New age IR's Raga Choices

[vel]

hi skr

that was a gr8 update -- i was eager to know if they had done some rare numbers. amma amma from uzhaipaali in Kathyayini is cool. There is also another song Poothendral Kaatre Vaa from the film Manjal Veyil. (Even some of the lines in vizhiyile mani vizhiyil mounan mozhi is in this scale.)

[vel]

hindustani khamaj ? malgunji?
<br></br>
http://www.youtube.com/watch?v=zZ6MO0Uymd4

<br></br>
nailing down the the above song may be the key to deciphering vaana mazhai pole -

<br></br>
http://www.youtube.com/watch?v=ghLN00oaK0w

[RR]

ABC nee vaasi - Niranjani
Idhu enna raagam-pa?

[skr]

RR ,
There is a raga Niranjani which is a janyam of the 31st Melakartha Yagapriya.
http://en.wikipedia.org/wiki/List_of_Janya_Ragas
However im not sure ABC Nee Vaasi follows that structure , will check with a friend and get back.

[RR]

skr: thanks, but the song doesn't seem to follow that scale.

[RR]

vel,

Both guesses don't seem to be right. I can at best call it misra khammaj. Maybe some hindustani experts can clarify.

[vel]

skr: thanks, but the song doesn't seem to follow that scale.

rajiv, RR -- niranjani might be the female singer's name :-)

[vel]

vel,

Both guesses don't seem to be right. I can at best call it misra khammaj. Maybe some hindustani experts can clarify.



vel,

Both guesses don't seem to be right. I can at best call it misra khammaj. Maybe some hindustani experts can clarify.



hi RR --After plenty of bloodshed in anlayzing these songs in the ORKUT community, a tired Vignesh and Tn Arunagari reluctantly declared this it could be hindustani Gara.

I quote Vicky's dissection below

QUOTE

So let me summarize what has been discussed on "Veenai Meetum" so far and then build my case further on it.

Observations so far:
1. Arun found some resemblance to Veenai meetum with few Hindi classics which he has posted.
2. Arun has suggested Malgunji / Rageshree
3. Raj has seconded this opinion
4. Both Arun/ Raj have ruled out the Raag Gora Kalyaan.

In the past few days, I have listened to all youtube links by Arun. I have gone through Mr. Parikar's pages end to end.

Here are my thoughts:

1. I also think Gora Kalyan can be ruled out.
Why?
Because from Mr. Rajan Parikar's link, it appears that Gorah Kalyan is averse to Gandharam in any form let alone the G2 which is daunting Arun. Opening statement on GK in that link is >>Gorakh Kalyan, too, is affiliated with the Khamaj thAT, and again, like Narayani, the gandhar is out of a job here>> ; However Veenai Meetum seems to have Ga all over place to the point of being Ga2 centric. End of story..

2. I think we should rule out Rageshree too.
Why?
Because Mr. Parikar again says:
" The pancham is varjya throughout, the rishab is skipped (and at times, alpa) in the Arohi mode."

The line "Enai unakkena eesan vaithaan" in charnam ends in Panchamam. And then the next line "Ilai Maraivinil Paasam Vaiththaan" = Pa dha Ga pa dha ni
We could negate this "Pa" occurance as an as accidental if that was the only aberration that stops this song from being sanctified as Rageshree :-)
I don't think so.. Especially when you factor in the No Ri in the Arohi rule as well as score of other accidentals in this song.

Just for the sake of completion, there is some reference about usage of Pa in Rageshree that says: >>A variant, Pancham Rageshree (i.e., a P-laden Rageshree), is occasionally heard in some Agra quarters>> ; Now saying that "veenai meetum" could be Pancham rageshree would be over stretching our argument .. So we would want to rule out Rageshree..

That begs the question is it Malgunji or not..

I am almost exhausted trying to look answer for this question.

Arguments For Malgunji:
=================
- Both Ga allowed in Malgunji
- Both Ni allowed in Malgunji. Especially this is very poignantly brought about in end of charanam of Veenai Meetum.
- Ga2 in descent which gave Arun - the bageshri sundae
- "sa ni2 dha2 ni2" phrases

Arguments Against Malgunji
====================
As illustrated by Shri. Ramashreya Jha's demo of Malgunji "sa ni2 dha2 ni2 sa ri2 ga3 ma1 pa" seems to be its most characteristic pakad. This tells us two things.

