Structure of this blog

This blog is dedicated to Mr Ilaiyaraaja (IR), the legend of “Music” !

All the links about the song phrases and Lyrics etc shall be and shall remain the copyright to Ilaiyaraaja and request the readers of the blog to obey the same.


The structure of this blog is as follows:

1. Thiruvasagam - My Bird's Eye Views
2. Pollaa Vinaiyen - Introduction
3. Polla Vinaiyen - Lyrics
4. Pollaa Vinaiyen - Part-1
5. Pollaa Vinaiyen - Part-2
6. Pollaa Vinaiyen - Part-3
7. Pollaa Vinaiyen - Part-4
8. Pollaa Vinaiyen - Part-5 - Conclusion
9. Pollaa Vinaiyen - Consolidated Table of Raagams/Scales
10. Pollaa Vinaiyen - Audio Samples arranged for song discussions

Regards

CSR

Lyrics of Polla Vinaiyen

Original Tamil Verses : Maanicka Vaasagar as in Thiruvaasagam
Verses Selection and arranging   :  Ilaiyaraaja
English Transliteration of selected verses : Stephen Shwartz ( Click here for Stephen's forum page )


பொல்லா வினையேன்!
நின் பெருஞ் சீர் புகழுமாறு
ஒன்றறியேன்!

பொல்லா வினையேன்!
நின் பெருஞ் சீர்
புகழுமாறு
ஒன்றறியேன் !

பொல்லா வினையேன் !

I'm just a man
Imperfect lowly - நின் பெருஞ் சீர்

How can I reach ?
புகழுமாறு

How can I reach for something holy ?
புகழுமாறு ஒன்றறியேன் !

பொல்லா வினையேன்! நின் பெருஞ் சீர்
புகழுமாறு ஒன்றறியேன் !

I'm just a man
Imperfect lowly
How can I reach for
something holy ?

பொய்யாயின வெல்லாம் போயகல வந்தருளி
பொய்யாயின வெல்லாம் போயகல வந்தருளி

மெய்ஞான மாகி மிளிர்கின்ற மெய்ச் சுடரே
நின் பெருஞ் சீர் -
புகழுமாறு ஒன்றறியேன்

மெய்யா ! விமலா ! விடைப்பாகா !

I'm just a man ! பொல்லா வினையேன்!
Imperfect lowly ! பொல்லா வினையேன்! Oh
How can I reach for Something holy ?

வேதங்கள் ஐயா என ஓங்கி...!

வேதங்கள் ஐயா என ஓங்கி
ஆழ்ந்து அகன்ற நுண்ணியனே !

நின் பெருஞ் சீர் புகழுமாறு ஒன்றறியேன் !

எஞ்ஞானம் இல்லாதேன் -
அஞ்ஞானம் தன்னை அகல்விக்கும் நல்லறிவே !

இன்பப் பெருமானே !

So many forms I must wear !பொல்லா வினையேன்!

So many forms I must bear !
எல்லா பிறப்பும் பிறந்திளைத்தேன்

பிறந்திளைத்தேன் ! பிறந்திளைத்தேன் ! பிறந்திளைத்தேன் !

So many lives I must bear ! I must bear !


புல்லாகிப் பூடாய்ப் புழுவாகி மரமாகி

Grass and shrub and stone and tree !

பல்விருகமாகிப் பறவையாய்ப் பாம்பாகி
பறவையாய்ப் பாம்பாகி

Worm and bind and beast and demon
Learn the sky and turn the earth


How long till I'm finally worthy ?

கல்லாய் மனிதராய்ப் பேயாய் கணங்களாய் !
வல்லசுரராகி ! முனிவராய்.... தேவராய் .... !

செல்லா நின்ற இத் தாவர சங்கமத்துள்

எல்லாப் பிறப்பும் பிறந்திளைத்தேன் !

உய்ய என் உள்ளத்துள்

ஓங்காரமாய் நின்ற மெய்யே !
ஓங்காரமாய் நின்ற மெய்யே !

ஓம் !

நமசிவாய வாழ்க ! நாதன் தாள் வாழ்க !
நமசிவாய வாழ்க ! நாதன் தாள் வாழ்க !
இமைப்பொழுதும் என்நெஞ்சில் நீங்காதான் தாள் வாழ்க!
இமைப்பொழுதும் என்நெஞ்சில் நீங்காதான் தாள் வாழ்க!

கோகழி ஆண்ட குருமணிதன் தாள் வாழ்க !
ஆகமாகி நின்று அண்ணிப்பான் தாள் வாழ்க !

ஏகன் அநேகன்! இறைவன் அடி வாழ்க !

நமசிவாய வாழ்க ! நாதன் தாள் வாழ்க !
நமசிவாய வாழ்க ! நாதன் தாள் வாழ்க !

