Thiruvasagam Musical by IR PDF

08/12/2018 Thiruvasagam Musical by IR
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T H I R U VA S A G A M M U S I C A L B Y I R
K A D A L U K K U N A A N S E Y Y U M T H I R U M A N J A N A M ! S E N G K A D H I R U K K U N A A N K A AT T U M
NEERANJANAM!
T U E S D A Y, 2 0 O C T O B E R 2 0 0 9 V I S I TO R S
Structure of this blog

This blog is dedicated to Mr Ilaiyaraaja (IR), the legend of “Music” !
ABOUT ME
CSR
All the links about the song phrases and Lyrics etc shall be and shall remain the
copyright to Ilaiyaraaja and request the readers of the blog to obey the same. Living in the era of
Raaja
VIEW MY COMPLETE
The structure of this blog is as follows: PROFILE
1. Thiruvasagam - My Bird's Eye Views BLOG ARCHIVE

2. Pollaa Vinaiyen - Introduction
▼ 2009 (10)
3. Polla Vinaiyen - Lyrics
4. Pollaa Vinaiyen - Part-1 ▼ October (10)
5. Pollaa Vinaiyen - Part-2 Structure of this blog

6. Pollaa Vinaiyen - Part-3 Lyrics of Polla Vinaiyen
7. Pollaa Vinaiyen - Part-4
1-Thiruvasagam by IR -
8. Pollaa Vinaiyen - Part-5 - Conclusion
My Bird's Eye Views
9. Pollaa Vinaiyen - Consolidated Table of Raagams/Scales
2- Pollaa Vinayen -
10. Pollaa Vinaiyen - Audio Samples arranged for song discussions
Introduction
7 - Pollaa Vinaiyen - Part-
Regards 5 - Concluding Notes
CSR
4
P O S T E D B Y C S R AT T U E S D AY, O C TO B E R 2 0 , 2 0 0 9 1 C O M M E N T:
L A B E L S : B L O G S T R U C T U R E, I R, T H I R U VA S A G A M
3
S U N D A Y, 1 8 O C T O B E R 2 0 0 9 2
Lyrics of Polla Vinaiyen 3 - Pollaa Vinaiyen - Part-

1
Original Tamil Verses : Maanicka Vaasagar as in Thiruvaasagam
Verses Selection and arranging : Ilaiyaraaja 8 - Pollaa Vinaiyen –
English Transliteration of selected verses : Stephen Shwartz ( Click here for Stephen's forum page Consolidated Table of
Scales...
)
ெபால் லா ைனேயன்! V I S I TO R S
நின் ெப ஞ் ர் க மா
ஒன்ற ேயன்!
ெபால் லா ைனேயன்!
நின் ெப ஞ் ர்
MAP
க மா
ஒன்ற ேயன் !
ெபால் லா ைனேயன் !
I'm just a man

Imperfect lowly - நின் ெப ஞ் ர்
How can I reach ? MY BLOGS

க மா
Adho Andha
Nadhiyoram!
How can I reach for something holy ? Index Page
http://csr-ir-thiruvasagam.blogspot.com/ 1/25
க மா ஒன்ற ேயன் ! 9 years ago
As We Feel Raaja
ெபால் லா ைனேயன்! நின் ெப ஞ் ர் Nostalgic Re-Visit of
Nostalgic Blog..!
க மா ஒன்ற ேயன் !
10 years ago
CSR-WCM Lessons -
I'm just a man
Vol-3
Imperfect lowly All Well That Ends Well !
How can I reach for 10 years ago
something holy ? CSR-WCM Lessons Vol-
1
Announcement for Further
ெபாய் யா ன ெவல் லாம் ேபாயகல வந்த ளி
Lessons !
ெபாய் யா ன ெவல் லாம் ேபாயகல வந்த ளி 12 years ago
CSR-WCM Lessons-Vol-
ெமய் ஞான மா ளிர் ன்ற ெமய் ச் டேர 2
நின் ெப ஞ் ர் - Link for Further Lessons!
12 years ago
க மா ஒன்ற ேயன்
How To Name It - by
IR
ெமய் யா ! மலா ! ைடப் பாகா !
How To name It ? To Name
or Not To Name ?
I'm just a man ! ெபால் லா ைனேயன்! 9 years ago
Imperfect lowly ! ெபால் லா ைனேயன்! Oh
How can I reach for Something holy ?
ேவதங் கள் ஐயா என ஓங் ...!
ேவதங் கள் ஐயா என ஓங்

