An introduction into the world of the wonderfully strange sounds of Indian music.

What is Music?
Music is anything with emotions coming out of our heart, that makes us feel good, makes us laugh, makes us sing, makes us dance, cry too. Where do you think music originated from? Origin of music is nothing but the attributes of emotions, that is melody. Music originated with life. Every living being comes with some sound and that sound is a result of an emotion.This beautiful arrangement of sound is nothing but music.
Take the example of a cuckoo bird. Cuckoo comes with melody, but its melody depends on season. If its spring season, the melody represents a very happy emotion - spring being the favourite season of Cuckoo. As the season changes, its melody changes. All that happens as a result of these seasons/climatic conditions that are affecting the emotions of the bird. Same is applicable to all living beings.Human is one such being with the highest capability.
As per the ancient vedas, Indian Music is originated from one of its four vedas called Samaveda. Samaveda gives the explanation of music in full length. A human body consists of 7 primary chakras, these Chakras are nothing but energy centers of moods and/or emotions.
All different forms of ragas or melodies come from there, and that is the reason music is used as meditation tool.
The various ragas affect various chakras in our body. Seven Chakras represent the seven basic notes of Music - Sa Re Ga Ma Pa Dha Ni.Indian classical music is one of the most complex and complete musical systems ever developed.Similar to Western classical music, it divides the octave into 12 semitones of which the 7 basic notes are Sa Re Ga Ma Pa Dha Ni, in order, replacing Do Re Mi Fa Sol La Si. However, it just uses the notation (unlike Western classical music which uses the equal temperament tuning system).
The two main streams of Indian classical music are:
Hindustani classical music, originating from North IndiaCarnatic music (Karnataka Sangeeth), originating from South India
Hindustani music :
In Hindustani Music, the performance usually begins with a slow elaboration of the raga, known as alap.This can range from very long (30-40 minutes) to very short (2-3 minutes) depending on the style and preference of the musician.Once the raga is established, the ornamentation around the mode begins to become rhythmical, gradually speeding up.This section is called the jor. Finally, the percussionist joins in and the tala is introduced.
The Main instruments used in hindustani music are - Sitar, Sarod, Tabla, Harmonium, Slide Guitar, Flute, and Shahnai.
Carnatic music :
In Carnatic Music, raga elaborations are generally much shorter and faster in tempo.The opening piece is called a varnam, and is a warm-up for the musicians.A devotion and a request for a blessing follows, then a series of interchanges between ragams and thaalams (the ornamentation, equivalent to the jor). This is intermixed with hymns called krithis. This is followed by the pallavi or theme from the raga.Carnatic pieces can also be fixed; these are famous compositions that are popular among those who appreciate Carnatic music.
The Main instruments used in carnatic music are - Veena, Mridangam, Ghatam, Morsing, Kanjira, Flute, and Violin.
The deeper we study about these two streams of music, we will discover something new. Its a never ending ocean of wisdom. These two streams of Indian music is continually evolving with new and innovative strings of music giving the greatest pleasure of life. Change is inevitable, applicable to science and technology that has changed our lives and the world, similarly music also has undergone a metamorphosis. However, the pleasure that one derives from music is still the same and as pure as it was. Music is one of life's greatest and simplest pleasures. Indian Classical music is a boon, which gives peace, spirituality and integrity.

SOURCE : http://www.musicouch.com/Genres/World-Music/Indian-Music.75898

Illaiyaraaja-The Romantic Musician!