Hail Hail ! I sing Hail !
Hail Hail ! Joyfull Hail !

நமசிவாய வாழ்க ! நாதன் தாள் வாழ்க !
Hail Hail ! Joyfull Hail !


வல்வினையேன் தன்னை
அறம்பாவமென்னும் அருங்கயிற்றால் கட்டி !
புறந்தோல் போர்த்தெங்கும் புழுவழுக்கு மூடி !

வல்வினையேன் தன்னை
அறம்பாவமென்னும் அருங்கயிற்றால் கட்டி !
புறந்தோல் போர்த்தெங்கும் புழுவழுக்கு மூடி !

புழுவழுக்கு மூடி !

This body which obscures the truth !
This body which encrusts the soul !


This prison of flesh !
encumbers and enmeshes me !


I was in its control !


I was in its control !

மலஞ்சோறும்... ஒன்பது வாயிற்குடிலை... !
மலங்கப் புலனைந்தும்....!
வஞ்சனை செய்ய.......!

விலங்கு மனத்தால் விமலா உனக்குக்
கலந்த அன்பாகிக் கசிந்துள்ளுருகும்

நலந்தான் இலாத சிரியேற்கு நல்கி
நிலந்தன் மேல் வந்தருளி.....
நீள்கழல்கள் காட்டி...

நாயிற் கடையாய் கிடந்த அடியேற்கு
தாயிற் சிறந்த தயாவான...
தத்துவனே..!

தாயிற் சிறந்த தயா......வான...
தத்துவனே..!


My Eyes were set on...
On my own great deeds!
My ears heard only praise
The words of praise...!


My Eyes were set on...
On my own great deeds!
My ears heard only praise
The words of praise...!


Tasting Smelling Touching only
what is here and gone ! And


Wondewring why the hunger thirst and
longing went on !


Lost in vanity and pretense!


My five senses made no sense !
And then To this Man
So blind and base!


To him you granted
A glimpse of grace


Glimpse of Grace....!


Ah...Aah... Aaah !
Ah...Aah... Aaah !

ஆக்கம் அளவு இறுதி இல்லாய்!
அனைத்துலகும்
ஆக்குவாய் காப்பாய் அழிப்பாய் அருள் தருவாய் !
போக்குவாய் என்னை ! புகுவிப்பாய் நின்றொழும்பில்

ஆற்றத்தின் நேரியாய், சேயாய் நணியானே!
மாற்ற மனக்கழிய நின்ற மறையோனே!

கறந்தபால் கன்னலொடு நெய்கலந்தாற் போல !
சிறந்தடியார் சிந்தனையுள் தேன் ஊறி நின்று

பிறந்த பிறப்பறுக்கும் எங்கள் பெருமானே !

சோதியனே ! துன்னிருளே ! தோன்றாப் பெருமையனே !
ஆதியனே ! அந்த நடுவாகி அல்லானே !


நமசிவாய வாழ்க ! நாதன் தாள் வாழ்க !
நமசிவாய வாழ்க ! நாதன் தாள் வாழ்க !


மாசற்ற சோதி ! மலர்ந்தமலர் சுடரே!
தேசனே ! தேனார் அமுதே! சிவபுரனே!
பாசமாம் பற்றறுத்துப் பாரிக்கும் ஆரியனே!
நேசாருள் புரிந்து நெஞ்சில் வஞ்சங்கெடப்
பேராது நின்ற பெருங்கருணைப் பேராறே !
நீராய் உருக்கிஎன் ஆருயிராய் நின்றானே!

ஈர்த்தென்னை ஆட்கொன்ட எந்தை பெருமானே
கூர்த்தமெய் ஞானத்தால் கொண்டுணர்வார்...தம்கருத்தின்
நோக்கரிய நோக்கே! நுணுக்கரிய நுண்ணுனர்வே!
போக்கும்வரவும் புணர்வுமில்லாப் புண்ணியனே! என்சிந்தனையுள்
ஊற்றான உண்ணார் அமுதே ! உடையானே !

மாசற்ற சோதி..... ! மாசற்ற சோதி..... !

Deep in my Soul ! There now abides !
Some one who is not me!


Who breaks the bonds of caring for!
The things we own and see!


I'm just a man ! Imperfect lowly..! Yet
beginning to be free....!

ஈசன் அடி போற்றி ! எந்தை அடி போற்றி!
தேசன் அடி போற்றி ! சிவன் சேவடி போற்றி !

Hail Hail ! I sing Hail !
Hail Hail ! Joyous Hail !

ஈசன் அடி போற்றி ! எந்தை அடி போற்றி!
தேசன் அடி போற்றி ! சிவன் சேவடி போற்றி !

Hail Hail ! Joyous Hail !
Hail Hail ! Greatful Hail !