ஆழ் ந் அகன்ற ண்ணியேன !
நின் ெப ஞ் ர் க மா ஒன்ற ேயன் !
எஞ் ஞானம் இல் லாேதன் -

அஞ் ஞானம் தன்ைன அகல் க் ம் நல் ல ேவ !
இன்பப் ெப மாேன !
So many forms I must wear !ெபால் லா ைனேயன்!
So many forms I must bear !

எல் லா றப் ம் றந் ைளத்ேதன்
றந் ைளத்ேதன் ! றந் ைளத்ேதன் ! றந் ைளத்ேதன் !
So many lives I must bear ! I must bear !
ல் லா ப் டாய் ப் வா மரமா
Grass and shrub and stone and tree !
பல் கமா ப் பறைவயாய் ப் பாம் பா

பறைவயாய் ப் பாம் பா
Worm and bind and beast and demon

Learn the sky and turn the earth
How long till I'm finally worthy ?
கல் லாய் மனிதராய் ப் ேபயாய் கணங் களாய் !

வல் ல ரரா ! னிவராய் .... ேதவராய் .... !
ெசல் லா நின்ற இத் தாவர சங் கமத் ள்
எல் லாப் றப் ம் றந் ைளத்ேதன் !
உய் ய என் உள் ளத் ள்
ஓங் காரமாய் நின்ற ெமய் ேய !

ஓங் காரமாய் நின்ற ெமய் ேய !
ஓம் !
நம வாய வாழ் க ! நாதன் தாள் வாழ் க !

இைமப் ெபா ம் என்ெநஞ் ல் நீ ங் காதான் தாள் வாழ் க!
இைமப் ெபா ம் என்ெநஞ் ல் நீ ங் காதான் தாள் வாழ் க!
ேகாக ஆண்ட மணிதன் தாள் வாழ் க !

ஆகமா நின் அண்ணிப் பான் தாள் வாழ் க !
ஏகன் அேநகன்! இைறவன் அ வாழ் க !

Hail Hail ! I sing Hail !

Hail Hail ! Joyfull Hail !

Hail Hail ! Joyfull Hail !
வல் ைனேயன் தன்ைன

அறம் பாவெமன் ம் அ ங் க ற் றால் கட் !
றந்ேதால் ேபார்த்ெதங் ம் வ க் !
வல் ைனேயன் தன்ைன

அறம் பாவெமன் ம் அ ங் க ற் றால் கட் !
றந்ேதால் ேபார்த்ெதங் ம் வ க் !
வ க் !
This body which obscures the truth !

This body which encrusts the soul !
This prison of flesh !

encumbers and enmeshes me !
I was in its control !
I was in its control !
மலஞ் ேசா ம் ... ஒன்ப வா ற் ைல... !

மலங் கப் லைனந் ம் ....!
வஞ் சைன ெசய் ய.......!
லங் மனத்தால் மலா உனக் க்

கலந்த அன்பா க் க ந் ள் ம்
நலந்தான் இலாத ரிேயற் நல்

நிலந்தன் ேமல் வந்த ளி.....
நீ ள் கழல் கள் காட் ...
நா ற் கைடயாய் டந்த அ ேயற்

தா ற் றந்த தயாவான...
தத் வேன..!
தா ற் றந்த தயா......வான...
தத் வேன..!
My Eyes were set on...

On my own great deeds!
My ears heard only praise
The words of praise...!
My Eyes were set on...