The poetic beauty of Kamba Ramayanam is very well known.Kamban was a Poet par excellence .His choice of words and his beautiful, and meaningful descriptions convey many intricate things!Here is a scene from his ‘Bala Gandam’.A Battery of People from Ayodhya throng Mythila for Rama-Sita’s Wedding. Romance is in the air and Kamban wonderfully describes Love.Not the Love of Rama –Sita , but the Love of the Battery of people.A man from the Army travels along with his Lady Love.Those days Spear and Tridents were the major weapons - apart from the Bow and the Arrow.Looking at his Lover’s eyes, he wonders if his spear is sharper than her eyes.His weapon can only go and destroy the enemies.But her ‘Weapon’ can look at him with compassion and love.Yes, it pierces his heart and his soul.He then concludes that her eyes are definitely sharper than his Spear!சுழியும் குஞ்சி மிசைச்சுரும்பு ஆர்த்திடப்பொழியும் மாமத யானையிற் போகின்றான்,க‌ழிய கூரிய என்றொரு காரிகைவிழியை நோக்கித்தன் வேலையும் நோக்கினான்.That is the beauty of Kamban.Like Kamban and his poetry, Illaiyaraaja’s Music also pierces our hearts and we wonder if anything else can be sharper than this.We are now going to see one of his amazing compositions.A composition that is Romance Personified.A Composition that would make all Young Lovers dance.A Composition that would make all Old Lovers sway.A Composition that would make People fall in Love.It is ‘Pani Vizhum Malarvanam’ from ‘Ninaivellam Nithya’.Chala Naattai-the Raga of Pani Vizhum- is the 36th Melakartha.There are 72 Melakartha (mother ) Ragas.These 72 are divided into 12 groups –of 6 Ragas each.The first 36 use one variant of ‘Ma’which is called as Sudhha Madhyama while the next 36 use the other variant of ‘Ma’ which is Prathi Madhayama.Kanakangi –the Raga of Mogam Ennum- is the first Melakartha while Chala Naattai is the 36th Melakartha- the last Raga using Sudhha Madhyama in the system.Though Chala Naattai is not as eerie as Kanakangi, it does give a Haunting feel. Only the Maestro can think of using this Vivadhi Raga for a very romantic song!This wonderful composition starts with a rather unusual prelude.The Guitar hums very quietly as the soft voice of SPB sings ‘Pani Vizhum Malarvanam..’.The Violins welcome the Romantic Lover , the Guitar picks up momentum and the drums dance happily.A Breathtaking Build up!In the first interlude, we see the Foliage in the garden of Love as the Flute sings like Birds with joyous profusion, the Veena replying with elegant fluency, the Synthesiser emerging eloquently , the violins waddling and the Tabla joining the fray.It is a Musical Loop now as the violins play the same pattern-sa ga ma pa-indicating how the Love travels in concentric circles.The first stanza continues with Vigour and Vitality as the Flute and the Veena alternate between the lines showing us the shimmer of twenty moons.The line ‘Kaigall Idaithanil Neligaiyil’ follows a splendid chain of Swaras-pa da pa ma repeated five times- while ‘Eriyum Vilakku Sirithu Kangall Moodum’ is electrifying.The second interlude is a Dazzling Canopy with a Cornucopia of Flowers.The immaculate Guitar is the Rose, the melodious Flute being the Lily, the ecstatic Violin being the Jasmine, the Elegant Veena being the Sun Flower.The imaginative juxtaposition of the Notes is of course the speciality of the Maestro.The Fluid Curves of the Guitar, the Resplendent Flashes and Sparkle of the Violin(s), the gracefulness and the tranquility of the Flute make it a montage of sorts mesmerizing us.The Composition is tenderly textured with a stamp of Classical Purity.Pani Vizhum Malarvanam Unathu Isai Oru Varam….

Source : http://rajamanjari.blogspot.com/2008/01/illaiyaraaja-romantic-musician.html

Illaiyaraja-Inseparable From My Heart!