நேயத்தே நின்ற நிமலன் அடி போற்றி ! Hail Hail !
மாயப் பிறப்பறுக்கும் மன்னன் அடி போற்றி ! Hail Hail !

நேயத்தே நின்ற நிமலன் அடி போற்றி !
மாயப் பிறப்பறுக்கும் மன்னன் அடி போற்றி !

சீரார் பெருந்துறை நம் தேவன் அடி போற்றி!
ஆராத இன்பம் அருளும் மலை போற்றி !

சீரார் பெருந்துறை நம் தேவன் அடி போற்றி!
ஆராத இன்பம் அருளும் மலை போற்றி !

Hail Hail ! I sing Hail Hail!
Hail Hail ! Greatful Hail Hail!


Hail Hail ! Joyous Hail Hail!
Hail Hail ! Endless Hail Hail !

நமசிவாய வாழ்க ! Hail Hail !
நாதன் தாள் வாழ்க ! Hail Hail !
இமைப்பொழுதும் ...Joyous Hail !
என்நெஞ்சில் ...Greatful Hail !
நீங்காதான் தாள் வாழ்க!

நமசிவாய வாழ்க !
நாதன் தாள் வாழ்க !
இமைப்பொழுதும்
என்நெஞ்சில்
நீங்காதான் தாள் வாழ்க!

நமசிவாய வாழ்க !
நாதன் தாள் வாழ்க !

நமசிவாய வாழ்க !
நமசிவாய வாழ்க !

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1-Thiruvasagam by IR - My Bird's Eye Views

"Kadalukku Naan Seyyum Thirumanjanam
Sengkadhirukku Naan Kaattum Neeranjanam"

-Ilaiyaraaja

No words than the above can express my attempt in this blog.

Neither his music nor his personal attainment in the field of music and self search..... is measurable, fathomable... by any known devices and methods.

Thiruvasagam was his dream project - the seed for which might have sown in his inner mind after his self-realisation based on the experience he was made to feel, suffer during his maiden venture of composing "The Grand Symphony".

He might have thought "Why I was wandering like that.... when I have to do so many projects like this... in my own soil showcasing my culture ? "

So nearly a decade later, around 2003, the announcement of Thriuvasagam effort was made and more than two years later the album was released in 2005.

Having selected Thiruvasagam, it could have been presented musically in many ways.

But as a focussed visionary, he had in his mind the two types of target audiences-

1. the present day Indian youth
2. the auidence of the West

Thus, IR, who visualise "anything and everything in this world in the form of seamless fusion with the traditional originalities in-tact", framed his own formats to deal with the situation.

And absolutely amazing Cultural and Musical Crossovers have resulted in shape as everybody is listening now!

We in the East, have our Vedic hymn spealt out in particular musical fashion, and in some kind of similarity the West have the Churches singing their Gospels!

The Thiruvasgam also used to be sung in particular fashion by "Othuvaars", in the temples of Tamilnadu.

All these have the minimalistic musical expression, but the kind of individual-cum-community group singing in praise of Lord, which reverbrates the mind and heart to unify onself with God!

Thus comes the fusion envisaged by IR, combining all these in "Poovaar Chenni", the very first song in the album.

Another enormous symphonic attempt is to present the Thiruvasagam as a fusion of Classical style/formats of both Western and our Carnatic.

The second in the album "Pollaa Vinaiyen "

Here he even adopted the novel (now patented by him) way of juxtaposing both the Tamil and transliterated English verses of Thiruvasagam.

Also, covering the various formats of WCM as well as our own Classical forms!

Modulating through more than 25 carnatic ragams and innumerable scales modulations!

As envisaged and putforth his allout efforts, this is the "essence" of Thriuvasagam he wanted to show case and undoubtedly "The Masterpiece" of the album.

Thiruvasagam has few stories or scenes enacted about the happenings in the life of Lord's disciples.

He show cased one such example in "Muthu Natramam" in a folkish dance format

An amalgamation of Choral Singing and Aria with our "Othuvar" style singing is what we get in the "Umbarkatkarase" which is a song sans rhythm with soul free singing in praise of Lord, with each paragraphs interspread with the repeated Choral format.

Can Thiruvasagam be given in very light cinematic style ? Why not ?

Take this "Putril Vazh Aravum Anjen" or the duet "Pooveru Konum"

In fact these two songs captivated more people than anything as the answer is obviously in the familiar formats which we all have been entralled by IR for decades after decades!

Thus Thiruvasagam album is an de-mystified example of how our cultural songs can be taken to the other side of the World still making sense to both of East and West.