On my own great deeds!
My ears heard only praise
The words of praise...!
Tasting Smelling Touching only

what is here and gone ! And
Wondewring why the hunger thirst and

longing went on !
Lost in vanity and pretense!
My five senses made no sense !

And then To this Man
So blind and base!
To him you granted

A glimpse of grace
Glimpse of Grace....!
Ah...Aah... Aaah !
Ah...Aah... Aaah !
ஆக்கம் அள இ இல் லாய் !

அைனத் ல ம்
ஆக் வாய் காப் பாய் அ ப் பாய் அ ள் த வாய் !
ேபாக் வாய் என்ைன ! ப் பாய் நின்ெறா ம் ல்
ஆற் றத் ன் ேநரியாய் , ேசயாய் நணியாேன!

மாற் ற மனக்க ய நின்ற மைறேயாேன!
கறந்தபால் கன்னெலா ெநய் கலந்தாற் ேபால !

றந்த யார் ந்தைன ள் ேதன் ஊ நின்
றந்த றப் ப க் ம் எங் கள் ெப மாேன !
ேசா யேன ! ன்னி ேள ! ேதான்றாப் ெப ைமயேன !

ஆ யேன ! அந்த ந வா அல் லாேன !

மாசற் ற ேசா ! மலர்ந்தமலர் டேர!

ேதசேன ! ேதனார் அ ேத! வ ரேன!
பாசமாம் பற் ற த் ப் பாரிக் ம் ஆரியேன!
ேநசா ள் ரிந் ெநஞ் ல் வஞ் சங் ெகடப்
ேபரா நின்ற ெப ங் க ைணப் ேபராேற !
நீ ராய் உ க் என் ஆ ராய் நின்றாேன!
ஈர்த்ெதன்ைன ஆட்ெகான்ட எந்ைத ெப மாேன

ர்த்தெமய் ஞானத்தால் ெகாண் ணர்வார்...தம் க த் ன்
ேநாக்கரிய ேநாக்ேக! க்கரிய ண் னர்ேவ!
ேபாக் ம் வர ம் ணர் ல் லாப் ண்ணியேன! என் ந்தைன ள்
ஊற் றான உண்ணார் அ ேத ! உைடயாேன !
மாசற் ற ேசா ..... ! மாசற் ற ேசா ..... !
Deep in my Soul ! There now abides !

Some one who is not me!
Who breaks the bonds of caring for!

The things we own and see!
I'm just a man ! Imperfect lowly..! Yet

beginning to be free....!
ஈசன் அ ேபாற் ! எந்ைத அ ேபாற் !

ேதசன் அ ேபாற் ! வன் ேசவ ேபாற் !
Hail Hail ! I sing Hail !

Hail Hail ! Joyous Hail !
ஈசன் அ ேபாற் ! எந்ைத அ ேபாற் !

ேதசன் அ ேபாற் ! வன் ேசவ ேபாற் !
Hail Hail ! Joyous Hail !

Hail Hail ! Greatful Hail !
ேநயத்ேத நின்ற நிமலன் அ ேபாற் ! Hail Hail !

மாயப் றப் ப க் ம் மன்னன் அ ேபாற் ! Hail Hail !
ேநயத்ேத நின்ற நிமலன் அ ேபாற் !

மாயப் றப் ப க் ம் மன்னன் அ ேபாற் !
ரார் ெப ந் ைற நம் ேதவன் அ ேபாற் !

ஆராத இன்பம் அ ம் மைல ேபாற் !
ரார் ெப ந் ைற நம் ேதவன் அ ேபாற் !

ஆராத இன்பம் அ ம் மைல ேபாற் !
Hail Hail ! I sing Hail Hail!

Hail Hail ! Greatful Hail Hail!
Hail Hail ! Joyous Hail Hail!

Hail Hail ! Endless Hail Hail !
நம வாய வாழ் க ! Hail Hail !

