity!) that a sperm and an ovum "join" to form a
baby! Look at the way the poet says about this scientific phenomenon in his
poetic language.... Sindhiya vennmani sippiyil muthaachu!! What a nice
euphemistic way of saying a vulgur thing! Gangei Amaran proved himself as a
poet in that song! Illayaraja's tune is so wonderful in that song. It is so
melodious. Vijayakanth specifically said about this song in one of his TV
interviews! Another song that I know in this scale is "o vasantha raja" in
neengal kaetavai. Since Illayaraja changed the Ni2 of Sudha Dhanyasi to Ni3
and made a new ragam out of it, can he proclaim himself as the creator of
this new ragam?

Oldposts
3rd December 2004, 01:10 PM
Oops i forgot to mention the MD's name - its Iniyavan

Oldposts
3rd December 2004, 01:10 PM
It's an interesting jugalbandi between heavy classical (KJY) and somewhat lighter interpretation (SPB). The lyrics seem to indicate a situation similar to that of 'Ithu namma aalu' song

VJ:sangeetham paada gynam ullavargal vendum
SPB:sangeetham paada kelvi gyanam athu pothum

(where SPB really kalakkified)

Is that so, Ramki?

Oldposts
3rd December 2004, 01:10 PM
I agree that the song has an unconventional structure as analyzed by Mrs.Charumathi. To appreciate the 'thaalam' nuances, I think I'll have to listen to the song more. Will post comments later. No doubt this song is a forgotten gem.

Oldposts
3rd December 2004, 01:10 PM
Ramki: The quotes probably confused some readers.
Sudha Dhanyasi is identified as a derivative of Todi,Natabhairavi and Kharaharpriya. I think Todi is wrong. Dhanyasi is a derivative of Todi.
The commonly accepted practice (not a rule) is to assign as parent scale the first raaga in the raga chakra (serial order of parent scales or melakartas) that the derivative can be associated with. In this case #20 Natabhairavi is appropriate. But, some experts have identified it with #22 Kharaharapriya. Todi is #8. Keeravani is #21 between Natabhairavi and Kharaharapriya. What did IR use to begin with #20,#21 or #22 ? What is his favourite among the three?

Oldposts
3rd December 2004, 01:10 PM
Raj which quotes?

RR almost similar. In this film the songs comes when the guru wants to test the music ability of the hero..

Geno interference of Ananthu is a possibility

Oldposts
3rd December 2004, 01:10 PM
Ramki: By quotes I meant the analysis by Charumathi and Ramakrishnan!

Oldposts
3rd December 2004, 01:10 PM
Raj: that probably adds another level of confusion. Ramki is short for ramakrishnan :) I think you meant Charumathi and Lakshminarayaan.

Oldposts
3rd December 2004, 01:10 PM
Raj Mrs charumathis comments are on the featured song
Lakshminarayans analysis on the raaga is taken from the classical IR thread
http://tfmpage.com/ci/ci12.html (http://tfmpage.com/ci/ci12.html
)

If its confusing then i will stop posting Lakshminarayans analysis

Oldposts
3rd December 2004, 01:10 PM
what the correct parent raga of suddha dhanyasi is a minor concern, IMO. I think Lakshminarayanan's writeups surely enrich our discussion.

Oldposts
3rd December 2004, 01:10 PM
Ramki: You do what you think is right! It is quite possible some uninitiated would learn something about carnatic music reading these posts. We do not want them confused. I read the article in the link you gave me. Personally, I do not think religion and politics have any place in a discussion about music. People from different faiths read these posts!

Oldposts
3rd December 2004, 01:10 PM
Raj, i read Lakshminarayans articles to learn about ragas. These articles were written few years before in newsgroups(They were not posted in TFMPage).

Oldposts
3rd December 2004, 01:11 PM
'Aruvi Kooda Jathi Illaamal' is a top-notch song, and a real find. Too bad Mr. Iniyavan didn't get popular for his work. Guess with ARR stealing the stage with his first few films, there just wasn't room for anyone else. :-/

Oldposts
3rd December 2004, 01:11 PM
Thanks RR

purv very true but Iniyavans music had a strong IR influence, right from the choice of singers, orchestration etc