Thus to touch upon the other specialities of this project:

1. Thiruvasagam as such having a variety of sub-sections and he wanted to cover most of them and accordingly took a lot of pain in making the selection of all good verses from all sections.
2. He re-wrote the order and some time even added/modified a few words here and there as per his designed formats.
3. Then came the Composing which he took as a penance, tapasya, yagna with utmost devotion and sincereity to the purpose.
4. Novel Method adopted - Since he wanted that all the common people shall particpate in this holy venture with noble cause, he asked for and received the contributions from everybody, similar to his effort when Srirengam Temple Gopuram was built
5. He used the Bi-lingual Counterpoints and for the first time in his life he claimed that this format has been patented now by him.
6. Famous personalities were roped in all deparatments of this production be it for Lyrics, Singer, Conducting, Recording etc etc.
7. As already explained, all the musical forms tried - Vedic, Symphonic, Dance form, Oratorio, Light Folk-Classical etc

This blog is neither to write about the making and behind the scene activities in creation of this musical venture nor to write about the success measured or controversies that are generated later.

But to highlight my views and perceptions, about the few technicalities about the musical score he has adopted in unfloding and presenting this oldest Tamil epic to the World and particularly to the present generation youth.

( Click Here To Return to Index Page )

2- Pollaa Vinayen - Introduction

Hi All,

There were many Million Dollar Questions!

To write or not to write ?

Am I worthy to write on Thiruvasagam by IR ?

Where to start ?  What to write ?

Initially, many such baffling questions regularly prevented me from posting my feelings and experience on Thiruvasagam.

After sometime, I saw many beautiful write-ups on the “experience” & “feelings” from various IR fans in blogs and forums.

That further made me feel that I can not write better than them.

By that time, I listened to the CD many times (not in a musical system worth mentioning, but I could guess & feel the grandeur and efforts behind them ! )

Fortunately, that time I had my keyboard arrived and could not resist the temptation of finding the scales and ragas !

Though I could only guess many of them, but I could “feel” the scheme behind such modulations of such scales.

As usual, no IR admirers, particularly  people like me, can resist such temptations of revealing and sharing his joyous moments of recognizing geniuses of IR with others, and thus this write-up emerged!

Again I re-iterate to all that don’t run-away saying,” I am not having knowledge in scales or raagams or both “ etc.!

In that case also, you can just believe me that I am right in identifying these seven notes related to that particular para and just visually, mathematically see them and compare them, you can in general appreciate what I am trying to convey you.

Whatever it may be, you have already experienced the feelings given by each lines of Polla vinayen, so you can still co-relate such feelings with change of scales I am mentioning here below!

Let us start !

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7 - Pollaa Vinaiyen - Part-5 - Concluding Notes

"Pollaa Vinaiyen..."

Truly a marvellous attempt planned and executed with vision by IR.

The verses he has compiled tell all that Thiruvasagam wanted to convey us!

Its a kind of dramatic play,

about a self repenting soul,

which curses itself as "Polla Vinaiyen" for the misdeeds and wasted life(s),

then realization came, and felt the mighty of Almighty,

surrendered to that "Maasatra Sodhi" cried emotionally

and set itself finally free,

begins its joyous journey to join the All pervasive everlasting "Jyothi" with "Joyous Hail".

Being a divine subject, this has been set to an Oratorio style.

As is evident, IR has brought out all these varied emotions by handling all the departments

- lyrics selection, composing, orchestration, arranging, conducting, recording, mixing etc

with such care and involvement, putting his heart and mind above all !

Selecting and presenting the scales and raagams is one such small thing in his monumental efforts!

What I have tried here is only to indicate the tentative boundaries of such Scales and Raagams,  just by indicating their outer limits.

That also only by taking into account the main melody part.

If the additional, voices and parts as well as the whole orchestration etc can be analysed, many more hidden treasures will come out !

Unfortunately, for such things one needs the exact score sheet which cannot be re-created by just listening to the musical pieces !

This is more so, because of the well blended harmony of IR, such segregation of parts are so difficult, for that matter  in any IR songs !

So, in my humble opinion,

One cannot fathom IR’s Viswa roobams !

But, still realizing the fact that we are standing before such deity itself makes one to attempt to visualise the whole in greediness, though you know you will fail ultimately !

Such is what my attempt here !

I encourage everyone to attempt this in spite of the result !

Aadhiyane ! Andha Naduvaagi Allaane !


IR !


Nin peruncheer Pugazhumaru Ondrariyen ! Polla Vinayen !

Regards

CSRamasami

NB :

I might have made few mistakes in naming the scales and notes in the above write-up as well as table.


With my limited knowledge, I am not able to judge how IR uses notations in symbolizing the Indian Raagam and that’s why the confusions of both sharps and flats in a same scale which are not normally done in WCM.


Anyhow, IR’s fusion needs new type of notations also !


All suggestions and corrections are welcome, so that we can update the above table which will be a continuous process !

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6 - Pollaa Vinaiyen - Part-4

A Capella, that’s a mind blowing attempt by IR.