Separation or Viraha is a pet topic of poets.In the great work ‘Geetha Govinda’ written by Jeyadeva, the Heroine-Radha in this case- is unable to bear her separation from Krishna.The Heroine’s friend tells Krishna ‘Radha is not able to bear the pain.Even the gentle breeze feels like the bite of snakes!!’This is Viraha in poetic form!One of the masterpieces of Raja describes separation in musical form.The English Film ‘Man Woman and a Child’ inspired many film makers.It came out as ‘Masoom’ in Hindi,as ‘Olangal’ in Malayalam and ‘Oru odai Nadiyagirathu’ in Tamizh.The Tamizh film was directed by the great film maker Shridhar.The story of the film is beyond the scope of this discussion and therefore let me try and tell you the sequence.One of the heroines-Sumalatha- has a past connection with Raghuvaran , a fact both of them do not know.She develops a kind of Love towards him despite knowing that he is married.The song ‘Kanavu Ondru Thondruthey..’ appears as a dream sequence.It is based on a ragam called Revathi.Revathi is a pentatonic raga and evokes feelings of nostalgia, fear , sympathy , compassion and above all an unexplainable feeling.It is a more recent raga and the legendary Carnatic vocalist Shri.Maharajapuram Santhanam played a big role in popularizing this raga in concerts.The structure is Sa Ri Ma Pa Ni Sa—Sa Ni Pa Ma Ri Sa.Let us now turn our attention to ‘Kanavu Ondru..’The composition starts in a lower octave and the rhythmic pattern of 1 2 3 4(chatusram) is followed throughout.The gentle feathertouch piano keys kindle our emotions.The sound of the Bass and the Western flute follows.When Janaki starts ‘Kanavu Ondru Thondruthe..’the dream gets unfolded in front of us.We feel it is being narrated to us.The first interlude tells us the plight of this woman...Again the sound of the piano towards the end gets into our heart and we sit there speechless!In the charanam ‘Poomagal Melaadai..’we are stirred by the violins.When she cries ‘Kaamane Vaaradhe..’ first in the higher octave and then in the lower octave, we also cry with her.The violins in the second interlude make us see the the woman- who faces the pangs of separation- going around and around in a circle.Unable to get out of this circle, she cries out through the Flute!One could hear her say ‘To Whom should I appeal My Vibrant Mind Enraptured, Stay Not, Why This Misfortune?’The Piano tries to sooth her feelings.This composition is ‘Separation Personified’!.Meloncholic song of a Tormented Woman!!Poetry in Revathi!!!I have never seen a better Filmy composition in Revathi nor will I see ever!The Western arrangement –especially in the second interlude-in Revathi- is possible only by one person!One more song of separation based on Ravathi appears in the Film ‘Kaadhal Oviyam’.The Hero- who was once blind- looks for his Lady Love and is there a better way to express than singing in Ravathi?She is his Musical Flower who was lost.He has vision now but is unable to see!‘Sangeetha Jathi Mullai Kanavillai..’ is a wonderful composition in Revathi.He Sees, Looks, Stares, Hears, Listens, Smells, Wanders….And Behold ..There she is!Once he spots her, the raga beautifully shifts to SimhendraMadhyamam!The versatile golden voice of SPB not only sings but also directly speaks to us!In the same movie, there is an effort to set the hero to fire. The musically inclined person -who was blind then-sings again in Revathi(‘Amma Azhage Ulagin Olliye’).His music moves the Heavens ..It wakes up the breeze sleeping in the flowers .Whenever he is down, it is Music which comes to his rescue!In this composition , we can feel the heat ourselves.Literally a 'Hot' Revathi!We are engulfed by the fiery music!‘Raja Isayin Azhage Ulagin Olliye’!

Source : http://rajamanjari.blogspot.com/2008/01/illaiyaraja-inseparable-from-my-heart.html

JOHN SCOTT about our MAESTRO .

Q & A
Dear John
John Scott's Column
As time permits, John Scott will answer your questions and have the answer posted here. This question comes from Anbu Ramasamy:
Mr. Scott,
I think you are one of the best composers around & my mission now is to go out and get all your CDs. Please keep composing & keep releasing your music.
The question I have is somewhat involving you and another person. I was thrilled when I heard that you were going to conduct the symphony for Mr. Ilayaraja from India when he was commissioned to write a symphony. Mr. Ilayaraja is my favorite Indian composer & I couldn't believe my ears when I came to know another one of my favorite composers (you!) was going to conduct it. There was a huge celebration for him in India with all the top personality & you honoring Mr. Ilayaraja. This was shown in the tele & I was ecstatic to see you on stage. As you were being garlanded on stage, I also happened have your CD 'John Scott's Favorites' gracing my glass cupboard with you in front. I so excitingly pointed out to my family members 'there that's him' & they really couldn't believe as well.
But till now, this symphony has not been released & there hasn't any news about it. I hope you can enlighten about its release & the work of Mr. Ilayaraja.
Anbu(Singapore)
Dear Anbu (Singapore),
Thank you for your very kind comments. I am a very lucky person because I spend my life doing what I like, which is composing music.
It was very interesting to hear that you witnessed the Ilayaraja honoring ceremony on TV. I was flown from London to Madras specially for it. It was an incredible experience and I shall never forget it. Ilayaraja and I became very close friends and I have tried to encourage him to get his symphony released. I believe he was hurt by a critics review, and this is the reason it has not been released. I had the privilege of conducting the recording sessions with the Royal Philharmonic Orchestra, in London, and we all believe it deserves to be released. The trouble is that critics are capable of destroying sensitive artists and have done it throughout the history of music. The more one knows a piece of music the more one loves it, and the stupid critics are incapable of judging anything they have never heard before. They have seldom been right. There is a wonderful book by Nicolas Slonimsky entitled LEXICON OF MUSICAL INVECTIVE. It is a history of musical criticism since Beethoven's time. It shows how the critics have crucified every great composer without exception! I will contact Illayaraja and tell him about your kind remarks and that he owes it to us all to make his symphony available.
I send you my best wishes,

