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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