(Digression: It's all male chorus singing harmonised notes alongwith the main solo singer. To some extent IR's Thaamtha Theemtha in Pagalil Oru Iravu, an all female modern A Capella, giving both choral harmony and instruments substitution can be considered as a fore runner)

A Capella (In the style of Chapel , in the style of Church) is defined as Choral or vocal music performed without instrumental accompaniment as per Virginia Tech Music Dictionary

Now, you can understand the reason for the sudden withdrawal of all instruments in the “Namasivaya Vaazhga” before the A Capella portion !


So far, in Polla Vinayen, IR has been effecting modulation between verses and paras.

But here in A Capella, he is effecting modulations after every few words of each and every line.


Further, the accompanying chorus and counter melody lines also effecting such modulations so drastically.

So finding raagams is almost a difficult exercise.

(like one can experience in the “I met Bach” where Bach’s Partita is accompanied by the Carnatic violin/voice harmony parts, wherein such enormous Raagam shades are shown).

As such I limit myself here with the scale followed in the melody part.

Sl No - 13

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While the previous verses “Vetru Vihara” has ended in the D-Minor Gowrimanohari,

the A-Capella starts in the D-Flat Major and end in the B-Flat Minor,

then through a transition it reaches back to D-Minor (Masatra Sodhi) where it left the “Vetru Vihara” earlier !

In between it shuttles between B-Flat Minor and A-flat Major and D-flat Major as shown in the table below:

(experts can confirm, as I have omitted the effect of chords and only consider the IR-melody part in these modulations).

One can imagine the difficulty of ascertaining the modulating scales in such passages without the actual notated notes.

Also in each scale, the song is only covering a few notes in the upper half only, so one has to assume the balance notes as well as the tonic identification.

The additional and foremost difficulty is to come out of the beauty of the song flow to determine these !!!

Somehow, the very brief transition in the end, reminds me a shade of Subha panthuvarali ! I don’t know why !

Anyway, after such mind blowing piece, IR takes us into a deep soul stirring ( or soul arresting ?!) melody of “Maasatra Sodhi”.

It’s a virtual challenge by IR to every listener, “can you control your emotion and weeping while listening this?”

Sl No - 14 and 15

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Scalewise, it begins like simple D-Melodic Minor, but it expands and well settle in the form of Carnatic semi-classical melody, which we are often used to hear from IR.

The rhythm in 5/8 is also well known to us!

That’s the reason for the success of this part which is acclaimed by everybody from their very first hearing !

Mostly it follows the Suddha Dhanyasi + Karaharapriya combinations and hence carnatically one may claim this under the category of Aabheri !

Finally, through the transition we lands up in the B-Minor where we started the very first line of “Polla Vinayen”.

But, here, it is B-Minor in Shanmuga priya.

Sl No - 16

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Harcourt sings with such emotions in Shanmugapriya “Deep in my soul.”

With the climax of “beginning to be free” he sets himself free from the song !

But not from our heart !

The Chorus "Easan Adi Potri..." that follows,  needs  no explanations !

It’s the “Joyous hail” all over by everybody, from IR to Western chorus to our Indian chorus etc etc !

What a grand finale, one cannot expect more than this for this 20-minute masterpiece !

Sl No - 17 and 18

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Here also, the last paragraphs, "Namasivaaya Vaazhga..." have been again modulated to one last time from Shanmugapriya to Simmendhra Madhyamam which involves just change of one note “Ni”.

So in a 20-minutes roller-coaster ride, you have been served with around 25 such ragas/scales through modulations (may be more also) and varying rhythms, varying forms of music of Western and Carnatic etc.


Thus creating all the various emotions IR wanted us to feel and attain that everlasting spiritual experience !


He has more than succeeded in his objective!

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5 - Pollaa Vinaiyen - Part-3

Let me put the row number 8 & 9 of the table for comprehensive view.

Sl No - 09

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The shifting from Kalyani and Sindhubairavi can be achieved without changing any notes but just shifting of “Sa” by a semitone lower. That’s what happening here…!

D-Major is now converted into C# Minor. But No Notes Changed…! (while rendering by whether IR suggests Thodi or not, only experts can say ! )

Valvinayen Thannai….Beautiful rendering by IR as prelude to the English verses that follows !

To our astonishment, with equal ease Harcourt is singing our Sindhu Bairavi.

 “This body which…….I was in its control..”

Listen the peaking and then the descending in 2nd time of “I was in its control…”

Excellent variations in expressions.. !

Now IR takes over…!

Malanjorum - Sa Ri Gaaaa

Onbadhu Vayir Kudilai – Sa Ri Ga Maaa

Malangap Pulanaindhum – Sa Ri Ga Ma Paaaa

Vanjanaigal Seyya – Pa Dha Niiiiiiiiiiiiiiiiiiiiiiiii Ni……………


By the end of “Seyya (Ni)” , it lowers from B to B-flat (or A#) !

