Semi-Ghazal

~~The word ghazal is an Arabic word that literally means a "discourse" or more correctly a "talk to women". Initially, Ghazal is of poetic form rather than musical, however, nowadays, it is more sung alike thumri {Meera oriented songs}. Those days, the ghazal never exceeds 12 couplets {they call it "shers"} and nowadays, it has been minimal, say about 7 couplets in average. Last word of the couplets should have same sound or rhyme, which we call it as "Monai" {they call it as "Radif" or "Qaafiyaa"} or it could be same word itself. Sometimes "Radif" is more like meter or "Alavukhol". From Thiruvasagam, Thiruk koththumpi song has Chenrudhay koththumbi at end of every verses. Well, it is supposed to be Vengkalipa rather than couplets. "Koththumbi" in Thiruk koththumpi song is supposed to be Qaafiyaa.

If we combine two lines {1 + 2 and 3 + 4} of each verses {of Thiruk koththumpi} then we would arrive couplets, otherwise, Thiruk koththumpi could be called as Guzzanelle {in lighter vein}. Guzzanelle is very amicable to Ballad. In that manner, Thiruk koththumpi in Raaja sir's Thiruvasagam in Oratoria is reportedly "Ballad" or "Devotional Ballad" {I did coin this term - (smile)}. So does, painfully Muthu Natraamam from thirup Porchchunnam {Here, "idiththun^ame" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "....chunnam idiththun^ame"} and Putrilval aravum from achchappaththu {"Mare" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "...thavaraik kannai amman^am anychu mare"} and umbargatkarache ozivaran^irain^dha of Pidiththa paththu {Here, "thiniye" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "...chikkenap pidiththen en^gezun^ tharuluva thiniye"}.

All the songs, which has couplets cannot be Ghazal compositions. It should also have usage of ethnic music instruments like Harmonium, Tabla {frame drum}, Rabab {Oudh or Gambus, eh?} or Guitar {especially Jagjit singh's Ghazal} Sarangi, Riq {Ganjira}, kamancheh {eh?}, Santoor and Sitar, to create the middle eastern musical flavour.

There is an excuse for cine compositions wherein we normally follow the rule of Pallavi, Anupallavi {sometimes}, 2 - 3 {4, eh?} Charanams for a song. To my knowledge, Vairamuthu's lyrics for "En uyire En uyire" from Uyire has Ghazal's couplets form and its first two lines are supposed to be "Matla", overall form and mood of the entire ghazal. It has 1 "Matla" + 7 more couplets, which is contemporary Ghazal's format. However, orchestra arrangement of this song forsaken the color of Ghazal's contour. Painfully, the lyrics of Gangai Amaran's Indha Maan Undhan Sondha Maan could be added lattermost to this list.

Well, theme of Ghazal is all about origin of love to lonesome in poetry form and sometimes, {nowadays} religious and political awarness as well. Since botheration of poetic format, most of the time Ghazal compositions have been contaminated with usage of pure raaga. In other words, application of pure {hindustani} raagas are not amicable with Ghazal compositions as it needs to sustain the allure of poems rather than experimentation of swaras. Off-late, in a Ghazal concert, an indian Ghazal singer intended to use raagas like Puriya Dhanasree and Pahadi for Ghazal compositions which has drained the originality of Ghazal.

On other hand, bastardization of the contemporary Ghazal lyrics format descends the quality and originality of Ghazal, however, some of cine songs have ethnic orchestra, which creates a grey color of Ghazal, for instance last part of Konji Konji from Veera wherein only Tabla and harmonium were played and makes the grey color of Ghazal in it, Raaja sir did not intend to made it out with Ghazal's nuances {At least in my perception (wink)}. However, the song - Poongathre - Friends has dense nuances of Ghazal, in many aspects. It is not a pure Ghazal composition, though.

So considering these factors, we do not have any typical or very Ghazal compositions in Raaja sir's musical products {mabbie, would be there without my knowledge - (smile)}. However, rather than lamenting, we could console ourselves by considering some parallel or corresponding Raaja sir's compositions, which has nuances of Ghazal, if not in typical lyrical aspect, but with usage of orchestra and melody. Sometimes lyrical format especially Charanam endorse to some extend to make Ghazal nuances, however, it's last line stands alone without pair sentence and does not make a couplet and thus, lessening one of the features of Ghazal. So, with lotta obligation or condone, below songs may fall into contemporary cine Ghazal songs, which we could call it as "Semi Ghazal". You bet!

