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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