This note differentiates the Sindhu Bairavi and the forthcoming scale.

(had it been full fledged Harikamboji, then two notes would have been changed.


Instead, IR selects a 5 swara raga first, which changes only one swaram and then later on he adds one more note and touches Harikamboji)

So the scale changes here from C#-SindhuBairavi to F# - Harikamboji. which is F#-Major with Ni lowered.

(In its enharmonic equivalent G-Flat Major representation, all the notes would have been denoted by Flats ., so its all flat scale here. I don’t know how IR could have represented the key signature in this case).

The next few lines of Vilangu Manathaal….. !

It has been enormously expressively rendered by IR !

Sl No - 10

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The first few lines of Vilangu Manathaal…Raagamwise, I am finding it quite baffling one with a new penta-tonic scale of S-G3-M1-P-N2-S in both aarohanam and avarohanam.

Had it been, N3 in aarohanam, then Thilang could have been suggested. But its N2 and certainly different.

Experts can confirm , what is this raagam ?

No further guess from my side now as I am totally captivated by the song and also by IR !

 “Thaayir chirandha Dhayaavaana Thathuvane….! “

When the English verse starts, “My eyes were set on” , the “Ri” is introduced to above pentatonic scale, and the Harikamboji is felt upto “Words of Praise”

From then onwards, the Charukesi feel takes over in “Tasting Smelling…” and totally consumes all of us !

Sl No - 11

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Let me give the rows 10 & 11 together to make you appreciate the Harikamboji and Charukesi comparison and again its one note difference.

That is “Dha” which was purposely not pronounced in the Harikamboji janya raagam.

The mesmerism of Harikhamboji plus Charukesi combination was already felt extensively in the “Song of the Soul” of Nothing But Wind also.

It calmed you down and made you sleep, but this time it makes you cry kneeling down in front of God, lamenting how much you have wasted all your senses and life so far!

Charukesi peaks out from the lines “Lost in vanity and Pretense… My five sense made no-sense”….

Particularly in the words “pre-tense” and “no-sense”, it bangs on the note “D” that differentiates between Harikamboji and Charukesi.

Now from the self-cursing “Charukesi” lines he shifts to “Vetru Vihara”.

Sl No - 12

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A climax of thanksgiving to God for saving him !

It’s a “Thaandavam” I am visualising in “Gowrimanohari” in most of the part, aptly supported by Chorus and Strings and all other instruments.

(The transformation from Charukesi to Gowrimanohari, I am unable to explain the logic in terms of changed notes! )

Of course here also some subtle changes to Keeravani (Harmonic minor) is felt in the Chorus part while IR’s verses retain Gowrimanohari.

This whole episode ends emphatically with “Mundhai Vinai Muzhudum Oya Uraippan Yaan !”

Then comes the Silence induced “Namasivaya Vaazhga..!”

By ‘silence’ I mean

the pronounced difference induced in our listening atmosphere,

by the total withdrawal of all the instruments which was racing earlier,

and only the left out chorus

which harmonically takes us to the next episode “A Capella”.

A Capella, that’s a mind blowing attempt by IR.

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4 - Pollaa Vinaiyen - Part-2

For the comprehensive view, the rows  4 to 5 are presented below:

Sl No - 04

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Sl No - 05

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Thus after the brief Sarasaangi, which has already changed the “Dha” of D-Major, it goes back to B-minor but this time without the A-sharp, it’s a kind of melodic minor , Nata Bairavi equivalent.

And if you could change the Madhyamam of this raga, you will land up in the range of Shanmugapriya.

So if E is sharpened (which is nothing but F), you can get the Shanmugapriya. This is what I guess what is happening here !

You see, melodic minor could have been easily played by the Westerners and the Shanmugapriya by our chorus.

But he reverses the trend !!!

All the “Pullagi Poodaagi” etc is in melodic minor and the English lines chorus is in Shanmugapriya !!

So much is the ecastic feelings it imparts, I cannot explain !

One can only feel that !

What next…?

Having made a tour of B-Minor to D-Major to Sarasangi and back to B-Minor, now new forays are to be explored.

That’s what happening now !

Sl No - 06 and 07

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Kallai Manidharaai…

             Peyaay Ganangalaai…..

                              Vallasuraragi….

                                       Munivaraai… Devaraai…

(with Devarai ending in E-flat, can be called D# chromatically semitone above D)

Notes sequence being F-G#-A-B-C#-D-D#

Enormous chromatic transition from Shanmugapriya B-Minor to Hamsanandhi in D-Minor !

From now onwards it settles in the D-Minor .

The lines "Sellaa Nindra Thaavara Sangamathhul .. Ella pirappum pirandhilaithen,…"

Can you feel the tiredness and self pity expressed by IR’s voice…?

Unimaginable..!