P.S: Well, I have gone through around 1500 songs, randomly and so, there is a possibility that HE would have attempted for pure Ghazal in the remaining 2000 + songs. Also, there should not be any complaints on HIM as Ghazal songs are required according to the situation of the movie or directors' requirement/choice only. So, Raaja sir is {always} an immaculate soul {smile}.

I have just had a glimpse on few of HIS compositions and end up with this list, however, during my leisture time, I would need to sit down to consolidate Ghazal oriented songs in HIS compositions. {wink} Otherwise, I am good!

Maniyosai - Payanangal Mudivathillai {First two lines inspired from Ghulam's composition}
Oru Kaviyum from Aruvadai naal
Hamhai Akailae - Nando {I am afraid that it would be Marathi lavani genre, nevertheless, charanam, take the credit of Ghazal}
Prema Entha - Abhinandan {Telugu}
Unnai Naan - Ilaiya Ragam {Pathos}
Achaani - Maadha Un Koyilil
Vazhkai Odam sella - Aval appadithan
Anupallavi of Othadi Othadi Orama - Dharmathin thalavin {eh?}
Yendha yenmam - Ezhumalaiyan Mahimai
Poongathre - Friends
Oh Priya - Idayathaithirudathe {charanam}
Naan paadum mouna raagam - Idhaya Kovil {especially Charanam}
Mangai Nee Maangani - Innisai Mazhai
Kattril yenthan - Johnny - {Charanam}
Unn Kannil - Kanne Kalai Maane
Naatham en jeevane - Kadhal oviyam {Awesome usage of Bass guitar}
Kavikuyil - Kathal Oviyam
Kanna varuvaya - manadhil urudhi vandum
Ananda thein - Manipoor maamiyaar
Chukalle Tochave - Nireekshana {Telugu}
Mayanginen - Nanae Raja Nanae Mandiri
Thena thenpandi - Udhaya geetham - {Charanam}
Devan Thantha Veenai from Unnai Naan Santhithen {Charanam}
Konjam Sangeetham - Veetila veesenga {Charanam}
Enn Manamae - Vishwa Thulasi
Nirpathuve Nadappathuve - Bharathi...

P.S: MSV sir has composed a Ghazal album by late 90's and all the songs were penned by Kamakodiyan {who also wrote the song - Malliga mottu mansa thottu for Raaja sir}.

always

~~Raaja rules

Poovae semboovae

A gentleman called Jercy malencheck from Yugoslavia made it onto India to Appa's office. He wanted to meet us {Myself and my brother}. We had a great time with him throughout the day. I was doing my 7th standard by that time {chuckle}. We went to Higginbotham's {a biggest bookstore in chennai} and American book house in chennai. At one of the shops, we bought few cassettes and he has gifted us a couple of cassettes in our choices. One is Aranmanai kili and other one is Hits of Yesudoss. And the cassette "Hits of Yesudoss" has this song - Poovae semboovae un vaasam varum. Nostalgic thoughts

Well, talking about this immaculate composition, its core melody and lyrical theme of this song could be imposed on a cute lullaby, protoganist {of this song} would sing for his spouse, though. So, in such a way, it is a corresponding song for "Enthan vazhkkaikku artham solla" from Chinna Kannamma.

This song is based on 3-beat cycle, pallavi has nuances of waltz swing. I am afraid this song is not based on a single raaga. Alike, it is such a fusion number with different genres, good enough integrated/incorporated without bothering the beauty/allure of the melody. Interestingly, the prelude and postlude are tantamount piece with stream like running guitar and discontinuous/rambling puff on blow hole of flute, which are guarantee for descend of stress. Another factor is, string instruments were played with more than normal pace, say string orchestra arrangement, bass guitar, sitar, acoustic guitar, solo violin so does both the interludes.

Manirathnam says Raaja sir is a point wherein east meets west. At 1st interlude, strange call and response betwixt indian string instrument - Sitar and western string instrument - string orchestra. Classical violin's easily seductive distortion accompained by hindustani ethnic rhythm - tabla and ghunghroo and moves onto western zone with string orchestra and oboe play the melody, which can be imposed to akaaram {aaaa} after 1st line of 1st Charanam, in lighter vein or is it my misinterpretation? Avant-garde {2nd} interlude has stunning slapping through bass guitar and cymbols interwoven with tabla and ghunghroo. Ethnic violin's 2 calls was responded by bass guitar and also, lead for prestissimo kinda string orchestra movement with tabla and ghunghroo concomitant.

Yennaalum sangeetham sandhoshamey!

always

~~Raaja rules!