- Ga3 in Arohi is the KEY differentiating factor of Malgunji from Bageshri.
- As a corollary, Ga2 is allowed only in descent.

Veenai meetum seems to very loosely adher to the "Ga3 only in Arohi" rule. while it flouts the "no ga2 in Arohi" rule rather liberally. Eg: The gamakam of "vaa" (of 'Maalai sooda vaa') = ri2 ga2 ma1| ri2 ga2 ma1

For me the chief Malgunji dis-qualifier is the application of Ga3 in this song. Don't forget that fundamentally Malgunji is based on Khamaj that (with Ga3) and not Kaafi Thaat (Ga2). Ga3 is almost non-existent in Veenai Meetum. Found only in two places: During the lines "Ulagame Pugazhndhadhe" in pallavi and towards the end of charanam.

From Mr. Jha's demo as well as on the other links, Ga3 should be felt much more prominently in a Malgunji song. But in Veenai meetum these roles are reversed. In this song ga2 beats ga3 hands down.. to the extent of forcing me to say ga3 is an 'accidental' in this song. This is very atypical of malgunji.

Same thing can be said about Panchamam. In Veenai Meetum, Pa has as much insignificant presence as ga3. in fact it lead us in the direction of Rageshree. But Malgunji has way too much an high voltage Pa.

Closing Arguments
- I find a telling resemblance to the classic "Kabhi Khud Pe" that Arun posted and Veenai meetum. Google is telling me that, "Kabhi Khud Pe" is based on a hitherto undiscussed Raaga called "Gara".. Not surprisingly Mr. Jha towards the end of his Demo point out that, Malgunji is very similar to Gara.

- Both interludes of Veenai Meetum are liberally composed keeping the flow/ situation of the song and doesn't bother too much about the otherwise felt Malgunji/ Gara in this song. Especially the second interlude which is more of A major Sankarabharanam.

- Such phrases highlight the "Light Music" nature of this song. When you have such prominent free-spirited interludes, to me the vigor/ inspiration to fit such songs to a Raaga, dies out then and there.

- For the sensation seekers, we can still categorize that -
Very specific parts of "Veenai meetum" - when you leave out few lines in its Pallavi and Charanam and ignore its interludes - qualify as a customized new mutated variety of Malgunji that actually sounds like Gara !!
:-) :-) :-) :-) :-)
(All these specs leaves us with just 8 lines or so of the whole song, BTW !!!!!!!!)

- For the truth seekers, lets just say its a great light music song that sounds heavenly.

I fully second Arun's earlier comment on the forum that,

- Tagging a Raaga to a tune is not a simple exercise.

So when every song needs to be tagged to a Raaga, It calls for due diligence which costs unbelievable amount of time and drive..

And for rather light music oriented songs (with classical base), when names come up, you are sure that most of the time you are working hard to prove its NOT a given Raaga. (Because at the end of the day, A raaga is a raaga with very little scope for subjectivity) Hence this is not efficient.

Right Arun.. I missed your note on Raag Gara and hence misspecified it as an "hitherto unknown name to our discussion".. Of course you already specified it on the Youtube post on "Na Jiya"..

So I am fully with you that, if at all we want to put a name, indeed we are left with only your two original contenders (Maalgunji and Gara);

UNQUOTE

[V_S]

Wow! that was the most exhaustive analysis I have ever seen. :notworthy: Thanks a lot vel for sharing this one. It seems a big collective effort to get to the core of the song. Wow!
Maestro might have finished this song in just minutes and I can't believe how much time and effort it takes to dissect it! Big applause to all of you (them).

[RR]

'veenai meetum' can be a reluctant Gara.

what about 'vaana mazhai'.. There's no rishabam, rt? Then have to rule out Gara too.

btw, which orkut group is this?

[Gregorysab]

Veenai Mettum is a song I chanced upon on dhool.com many years ago. Fantastic Madan Mohan-ish melody that hardly has any traces of Ilaiyaraaja, actually.

I really doubt if it is Malgunji. According to this page: http://www.indiapicks.com/SNT_Hindi/P-244.htm Malgunji is Rageshree aarohana and bhageshree avarohana.