With the same stroke he switches the “Bhaavam” and addresses Lord with Majestic  "Omkaaramaai Nindra Meyye…" !

No Comparison…!

Whether selection of raagam or usage of swaras …

Why in the world people cannot cry !

With Panjamam missing it indicates Hamsanandhi or nearby ragam !

The above lines use both the Madhyamam M1 and M2 .

And again this is not un-common, since IR has used these variations in his old songs…Andhi Mazhai Pozhigiradhu , Rojaavai Thalaattum Thendral, Engeyo Edho etc etc.

Can you feel that…?

From there the most famous lines "Nama Sivaaya" in Kalyaani starts.

The Chorus "Om...."  of Hamsanandhi in previous para ended in the note "D" and that’s the tonic of new raagam Kalyani.

Sl No - 08

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Compare the notes between the Hamsanandhi and Kalyaani mentioned in row numbers 7 and 8 now !

The variation is mainly because of one single note E-flat to E !!

So the rule of Modulation with one swaram is meticulously followed !

The easy carnatic route from Hamsanandhi to Kalyaani !

Anybody imagined before ?

Now tell me whether I should say IR discovers or invents ?

Whatever it may be …what a pleasant change…!

From a heavy pathetic deep feeling to blissful meditation moment making your body, mind etc etc feather light!

Everybody has already felt that !

Whether you know the meaning of the song or not..Whether you know the scales /raagams or not !… Nothing matters ! I

IR has spell bounded everybody with his master-stoke !

Many have already written (with those blissful experience) about the lines “Eekan Anaekan…” in IR’s voice..!

What else I can say…!

Kalyani’s peak is scaled in this just two words alone !

To me, end of kalyani portion looks like a interval for going into deep meditation and forget the world thereafter!

But do you like to come out of that “Kalyani” Namasivaya Vaazhga meditation ?

Anyway, try it, because more treasures are available further on our way !

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3 - Pollaa Vinaiyen - Part-1

Let us start !

The Summarized table of Polla Vinaiyen scales is given at the end of this write-up.

For facilitating our discussions phrase by phrase, I will fragment the table and present the appropriate rows so that a close look can be taken.

However, Click on the picture (preferably right click and Select Open in separate Window or Tab, for clarity and better size of the picrure)

Just a glance of the table from beginning to end, will tell you that there are numerous ragas/scales he has handled in a series and sequence !

Firstly, you can recognize from below that he has started with B- Minor and end with B- Minor

Pollaa Vinaiyen Start Like This

PV-000.mp3

Pollaa Vinaiyen End Like This

TPV-End.mp3

Seeing the above, you can see just one note variation that is E and E# .


(If you started remembering songs like “Ennnulle Ennulle Pala Minnal “ for the first one and “Aananda Raagam” for the second one, you are on right track ).

Carnatically, this is variation of the swaram Ma- Madhyamam.

Carnatic Experts can recognize that these two ragams are two opposite parts on Melakartha Table with No 21 and 57.

So, you see the specific pattern in Start and End.

Having seen (?!) the Start and End of this Viswaroobam, let us travel from Start  again.

Sl No - 01

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Sl No - 02

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Sl No - 03

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From “Polla Vinaiyen” virutham type starting, pronounced variation of Rhythm can be felt at specific points like,  Poyyaainavellaam Poyagala Vandharuli, Meyyaa Vimalaa, Vedhangal Ayyaa etc.

But at the lines & time mentioned in Sl no 2 below, you can feel the change in scale/ raagam particularly at En Nyaanam…etc.

A type of happy mood from the earlier serious one…!

So, at this point, we have landed in a Major Scale, D-Major, to be precise.

If you study the English letters in both SL No 1 & 2, there is NO Variation at all.

Only the starting point has changed from B to D.

In fact D-Major is called the equivalent major of B-Minor.

So, you can appreciate the change in feelings, scales, raagams etc without change in the notes being written !!!

Now I request you to see the Sl no 2, 3 & 4 together and analyse the notes in comparison.

As you can easily feel the transition changes in the line “Anyanam thannai….Inba Perumane…”!

Finally this transition leads to one note / swaram change which is from B to Bb !

Such a change of sixth note in the Major scale, partially transforms towards a Minor scale !

You have already realized such feeling in the song “Kaadhal Oviam Padum Kaaviyam” in Alaigal Oyvadhillai.

Did you Recognise that famous line “Indru Aaanandham..Dheiveeham” etc. ???? (sorry for the lyric mistakes if any).

That’s exactly same as B to B-flat.

Carnatically, such change in the swaram “Dha” from major scale (Sankarabaranam) will lead to raagam Sarasaangi. !

Somehow, I get this feeling in the lines Ella Pirappum Piranthilaithen…! Additionally you can feel such shift from Major scale to Sarasaangi in the “Muthu Natramam” song !

