Lesson 4

Matching Moods and Moments with Raga and Percussion

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Song:	Ehdilum Ingu.....(Tamil)
Film:	Bharathi
Based on Raga :	Rasika Ranjani
Listen to this song. [Audio Courtesy: RaajaNGAHM.com ]

 

The Mood of the Song 

A celebrity character, a historical and real life south indian story, a devotional song situation-  these are the prime elements that characterize the mood of this song.This extremely melodious and extraordinarily orchestrated  song has been composed for a film on the life of the renowned and  revolutionary tamil poet, Subramanya Bharathi.This song fits in a situation where in Bharathi is abandoned from the place where he lives, for having broken certain   traditional norms of  his caste. Bharathi, without  regretting for his deeds and thoughts, walks out of the place,  thinks of God and sings this song.

For a complete explanation of the lyrics of this song, follow this link to RaajaNGAHM.com.
 

The Raga

Rasika Ranjani (Vibhas in hindustani) ,is a penta-tonic raga with notes that have large semitonal differences between them (1 3 3 2 3) . This raga has been wonderfully molded by the composer to match the mood of this song. 

The  composer has constrained himself to compose this song within the boundaries of the raga.The   probable reasons behind this would be (a) the song situation (a devotional song) (b) Bharathi's knowledge of  classical music and (c) the music of the time period in history to which Bharathi belonged. Through this perfect example, the composer has demonstrated how  a song should be tuned,  to reflect the mood of the underlying song situation, to bring out the image of the character in the story and to symbolize the environment of the underlying story.

Further, the composer has shown how a classical song should be tuned to bring out the beauty and image of the underlying raga. The song brings out the  wonderful 'gamakas' that are possible in Rasika Ranjani. The expression of the dhaivatham is especially amazing in this song.This note has been sounded with a slide from the shadjyamam, at several places in the song (probably to bring out the image of the raga). Towards the end of the pallavi and during the second half of the charanam, the composer has used symmetric phrases in Rasika Ranjani, that have just  plain notes (without any gamakas).

Through the interesting time intervals between the tunes in the charanam, the composer has indicated the fact that a good composer is also a good mathematician.
 

The Orchestration

The the situation of this song has  several characteristics (as indicated in the beginning of this article) that lay certain constraints on the composer in orchestrating this song. The creative genius behind this song, through his outstanding orchestration, has shown how to handle special situations like these.

Besides the melody in the tunes, a major factor that contribute to the novelty and pleasantness of this song are the  percussions. The song has a two phased percussive presentation in it. The first half of the song has a completely novel percussive sound palette in its background.Given the underlying rhythm pattern, this kind of usage of the percussions can neither be classified as purely indian style, nor as a western one.This sound takes a twist in the first charanam, with a change in the rhythm,  that comes completely unexpected to the ears of the listener at that point of time, during the flow of the song.It portrays the immense talent of the composer in handling the percussions. The percussions in the second half of the song sound indian, with instruments that sound like the tabla tarang and the mirudhangham, beautifully interlaced with the sound of the cymbals.

The interludes of the song have been  marvelously composed with violins and  the flute dominating (once again). The first interlude takes off with a soul stirring tune on the flute,  followed by an instrument that sounds like the santoor. The second interlude  introduces the changes in the percussions (as discussed above) and the violins bring glory to the song, supported by the flute.
 

Thanks to Maestro Ilayaraja for teaching us this interesting lesson.
 
 
 

Author: R.S.Balaji

 
 

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