நாதன் தாள் வாழ் க ! Hail Hail !
இைமப் ெபா ம் ...Joyous Hail !
என்ெநஞ் ல் ...Greatful Hail !
நீ ங் காதான் தாள் வாழ் க!
நம வாய வாழ் க !
நாதன் தாள் வாழ் க !
இைமப் ெபா ம்
என்ெநஞ் ல்
நீ ங் காதான் தாள் வாழ் க!
நாதன் தாள் வாழ் க !
( Click Here To Return to Index Page )

P O S T E D B Y C S R AT S U N D AY, O C TO B E R 1 8 , 2 0 0 9 1 3 C O M M E N T S :
L A B E L S : I R, LY R I C S, P O L L A A V I N A I Y E N, T H I R U VA S A G A M
T U E S D A Y, 1 3 O C T O B E R 2 0 0 9
1-Thiruvasagam by IR - My Bird's Eye Views

"Kadalukku Naan Seyyum Thirumanjanam
Sengkadhirukku Naan Kaattum Neeranjanam"
-Ilaiyaraaja
No words than the above can express my attempt in this blog.
Neither his music nor his personal attainment in the field of music and self search..... is
measurable, fathomable... by any known devices and methods.
Thiruvasagam was his dream project - the seed for which might have sown in his inner mind
after his self-realisation based on the experience he was made to feel, suffer during his maiden
venture of composing "The Grand Symphony".
He might have thought "Why I was wandering like that.... when I have to do so many projects like
this... in my own soil showcasing my culture ? "
So nearly a decade later, around 2003, the announcement of Thriuvasagam effort was made and
more than two years later the album was released in 2005.
Having selected Thiruvasagam, it could have been presented musically in many ways.
But as a focussed visionary, he had in his mind the two types of target audiences-
1. the present day Indian youth

2. the auidence of the West
Thus, IR, who visualise "anything and everything in this world in the form of seamless fusion with
the traditional originalities in-tact", framed his own formats to deal with the situation.
And absolutely amazing Cultural and Musical Crossovers have resulted in shape as everybody is
listening now!
We in the East, have our Vedic hymn spealt out in particular musical fashion, and in some kind of
similarity the West have the Churches singing their Gospels!
The Thiruvasgam also used to be sung in particular fashion by "Othuvaars", in the temples of
Tamilnadu.
All these have the minimalistic musical expression, but the kind of individual-cum-community
group singing in praise of Lord, which reverbrates the mind and heart to unify onself with God!
Thus comes the fusion envisaged by IR, combining all these in "Poovaar Chenni", the very first
song in the album.
Another enormous symphonic attempt is to present the Thiruvasagam as a fusion of Classical

style/formats of both Western and our Carnatic.
The second in the album "Pollaa Vinaiyen "
Here he even adopted the novel (now patented by him) way of juxtaposing both the Tamil and
transliterated English verses of Thiruvasagam.
Also, covering the various formats of WCM as well as our own Classical forms!
Modulating through more than 25 carnatic ragams and innumerable scales modulations!
As envisaged and putforth his allout efforts, this is the "essence" of Thriuvasagam he wanted to
show case and undoubtedly "The Masterpiece" of the album.
Thiruvasagam has few stories or scenes enacted about the happenings in the life of Lord's
disciples.
He show cased one such example in "Muthu Natramam" in a folkish dance format
An amalgamation of Choral Singing and Aria with our "Othuvar" style singing is what we get in the
"Umbarkatkarase" which is a song sans rhythm with soul free singing in praise of Lord, with each
paragraphs interspread with the repeated Choral format.
Can Thiruvasagam be given in very light cinematic style ? Why not ?
Take this "Putril Vazh Aravum Anjen" or the duet "Pooveru Konum"
In fact these two songs captivated more people than anything as the answer is obviously in the
familiar formats which we all have been entralled by IR for decades after decades!
Thus Thiruvasagam album is an de-mystified example of how our