By the way, this song: http://www.youtube.com/watch?v=76ZZRPwQYOI is similar to Veenai Meettum Kaigale :-)

[vel]

RR, V_S, Aakarsh -- the analysis was done at orkut ilaiyaraaja fans group --- the thread name is Raja's carnatic vista -- http://www.orkut.co.in/Main#CommMsgs?cmm=100197004&tid=5460677714297855231&na=4&npn=5&nid=100197004-5460677714297855231-5462711093543825925

[skr]

Hi ,
I checked with a friend who attended the concert.
She confirms that it was mentioned as Niranjani only.

I am little confused here.
Niranjani is a janyam of Yagapriya and has the structure S R3 M1 D1 N1 S | S N1 D1 M1 R3 S.
It doesnt seem to have any reference to the song ABC Nee Vaasi.

I read in Orkut Groups that it could be Niroshtaa having the structure S R2 G3 D2 N3 S in the Aarohanam.
However i feel it should be Ānandharoopa based on the structure S R2 G3 P D2 N3 S |S N3 D2 P G3 R2 S because the song has quite a lot of S R2 G3 P D2 N3 S N3 D2 phrases.
Both Niroshtaa and Anandharoopa happen to be janyams of Shankarabaranam.

[RR]

skr, I confirm the presense of Pa. So it's not in Niroshta.

[vel]

Guys, I had asked a colleague of mine about 1) veenai meetum kaigalae and 2) vaana mazhai pole.....

she checked her uncle, with a pro in hindustani and a disciple of Bhimsen Joshi (just came to know about this connection of her's), .

It seems her uncle listened to the songs, felt they were classics and gave the raga details as 1) rageshri, 2) gorakh kalyan ----taking shuddha nishad in madhya saptak like Bahar uttarang

I think Narayanan was right about Gorak kalyan !!

[vel]

Guys, I had asked a colleague of mine about 1) veenai meetum kaigalae and 2) vaana mazhai pole.....

she checked her uncle, who is a pro in hindustani and also a disciple of Bhimsen Joshi (just came to know about this connection of her's), .

It seems her uncle listened to the songs, felt they were classics and gave the raga details as 1) rageshri, 2) gorakh kalyan ----taking shuddha nishad in madhya saptak like Bahar uttarang

I think Narayanan was right about Gorak kalyan !!

[Sureshs65]

The next ragam I want to take up is Desh. A ragam with supposedly 'limited' scope but Raja has given some excellent melodies. I will leave out the 80s melodies and talk about the 90s and later as usual.

This song was a recent discovery. As recent as today!! Swarnalatha in my opinion was the rightful heir of Janaki. She was able to sing any type of song and generally ate for lunch singers like Mano and Arunmozhi. And with SPB et al she stood her ground firmly. Pity that she first lost her voice and later we lost her. This song is a 'matter song' going the lyrics. The leisurely beats complement the raaga very well. 'oru pokkiri raathiri' from 'Idhu Namma Bhoomi'. Mano and Swarnalatha:

http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR1246'&lang=en

Ragas may have their own grammar and limitations but they don't apply when Raja tunes them :) The one Desh I cannot miss in the 90s is the folkish one that he gave. When 'Kaakai Siraginile' was released lot of my SPB-Raja friends were thrilled. "SPB and Raja are terrific. This film music will break records. etc etc" Nothing like that ofcourse happened. This particular song did get a decent airing I would say but never rose to the top of the charts. SPB's singing, Raja's tuning and the funny lyrics mixed with English make this song unique:

http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR1441'&lang=en

The two songs would have given a pleasant feeling and you can be excused if you think that Desh can be used only for such soothing melodies. As I said rules don't apply to Raja. Here is a 'kuthu' type song from 'Chinnavar' (about which album I have written earlier.). Mano and Chitra sing this wonderful duet. Raja gives it the required energy without taking away the soul of Desh. One more song to showcase Raja's grip on multiple aspects of music making:

http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR0451'&lang=en

A more classical Desh, which is heart touching, comes quite naturally from his tribute to his spiritual guru. 'ennai kavrndhizhutha ramanan'. Outstanding composition.

http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR1045'&lang=en

And finally, 'reminding us of olden days' melody:

http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR1884'&lang=en

[crvenky]

Suresh, I don't know carnatic, but I have read in the Forums that Oru Pokkiri is in Madhyamavathi(?) and Gopiyargal song is in Saranga. What do you think?

Also, you left out Vizhiyil Pudhu from Theertha Karayinile, which is my fav. Desh raga song.

