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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