cultural songs can be taken to the other side of the World still making
sense to both of East and West.
Thus to touch upon the other specialities of this project:
1. Thiruvasagam as such having a variety of sub-sections and he wanted to cover most of them
and accordingly took a lot of pain in making the selection of all good verses from all sections.
2. He re-wrote the order and some time even added/modified a few words here and there as
per his designed formats.
3. Then came the Composing which he took as a penance, tapasya, yagna with utmost devotion
and sincereity to the purpose.
4. Novel Method adopted - Since he wanted that all the common people shall particpate in this
holy venture with noble cause, he asked for and received the contributions from everybody,
similar to his effort when Srirengam Temple Gopuram was built
5. He used the Bi-lingual Counterpoints and for the first time in his life he claimed that this
format has been patented now by him.
6. Famous personalities were roped in all deparatments of this production be it for Lyrics,
Singer, Conducting, Recording etc etc.
7. As already explained, all the musical forms tried - Vedic, Symphonic, Dance form, Oratorio,
Light Folk-Classical etc
This blog is neither to write about the making and behind the scene activities in creation of this
musical venture nor to write about the success measured or controversies that are generated later.
But to highlight my views and perceptions, about the few technicalities about the musical score he
has adopted in unfloding and presenting this oldest Tamil epic to the World and particularly to the
present generation youth.
( Click Here To Return to Index Page )

P O S T E D B Y C S R AT T U E S D AY, O C TO B E R 1 3 , 2 0 0 9 NO COMMENTS:
L A B E L S : I R, S Y M P H O N Y, T H I R U VA S A G A M
W E D N E S D A Y, 7 O C T O B E R 2 0 0 9
2- Pollaa Vinayen - Introduction

Hi All,
There were many Million Dollar Questions!
To write or not to write ?
Am I worthy to write on Thiruvasagam by IR ?
Where to start ? What to write ?
Initially, many such baffling questions regularly prevented me from posting my feelings and
experience on Thiruvasagam.
After sometime, I saw many beautiful write-ups on the “experience” & “feelings” from various IR
fans in blogs and forums.
That further made me feel that I can not write better than them.
By that time, I listened to the CD many times (not in a musical system worth mentioning, but I
could guess & feel the grandeur and efforts behind them ! )
Fortunately, that time I had my keyboard arrived and could not resist the temptation of finding the
scales and ragas !
Though I could only guess many of them, but I could “feel” the scheme behind such modulations
of such scales.
As usual, no IR admirers, particularly people like me, can resist such temptations of revealing and
sharing his joyous moments of recognizing geniuses of IR with others, and thus this write-up
emerged!
Again I re-iterate to all that don’t run-away saying,” I am not having knowledge in scales or
raagams or both “ etc.!
In that case also, you can just believe me that I am right in identifying these seven notes related
to that particular para and just visually, mathematically see them and compare them, you can in
general appreciate what I am trying to convey you.
Whatever it may be, you have already experienced the feelings given by each lines of Polla
vinayen, so you can still co-relate such feelings with change of scales I am mentioning here
below!
Let us start !
( Click Here to Return to Index Page )

P O S T E D B Y C S R AT W E D N E S D AY, O C TO B E R 0 7 , 2 0 0 9 N O C O M M E N T S :
L A B E L S : I N T R O D U C T I O N, I R, P O L L A A V I N A I Y E N, T H I R U VA S A G A M
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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L A B E L S : I R, P O L L A A V I N A I Y E N, T H I R U VA S A G A M
6 - Pollaa Vinaiyen - Part-4