[Sureshs65]

Venky,

Thanks for asking. I think I made the mistake about 'Oru Pokiri' For some reason it sounded like Desh to me but I guess it is closer to Brindavana Saranga. A friend told me in twitter. So we must remove it from the list.

I left out the 'Theertha Karayinile' song because it was from the 80s.

[Sureshs65]

And now I am confused, if the Desh flavor I am hearing in 'Chinnavar' is Desh or is it also 'Brindavana Saranga'?

[Sureshs65]

And very 'Gopiyarga;' is very much Desh.

[Gregorysab]

And very 'Gopiyarga;' is very much Desh.

Total Desh flavour!

[Gregorysab]

I love the Oranjaro song - which is probably the first Raaja-desh I have heard. The 2nd one I heard is ennai kavrndhizhutha ramanan, which i loved a lot. It is indeed a great composition. Long time since i revisited that.
Good list there!

[RR]

And now I am confused, if the Desh flavor I am hearing in 'Chinnavar' is Desh or is it also 'Brindavana Saranga'?
Defiitely not Desh, Suresh. This sounds like a ragamalika - one portion is Brindavana S.

After vizhiyil puthu, oranjaaram should be his best filmy Desh. 90's or 80's I think his Desh melodies have been top class without too much experimentation.

[Sureshs65]

RR,

I am also having the same feeling.

Was discussing with a musician friend of mine and said that in film music I tend to get confused with Kapi and Desh and sometimes Brindavana Saranga.(Doesn't happen in Carnatic music) He said that all three share the same arohanam and all three have both the nishadams. So if the music director is playing with these common notes, you can hear whichever ragam you want :)

[RR]

Suresh,

I think Desh and B.Saranga are close in terms of notes but they have so special prayogas that it's not hard to spot one from the other - if the MD is doing justice and not trying to confuse ;) . But kapi is a different animal IMO. It can take more notes than just S R2 M1 P N3, so should be less confusing. As you said, it's clear cut in carnatic but needs closer attention in films.

[Sureshs65]

RR,

The problem is the higher registers. All three would be sharing the same notes in the Ni sa ri ni range. Since both nishadhams appear here, if the MD is doing the arohanam and is hovering around the Ni sa ri ni phrase, I think there will be scope for confusion :)

[vel]

This is from aathma -- i used to think this is as sudhasaveri or durga, but got from a radio program that this is gowda malhar. A great song!

http://www.youtube.com/watch?v=MhfDQkRrnXs

Sarasamukhi sakala bhagya -- http://www.youtube.com/watch?v=4YTy8dAQfyk

[sakaLAKALAKAlaa Vallavar]

A Raga’s Journey — Sorrowful Subhapantuvarali (http://www.thehindu.com/life-and-style/metroplus/article2903378.ece)

[Plum]

Suresh, you may not have heard this one before - VAazhkai Odam Sella from Aval Appadithaan. In a cult movie that didn't get popular acclaim, this song is buried well beneath the phenomenal UravugaL Thodargadhai and Kamal-powered panneer pushpabgaLE. Strong hindustani flavour - a type of song that he stopped the production line in 80s itself. KEttuttu sollunga. Atleast this one I knew before but there is a total, unknown song from the same movie which I discovered only recently - "adi aatha aatha" - rumbunctious is the word that comes to mind. Total riot - kuththu pAttula ivLO sangadhi vekka mudiyumA?

[Sureshs65]

Plum,

Even I am confused sometimes. People think I will definitely know a 80s song and I would have never heard it. On the other hand, people think I would never have heard some song and I would heard it!!! The 'vazhkai odam sella' is a song which I have heard, courtesy Sun Music. I think they screened it a couple of times. It is not Desh ragam but a lovely song indeed.

[Sureshs65]

One ragam which Raja used in the 2000s and produced an all time classic is Rasikaranjani. The first of his Rasikaranjani must have come in 'Kovil Pura', the certified classic, 'amudhe tamizhe'. He also tune that superb 'neelakuyile' in this ragam. Songs which will be hard to match but Raja just does that in 2000s.