Source : http://webhome.idirect.com/~rlevy/current_question.html

The Boss of Bass - Dr.Ilayaraja

Raaja's idea of composing bass is nothing short of an experiment. Traditionally bass is played with a pattern, which is more suiting the rhythm of the song. Sort of playing a second fiddle.. A good example of his own is 'Maasi masam alana ponnu' song. There is nothing great about the bass track of this song. Bass is just played at full timing of every bar, giving a good grand 'dharrr….' effect. But a song like this (with ordinary bass tracks) is an exception in his music. 90% of his songs have extra ordinary bass patterns. A song like 'Vaan megam poopoovai thoovum' is benchmark for bass compositions in a song. The bass goes on in a world of its own, in its own rhythm pattern, gliding along the rhythm track, following the melody dutifully.. Numerous examples that I can think of are: 'Athadi ammadi then mottudhan', 'Putham pudu kalai', 'Raasathi unna.. kaanadha nenju', 'ivaloru ilanguruvi', 'Kanmani anbodu kadhalan', 'Anjali Anjali Anjali', 'Manram vandha thendralukku' etc.. Watch the bass tracks of these songs. They have their own pattern but still suiting themselves very well within the rhythm track. In short they are like 'Kuru nila mannargal' enjoying a space of their own under a big king (which is the song itself) and not taking a back seat. Many a times this unique pattern is complex enough to be considered a counterpoint in itself. Few examples of this are, Starting of 2nd interlude of 'Poonthalir aada', Finishing of 1st interlude in the song 'Anjali Anjali'(This is a Piano piece for only 2 bars, which goes in descending order with the notes of first half in an octave. Watch the bass, its composed with the notes of second half in an octave. Great counterpoint), the starting of 1st interlude of 'Meenamma'(During the trumpet) etc., Second thing, which is unique in Raaja's bass writings, are: the bass in his songs doesn't sound BASS!! (I mean not really low). They sound relatively at a higher level. The last two strings of bass guitar are more used than the lower two.. Songs like 'Vaanilae then nila', 'Vaan megam', 'Neer veezhchi thee mootudhae', 'Unnai naan paarthadhum' (Beautiful song from an unreleased movie called 'Kannukkoru vanna kizhi'- How many of such raaja's treasure are we missing ??!!), 'Devanin kovil moodiya neram', 'Malarae Malarae Ullasam', 'Oho Megam vandhadho' etc etc.. are good examples for this. This is a novelty which aids the bass to be clearly audible than sounding itself just loud and not clear !! Third thing is the well-constructed chord progressions around his melody. This give the bass track a very good base to switch them along with the chord progression, making it sound very beautiful… There can't be a better example other than the great 'Kadhal oviyum'. The first two lines of the charanam are so complicated with almost one chord per word. And Bass switches quite nicely glued with the chord progression. Pallavi of 'ooru sanam' is another one. In general not even in one song can you notice a place where the bass is sounding out of scale… Fourth thing is they are used as very well connection phrases between lines or as an answer to other tracks.. This is quite unique to Raaja.. Take for example, 'Raasavae.. Unnai vida mattane' from Aranmani kizhi.. The bass has a very un-orthodox pattern and fills the song even during the pause between two lines. More example for this can be 'Kannan vandhu paaduginraan', 'Ilampani thulir vidum kalam', 'Ilamai idho idho', 'Rojapoo aadi vandhadhu' … He also aptly makes the bass answer another melody track. You can notice this in the second interlude of 'Kadhal oviyum'. Bass answers chorus initially and Veena later. Prelude of 'engengo sellum' is another one here.Fifth thing is, there are portions in his song given specific importance for bass. During this only bass guitar is played for few bars as a part of interlude or main melody. The beginning of the 2nd interlude of 'Enna satham indha neram' is a classic example. Beginning of Second interlude of 'sangeeta megam', prelude of 'idhu oru nila kalam', Beginning of Second interlude of 'valaiyosai kala kala', prelude of the song 