Muthu Natramam

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Muthu Natramam.mp3

Anybody felt that when very very first time, the lady voice sings the “Muthu Natramam..”

Listen the "Maalai thooki" carefully, this was a joyous Major scale.

When the second time onwards, "Maalai thooki" particularly listen the word "thooki", there is a shift in swaram, changing to a seriousness in it !

That’s Sarasaangi !

Sl No - 04

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Sl No - 05

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8 - Pollaa Vinaiyen – Consolidated Table of Scales/Ragam used

Sl No	Counter Start	From	To	Notes / Scales employed	Remarks
1	0 : 00	Polla Vinayen	Vedhangal Ayya…. Nunniyane	B – C# – D – E – F# – G – A# – B	B-Harmonic Minor
2	3:08	Nin Peruncheer	En nyaanam Illadhen	D – E – F# – G – A – B – C# – D	D-Major (equivalent Major to B-Minor)
3	3:21	Annyanam Thannai	Inba Perumane….	B shift to Bb	Transition to D
4	3:33	So Many forms..	Ella Pirappum Pirandhilaithen…	D – E – F# – G – A – Bb – C# – D	Sarasaangi ??
5	4:00	Pirandhilaithen… (3 times.. ) + Pullaagi Poodai …	….Worthy…	Back to B-Minor B – C# – D – E – F# – G – A – B	B-Melodic Minor .. Shanmugapriya..?? ( B – C# – D – E# – F# – G – A – B )
6	5:03	Kallaai Manidharaai…	Munivaraai…Devaraai…	Chromatic…. (F-A-G#) -- (G# - B - A # ) ; - - ( B – C# - D) - - ( D - Eb )	Transition towards Hamsanandhi ?
7	5:17	Sellaaa Nindra Thavara Sangamathul….	Ongaaramaai Nindra Meyye --- Om !	D - Eb – F# – G ( G #) – (A#) – B – C# – D	Gamanaashrama ? (53) - Hamsanandhi's parent Raaga / Vasantha Both M1 & M2 used…
8	5:54	Nama Sivaya Vaazhga	Hail Hail ! Joyous Hail… !	D – E – F# – G# – A – B – C# – D	(65) D-Major Kalyaani…!
9	7:30	Valvinayen Thannai	Malan Chorum….Vanjanai Cheyya…	C# – D – E – F# – G# – A – B – C#	(8) Thodi / Sindhubairavi
10	9:08	Vilangu Manathaal ..	….Words of Praise…	F# – (G# ) – A# – B – C# – (D#) – E – F#	(28) Harikamboji – Ri & Dha omitted initially. Ri added later
11	10:53	Tasting..Smelling	Glimpse of Grace….	F# – G# – A# – B – C# – ( D ) – E – F#	(26) Charukesi
12	11:44	Vetru Vihaara	Nama Sivaya Vaazhga	D – E – F – G – A – B – C# – D	(23) Gowri Manohari / (21)Keeravani
13	12:58	Aaakkam Alavu Irudhi	Nama Sivya Vaazhga	Chromatic changes from Db Major ( or its enharmonic C# Major? ) to finally ending in Bb Minor ( or its enharmonic A# Minor ?) , which is actually the equivalent Minor of Db Major
(a)		Aaakkam Alavu….Irudhi Illai		Db – Eb – F – Gb – Ab – Bb – C – Db	Db - Major
(b)		Anaithulagum … Arul Tharuvai		-do -	-do- ?????
(c)		Pokkuvai….. Nindozhumbil		Bb – C – D – Eb – F – Gb – A – Bb	Bb – Minor ??
(d)		Aatrarathin…. Naniyane		Ab – Bb – C – Db – Eb – (F) – G – Ab	Ab – Major ???
(e)		Maatra Manam…. Maraiyonae..		Db – Eb – F – Gb – Ab – Bb – C – Db	Db – Major ??
(f)		Karandha Paal … Andha naduvagi Allane..!		Bb – C – Db – Eb – F – (Gb ) – Ab – Bb	Bb - Minor
(g)		Nama sivaya Vazhga.. Nadhan Thaal Vaazhga		Bb – Minor to Db to D Minor	Transition
14	14:37	Maasatra Sodhi	Amudhe ..! Udaiyane…!	D – E – F – G – A – B – C – D	D-Melodic Minor – Aabheri ??
15	16:50	Maasatra Sodhi	Masatra Sodhi	D-minor to B-Minor	Transition
16	17:00	Deep in my Soul	Beginning to be free	B – C# – D – E# – F# – G – A – B	B-Minor - Shanmugapriya
17	17:54	Eesan Adi Potri	Endless Hail Hail	- do -	Shanmugapriya
18	19:31	Namasivaaya Vazhga	Till end 20:30	B – C# – D – E# – F# – G – A# – B	Simmendhra Madhyamam

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