A Capella, that’s a mind blowing attempt by IR.
(Digression: It's all male chorus singing harmonised notes alongwith the main solo singer. To some extent IR's Thaamtha Theemtha in
Pagalil Oru Iravu, an all female modern A Capella, giving both choral harmony and instruments substitution can be considered as a fore
runner)
A Capella (In the style of Chapel , in the style of Church) is defined as Choral or vocal music
performed without instrumental accompaniment as per Virginia Tech Music Dictionary
Now, you can understand the reason for the sudden withdrawal of all instruments in the
“Namasivaya Vaazhga” before the A Capella portion !
So far, in Polla Vinayen, IR has been effecting modulation between verses and paras.
But here in A Capella, he is effecting modulations after every few words of each and
every line.
Further, the accompanying chorus and counter melody lines also effecting such modulations so
drastically.
So finding raagams is almost a difficult exercise.
(like one can experience in the “I met Bach” where Bach’s Partita is accompanied by the Carnatic
violin/voice harmony parts, wherein such enormous Raagam shades are shown).
As such I limit myself here with the scale followed in the melody part.
Sl No - 13
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While the previous verses “Vetru Vihara” has ended in the D-Minor Gowrimanohari,
the A-Capella starts in the D-Flat Major and end in the B-Flat Minor,
then through a transition it reaches back to D-Minor (Masatra Sodhi) where it left the “Vetru
Vihara” earlier !
In between it shuttles between B-Flat Minor and A-flat Major and D-flat Major as shown in the
table below:
(experts can confirm, as I have omitted the effect of chords and only consider the IR-melody part
in these modulations).
One can imagine the difficulty of ascertaining the modulating scales in such passages without the
actual notated notes.
Also in each scale, the song is only covering a few notes in the upper half only, so one has to
assume the balance notes as well as the tonic identification.
The additional and foremost difficulty is to come out of the beauty of the song flow to determine
these !!!
Somehow, the very brief transition in the end, reminds me a shade of Subha panthuvarali ! I don’t
know why !
Anyway, after such mind blowing piece, IR takes us into a deep soul stirring ( or soul arresting ?!)
melody of “Maasatra Sodhi”.
It’s a virtual challenge by IR to every listener, “can you control your emotion and weeping while
listening this?”
Sl No - 14 and 15
Scalewise, it begins like simple D-Melodic Minor, but it expands and well settle in the form of
Carnatic semi-classical melody, which we are often used to hear from IR.
The rhythm in 5/8 is also well known to us!
That’s the reason for the success of this part which is acclaimed by everybody from their very first
hearing !
Mostly it follows the Suddha Dhanyasi + Karaharapriya combinations and hence carnatically one
may claim this under the category of Aabheri !
Finally, through the transition we lands up in the B-Minor where we started the very first line of
“Polla Vinayen”.
But, here, it is B-Minor in Shanmuga priya.
Sl No - 16
Harcourt sings with such emotions in Shanmugapriya “Deep in my soul.”
With the climax of “beginning to be free” he sets himself free from the song !
But not from our heart !
The Chorus "Easan Adi Potri..." that follows, needs no explanations !
It’s the “Joyous hail” all over by everybody, from IR to Western chorus to our Indian chorus etc etc
!
What a grand finale, one cannot expect more than this for this 20-minute masterpiece !
Sl No - 17 and 18
Here also, the last paragraphs, "Namasivaaya Vaazhga..." have been again modulated to one last
time from Shanmugapriya to Simmendhra Madhyamam which involves just change of one note
“Ni”.
So in a 20-minutes roller-coaster ride, you have been served with around 25

such ragas/scales through modulations (may be more also) and varying
rhythms, varying forms of music of Western and Carnatic etc.
Thus creating all the various emotions IR wanted us to feel and attain that
everlasting spiritual experience !
He has more than succeeded in his objective!


Let me put the row number 8 & 9 of the table for comprehensive view.
Sl No - 09
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
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
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
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.


For the comprehensive view, the rows 4 to 5 are presented below:
Sl No - 04
Sl No - 05
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
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
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 !