When Raja was called to tune the poems of the great Subramanya Bharathi's biopic, everyone expected that all tunes will be for the poems of Bharathi. While most of the songs were tunes set to Bharathi's poem, two songs had words of other lyricists to the tune set by Raja. One of the songs, 'mayil pola pennu onnu' would win its singer Bhavatharini the National Award for the best singer, much to the chagrin of those who hate her voice (and there are many of them.) The other song was probably the best song of the album. Madhu Balakrishnan debuted for Raja with this gem. Maybe because he was called to write the lyrics for a film dedicated to Bharathi, lyricist Pulamapithan surpasses himself. A excellent combination of top class lyrics, an excellent tune, superb orchestration and nice singing, make this an all time classic. A song the ragam Rasikaranjani will be proud of :) "edhilum engum iruppaan avan yaaro" from Bharathi

http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR0398'&lang=en

Observe the pace he sets up. Unlike 'amudhe tamizhe' and 'neela kuyile' which have a strong rhythmic component, here the pallavi is driven by melody, starting right from Madhu's humming. The interludes also keep this leisurely pace. In the charanam this leisureliness is accentuated but towards the end, he does his typical speeding up before joining the pallavi. A song which I can safely predict will be an all time classic.

[Plum]

Suresh, my favourite from that album. One of the reasons for my soft corner for Madhu B, despite him being Sreesanth's brother-in-law :)

[Sureshs65]

As we all know Raja is fair to all rasikas. So if he created an outstanding song in Rasikaranjani ("Edhilum engum"), he has to create an equally charming song in Rasikapriya isn't it? So up comes an outstanding song which many of her fans felt should have fetched Shreya Ghoshal ("indha rasikargale ippadi dhaan boss"). An excellent pathos song, sung with lot of feeling by Shreya, leading to lot of pheelings from her fans when she didn't get the NA and lot more pheelings from Raja fans when Bala did not use the song in the film!!! For someone like me tuned to Raja's voice, it is very difficult for a song to sound better in another singer's voice once it is sung by Raja. In this case though Shreya's version is the one I love.

The song oozes pathos and would have been very apt in the movie. The violin in the first interlude and the beat which simulates the whipping of a blind girl, excellent. In the interlude Raja does something he seems to like doing with Rasikapriya. Do a grahabedham on this ragam and obtain Mayamalavagowla. So in the first interlude the violins seamlessly shift into Mayamalavagowla from Rasikapriya and equally seamlessly return back to Rasikapriya. (Been a while since I listened to it but I think Raja probably does this scale shift in 'sangeethame' (Kovil Pura) as well.) The lyrics (Vaali?) are very apt for the film situation. Again a song to which I will easy put the stamp of timeless classic.

http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR4159'&lang=en

Raja had used Raskikapriya an year earlier. 'Naan Kadavul' was a 2009 film whereas 'Uliyin Osai' was a 2008 film. Here Raja uses it for what seems to be a song by the hero teaching the heroine/vamp (nowadays anyway no difference) how to dance. Has some nice prose spoken piece by Raja. In this song also Raja uses the scale shift to get to Mayamalavagowla from Rasikapriya. The only difference is that in the first charanam after he goes to Mayamalvagowla he continues the charanam in Mayalavagowla and return back to Rasikaranjani only when he gets back to Pallavi. The second charanam is fully in Mayamalavagowla. Superb song and well sung by Sriram Parthasarathy.

http://www.thiraipaadal.com/tpplayer.asp?sngs='SNGIRR4144'&lang=en

[Plum]

You are bent on making me go on a trip or what? Don't remind me of Kannil Paarvai please....innum oru vArathukku mood out guaranteed...good job that my family is not with me right now. kozhandhai :shock: :clap: :bow:

[Sureshs65]

Plum,

When I mentioned Shreya fans being unhappy with her not getting a NA for this, I had only one fan in mind :lol:

[baroque]

I was enjoying VAIDHEGI KAATHIRUNDHAL.

AZHAGU MALAR AADA.....CHANDRAKOUNS.


http://www.youtube.com/watch?v=C3Vntx2Vs7A

Last time same rag came from Raja by early 2003

KONJI PESALAM......TIPPU's idhuvarai naan....


http://www.raaga.com/player4/?id=13072&amp;mode=100&amp;rand=0.9169394986745701

vinatha

[Gregorysab]

Plum,

When I mentioned Shreya fans being unhappy with her not getting a NA for this, I had only one fan in mind :lol:

count me as well - I was almost sure that she would!