'kalam kalamaga vaazhum' etc are few of those songs where Bass assumes the center stage and does a brief 'thani avarthanam'. Sixth aspect I can think of is his usage of Bass in semi-classical songs. Everyone knows about Raaja's versatility in this area. Everyone also acclaims his way of music as a great fusion and giving the carnatic music with a western personification. But has anyone looked into how adept is he using the bass guitar in native songs of Indian classical origin. Take 'nee dhanae endhan pon vasantham' for instance. A beautiful song set in the Madhyamavadhi raga. The bass guitarist of this song can proudly feel he has achieved 'something' in his life. Such complicated is the bass pattern, but still in the Raaga: madhyamavathi. Take the song 'Oru pattam poochi' from kadhalukku mariyadhai. A great song in Jog. Especially in the second interlude of this song when KJ does a alapanai with 'Poovana en nenjam', the bass track just slides around. You can witness some 'arajagaman'-a bass tracks in naattai in the song 'Pani vizhum malar vanam'. 'Ninnukori varnum' is another one to follow. How is this possible for him? The answer in his own words is 'There may be rules in music. But even as Beethoven said, "Rules are my humble servants", you can break them if you have a valid excuse. Since I'm not aware of any existing rules, the new things that I do are not any violation, but innovation'. Take any song composed in a pakka raagam by Raaja, and analyze its bass track. The bass really seconds his thoughts.Now days, the trend in Tamil music is catching on more with World music. Hip Hop, Rap and Technos are hot now. In all these styles there is a constant bass track played all thro' the song irrespective of any variations in the song. (I mean Songs like Ace of base and similar numbers in Tamil). I'm not here to debate if this style of music is good or bad. But versatile composer's like Raaja has shown us that the things other way around is possible. I mean Songs like 'Raaja kaiya vecha' where he has used two different bass tracks for the same main melody. The main pallavi is composed in good major. But whenever the pallavi is sung after 1st and 2nd charanams, he converts the movement of the song in to a total minor scale. He uses Bass as one of the powerful weapons for this transition. Also there are songs like 'Kanmani anbodu kadhalan' where for there are atleast 3 different bass tracks for the same pallavi. When Janaki first starts the song with a tune, there is a short and sweet Bass track played at regular intervals. Soon after when the song starts in full flow, bass beautifully fills up the all the blanks in the first track and makes it into one continuous track. Much later when the song ends and re-starts again (with la la la..) it's a 3rd different bass track. Another striking example is the song 'Megam kottatum'. If you see the melody of first line (Megam kottatum) and the second line (Minnal vettatum) of this song is same. But the bass tracks are totally different and jump almost half an octave lower between first and second line. Also in subsequent lines it's just mind-boggling. Finally it's his competence to use synthetic bass in today's electronic world. Before anyone else could venture he used it as early as Punnagai mannan. (In the synth computer bit, 1 2 3 4…). Even 'Kalam kalamaga' has some excellent synth bass. Until recently even Songs like 'Arumbum thalirae' from chandralekha saw some wonderful synth bass. Unfortunately this song went unnoticed. But listen to bass in this song. There is no percussion track in the pallavi. The bass compensates for it.. Also all his new songs from movies like Time, Friends etc., also had good sensible use of synth bass. The point is, many tamil music listeners doesn't even know something called bass guitar exist. Still why is he composing such superb bass tracks song after song. It's the same way that god has created so many beautiful landscapes, animals, plants and flowers in this universe which most of us are unaware of. Why did he create so many things that go unnoticed? The answer I think is, that's the joy of creation...

Source : http://www.geocities.com/violinvicky/BossOfBass.html