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
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enable
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Player
PV-000.mp3
Pollaa Vinaiyen End Like This
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Flash Player
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
Sl No - 02
Sl No - 03
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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Player
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
Sl No - 05
( Click Here to Return to Main Index Page )

T U E S D A Y, 6 O C T O B E R 2 0 0 9
8 - Pollaa Vinaiyen – Consolidated Table of Scales/Ragam used
Sl Counter From To Notes / Remarks

N Start Scales
o employed
1 0 : 00 Polla Vinayen Vedhangal Ayya…. B – C# – D – E B-Harmonic Minor

Nunniyane – F# –G– A# –
B
2 3:08 Nin Peruncheer En nyaanam Illadhen D – E – F# – G D-Major (equivalent

Major to B-Minor)
–A
–B– C# –D
3 3:21 Annyanam Inba Perumane…. B shift to Bb Transition to D

Thannai
4 3:33 So Many forms.. Ella Pirappum D – E – F# – G Sarasaangi ??

Pirandhilaithen… –A
– Bb – C# – D
5 4:00 Pirandhilaithen… ….Worthy… Back to B- B-Melodic Minor ..

(3 times.. ) + Minor Shanmugapriya..??
Pullaagi Poodai …
B – C# – D – E ( B – C# – D – E# – F#
– F# – G – A –G–A
–B –B)
6 5:03 Kallaai Munivaraai…Devaraai… Chromatic…. Transition towards

Manidharaai… Hamsanandhi ?
(F-A-G#) -- (G#
-B-A#);--
( B – C# - D) -
- ( D - Eb )
7 5:17 Sellaaa Nindra Ongaaramaai Nindra D - Eb Gamanaashrama ?

Thavara Meyye --- Om ! (53) - Hamsanandhi's
– F# – G ( G #)
Sangamathul…. parent Raaga /
– (A#) – B – C#
Vasantha
–D
Both M1 & M2
used…
8 5:54 Nama Sivaya Hail Hail ! Joyous Hail… ! D–E (65) D-Major
Vaazhga – F# – G# – A Kalyaani…!
–B– C# –D
9 7:30 Valvinayen Malan Chorum….Vanjanai C# –D–E (8) Thodi /

Thannai Cheyya… – F# – G# –A Sindhubairavi
– B – C#
1 9:08 Vilangu Manathaal ….Words of Praise… F# – (G# ) – A# (28) Harikamboji –

0 .. –B– C# – (D#) Ri & Dha omitted
initially. Ri added
–E
later
– F#
1 10:53 Tasting..Smelling Glimpse of Grace…. F# – G# – A# – (26) Charukesi

1 B– C# –
(D)–E
– F#
1 11:44 Vetru Vihaara Nama Sivaya Vaazhga D–E (23) Gowri Manohari
2 / (21)Keeravani
–F
–G
–A
– B – C# – D
1 12:58 Aaakkam Alavu Nama Sivya Vaazhga Chromatic changes from Db Major ( or
3 Irudhi its enharmonic C# Major? ) to finally
ending in Bb Minor ( or its enharmonic

A# Minor ?) , which is actually the
equivalent Minor of Db Major
(a Aaakkam Alavu….Irudhi Illai Db – Eb – F Db - Major

) – Gb – Ab – Bb
–C
– Db
(b Anaithulagum … Arul Tharuvai -do - -do- ?????

)
(c) Pokkuvai….. Nindozhumbil Bb – C Bb – Minor ??
–D
– Eb – F
– Gb – A
– Bb
(d Aatrarathin…. Naniyane Ab – Bb – C Ab – Major ???

)
– Db – Eb – (F)
–G
– Ab
(e) Maatra Manam…. Maraiyonae.. Db – Eb – F Db – Major ??
– Gb – Ab – Bb
–C
– Db
(f) Karandha Paal … Andha naduvagi Allane..! Bb – C Bb - Minor
– Db – Eb – F
– (Gb ) – Ab –
Bb
(g Nama sivaya Vazhga.. Nadhan Thaal Vaazhga Bb – Minor to Transition

) Db to D Minor
1 14:37 Maasatra Sodhi Amudhe ..! Udaiyane…! D–E D-Melodic Minor –

