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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