[sakaLAKALAKAlaa Vallavar]

Carnatic Music in Tamil Film Songs http://www.scribd.com/doc/8693253/Carnatic-Ragas-in-Ilayaraja-Films #Ilayaraja via @aayilyan

[vel]

what a blinder of a song -- great singing by HH -- http://www.youtube.com/watch?v=GUH_OeNmtVY&feature=fvst

[vel]

what a blinder of a song -- great singing by HH -- http://www.youtube.com/watch?v=GUH_OeNmtVY&feature=fvst

madhyama sruthi keeravani (tonal shift hemavathi), then knock off M2 from hemavathi, reach to misra sivaranjani....wah re wah....

[sakaLAKALAKAlaa Vallavar]

Illayaraja Songs by Ragams in Thiraipaadal.com -> http://thiraipaadal.com/playlistir.php?lang=en

Totally 139 Raagaas are listed. I am posting the top 15 most used Raagams

Raaga-------Notes---------------------------------------------------No of Songs
Keeravani | S R2 G2 M1 P D1 N3 S | S N3 D1 P M1 G2 R2 S 70
SindhuBhairavi | S R2 G2 M1 G2 P D1 N2 S | N2 D1 P M1 G2 R1 S N2 S 56
Shankarabharanam | S R2 G3 M1 P D2 N3 S | S N3 D2 P M1 G3 R2 S 51
Mayamalawagowlai | S R1 G3 M1 P D1 N3 S | S N3 D1 P M1 G3 R1 S 46
Sudhadhanyasi | S G2 M1 P N2 S | S N2 P M1 G2 S 46
Mohanam | S R2 G3 P D2 S | S D2 P G3 R2 S 43
Natabhairavi | S R2 G2 M1 P D1 N2 S | S N2 D1 P M1 G2 R2 S 35
Madhyamavathi | S R2 M1 P N2 S | S N2 P M1 R2 S 34
Kalyani | S R2 G3 M2 P D2 N3 S | S N3 D2 P M2 G3 R2 S 29
Sivaranjani | S R2 G2 P D2 S I S D2 P G2 R2 S 24
Gowrimanohari | S R2 G2 M1 P D2 N3 S | S N3 D2 P M1 G2 R2 S 23
Vakulabharanam | S R1 G3 M1 P D1 N2 S | S N2 D1 P M1 G3 R1 S 20
Pahadi | S R2 G3 P D2 P D2 S | N3 D2 P G3 M1 G3 R2 S N3 D2 P D2 S 19
Abheri | S G2 M1 P N2 S | S N2 D2 P M1 G2 R2 S 18
Charukesi | S R2 G3 M1 P D1 N2 S | S N2 D1 P M1 G3 R2 S 18

[sakaLAKALAKAlaa Vallavar]

Total 1162 Songs of Rja, classified based on their Raagams. Laudable Effort :clap:

https://docs.google.com/spreadsheet/ccc?key=0Ak0lUT9ZZ-jDdGlDbl9iQkJwODY4d1laVmtZa0ZmbHc#gid=0

[Rangarajan nambi]

While playing on the key board , I realised that the Katrai konjam ( NEPV ) is a great melody largely structured on Sankarabaranam ! R2 , G3 , M1 and D2 are dominant throughout the song but the charanam ends at D1 which is unShankarabaranamish !! That’s why the song is so melodious and attracts everyone on first hearing itself .

IR is a mysterious guy when it comes to Carnatic classical ! However, I reserve my comments on Hindustani prowess.

[thumburu]

And "saindhu saindhu" is faintly Mohanam based

[jaiganes]

Just checking.. is Gaali ningi neeru from Sri Rama Rajyam in Bhairavi?

[baroque]

Jai,

Gali Ningi Neeru - Ilayaraja - S.P. B

http://www.youtube.com/watch?v=IF956s0Bv6c

it's RAGAM KIRWANI!

R.D.BURMAN'S aane wala......GOLMAAL....KISHORE KUMAR!

அன்பே எந்தன் காதல் சொல்ல நொடி ஒன்று போதுமே
அதை நானும் மெய்ப்பிக்க தானே ஒரு ஆயுள் வேண்டுமே

[Rangarajan nambi]

And "saindhu saindhu" is faintly Mohanam based

True ! the pallavi has Mohanam's G3,R2 and lower D2 and then straight from G3 to P !! I have to play the charanam to explore further . Why that Yuvan is totally out of Sruthi ? When I head Raja explaining the notes to GVM, his voice was much better. Would have been nice if Raja himself had sung this .

Vanam mella sounds similar to the notes of AAgAya vennilAve. Difficult to identify.