4 –F Aabheri ??
–G
–A
–B–C
–D
1 16:50 Maasatra Sodhi Masatra Sodhi D-minor to B- Transition

5 Minor
1 17:00 Deep in my Soul Beginning to be free B – C# – D – E# B-Minor -

6 – F# – G – A Shanmugapriya
–B
1 17:54 Eesan Adi Potri Endless Hail Hail - do - Shanmugapriya

7
1 19:31 Namasivaaya Till end B – C# – D – E# Simmendhra

8 Vazhga – F# – G – A# – Madhyamam
20:30
B

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Structure of this blog

1. Thiruvasagam - My Bird's Eye Views BLOG ARCHIVE

5. Pollaa Vinaiyen - Part-2 Structure of this blog

Lyrics of Polla Vinaiyen 3 - Pollaa Vinaiyen - Part-

I'm just a man

How can I reach ? MY BLOGS

ேவதங் கள் ஐயா என ஓங் ...!

ேவதங் கள் ஐயா என ஓங்

நின் ெப ஞ் ர் க மா ஒன்ற ேயன் !

எஞ் ஞானம் இல் லாேதன் -

So many forms I must wear !ெபால் லா ைனேயன்!

So many forms I must bear !

றந் ைளத்ேதன் ! றந் ைளத்ேதன் ! றந் ைளத்ேதன் !

So many lives I must bear ! I must bear !

Grass and shrub and stone and tree !

பல் கமா ப் பறைவயாய் ப் பாம் பா

Worm and bind and beast and demon

How long till I'm finally worthy ?

கல் லாய் மனிதராய் ப் ேபயாய் கணங் களாய் !

ெசல் லா நின்ற இத் தாவர சங் கமத் ள்

எல் லாப் றப் ம் றந் ைளத்ேதன் !

உய் ய என் உள் ளத் ள்

ஓங் காரமாய் நின்ற ெமய் ேய !

நம வாய வாழ் க ! நாதன் தாள் வாழ் க !

ேகாக ஆண்ட மணிதன் தாள் வாழ் க !

ஏகன் அேநகன்! இைறவன் அ வாழ் க !

நம வாய வாழ் க ! நாதன் தாள் வாழ் க !

Hail Hail ! I sing Hail !

நம வாய வாழ் க ! நாதன் தாள் வாழ் க !

வல் ைனேயன் தன்ைன

வல் ைனேயன் தன்ைன

This body which obscures the truth !

This prison of flesh !

I was in its control !

I was in its control !

மலஞ் ேசா ம் ... ஒன்ப வா ற் ைல... !

லங் மனத்தால் மலா உனக் க்

நலந்தான் இலாத ரிேயற் நல்

நா ற் கைடயாய் டந்த அ ேயற்

My Eyes were set on...

My Eyes were set on...

Tasting Smelling Touching only

Wondewring why the hunger thirst and

Lost in vanity and pretense!

My five senses made no sense !

To him you granted

ஆக்கம் அள இ இல் லாய் !

ஆற் றத் ன் ேநரியாய் , ேசயாய் நணியாேன!

கறந்தபால் கன்னெலா ெநய் கலந்தாற் ேபால !

றந்த றப் ப க் ம் எங் கள் ெப மாேன !

ேசா யேன ! ன்னி ேள ! ேதான்றாப் ெப ைமயேன !

நம வாய வாழ் க ! நாதன் தாள் வாழ் க !

மாசற் ற ேசா ! மலர்ந்தமலர் டேர!

ஈர்த்ெதன்ைன ஆட்ெகான்ட எந்ைத ெப மாேன

மாசற் ற ேசா ..... ! மாசற் ற ேசா ..... !

Deep in my Soul ! There now abides !

Who breaks the bonds of caring for!

I'm just a man ! Imperfect lowly..! Yet

ஈசன் அ ேபாற் ! எந்ைத அ ேபாற் !

Hail Hail ! I sing Hail !

ஈசன் அ ேபாற் ! எந்ைத அ ேபாற் !