[Rangarajan nambi]

Raja also gives a surprise on interludes. Take for ex, Appdi pakrudhuna from Ivan , a Sudha Raghunathan song. Suddenly in Interlude II, the Violins will momentarily switch to Vasantha raga ! Thats an stunning shift !

No composer goes to an un related territory within a song and come back to the same song like IR !

[V_S]

Rangarajan,
Great posts with lot of details about raagams. :clap: Thanks a lot. You should write more often and I am also greedy to even request lengthy posts from you about the songs and their specialty.

[skr]

Neethaane En Ponvasantham Songs from a Rhythm (Thalam) and Scale (Ragam) perspective !!

Saaindhu Saaindhu - 4/4 Adhi Thalam Chatushra Nadai (goes as 3+3+2)
Composed in D Major , takes the ragam of Mohanam predominantly (there is an accidental Ni note too) , during the Charanam it changes to B Minor (Scale of Natabhairavi) but has a distinct Suddha Dhanyasi flavour.

Kaatrai Konjam - 7/8 Misra Chaapu
Composed in E Major (Shankarabaranam) , shifts to C# Minor during the Charanam (At Thalli Thalli) , and should have become Natabhairavi, but feel it is actually Varunapriya due to the heavy new presence of the note C (Ni3 in Carnatic terms).Again (At Saathi Vaitha) it returns to the scale of E Major and should have become Shankarabaranam but again the booming presence of note C (Da1 in this case) makes it Sarasangi. The introduction of the note C in Charanam is a pure masterstroke.

Mudhal Murai - 4/4 Adhi Thalam Chatushra Nadai
Composed in B Minor in the ragam of Natabhairavi (Ni3 is also used at times giving an extra effect)

Vaanam Mella - 6/8 Adhi Thalam Tisra Nadai
Composed in F Minor , takes the raga of Pushpalathika as it mostly avoids Dha.

Pidikkala Mamu - 4/4 Adhi Thalam Chatushra Nadai
Pidikala Mamu is composed in E Major (Shankarabaranam) , Vidhi Pathadhe is in 6/8 and composed in F Minor and follows Suddha Dhanyasi Ragam

Ennodu Vaa Vaa - 4/4 Adhi Thalam Chatushra Nadai
Composed in E Minor and follows Natabhairavi Ragam

Pengal Yendral - 4/4 Adhi Thalam Chatushra Nadai
Composed in B Scale and follows the ragam of Gowri Manohari

Sattru Munbu - 4/4 Adhi Thalam Chatushra Nadai
Composed in D Scale , difficult to slot into a raga as it uses almost all notes but is predominantly in Keeravani

[vel]

Ragas used in Baba Pugazh Maalai
Aadhi Bhagwan is in Shyam Kalyan - Shyam Kalyan | 'N3 S R2 M2 P N3 S' | S' N3 D2 M2 P M2 R2 G3 M1 R2 G3 'N3 S
Vinnar Amudhe is Natabhairavi
Sheeradi Nadhanin is Natabhairavi as well. I thnk it touches D2 unlike vinnar amudhae which is only natabhairavi notes.
Sai Dhwarakamayi -- soulfully sung by Bombay Jayshree -- is set in Lavanthika | S R2 M1 P N3 S | S N3 P M1 R2 S .....thanks to Rajendra Kumar for this input...
Poovaram sootti is set in saraswathi -- Saraswathi | S R2 M2 P D2 S | S N2 D2 P M2 G2 R2 S ...what a rendition by Raaja !
Indha kovil mattum is in subapantuvarali -- Subhapanthuvarali | S R1 G2 M2 P D1 N3 S | S N3 D1 P M2 G2 R1 S
Sai Naadha Sai Naadha - Keeravani | S R2 G2 M1 P D1 N3 S | S N3 D1 P M1 G2 R2 S
Sharanam Bhava sharanam -- kalyani with a stunning Ri1 touch in the second last line of the charanams. Totally mind blowing touch !!
Unnai kettu paar -- Mayamalawagowlai with M2 touch -- which gives Pantuvarali flavour at times. Mostly mayamalawagowlai (M1).
Baba Baba Sai Baba -- mohana kalyani
On the whole, a honey dripping collection of songs....a CD that you need to have on your music library...... Awesome bliss.
http://www.raaga.com/channels/tamil/moviedetail.asp?mid=td01741