#Ilayaraja concert usa 2016 movie#

Its arohanam and avarohanam are Sa Ri2 Ma1 Pa Ni2 Sa Sa Ni2 Da2 Ma1 Ri2 Sa. Ilayaraja too has got incriminated many times for such blatant similarity of his songs to other popular songs ( en purushan thaan enakku mattum thaan in Gopurangal Saivadhillai was called as a copy of dham maarO dham).Īandholika is a pleasant janyam of Harikaambodi raagam. That has happened in the background rhythm guitar score in kuluvaliyE ( Muthu) song. But, the fact is that a Coke can got recycled and came back to us as a Pepsi can! Sometimes, Coke cans can get a new sticker on its face (with no shruthi change and stuff!) and can be sold as Goli soda locally. We don’t know if he purported to copy or if it was a strange co-incidence. What A.R.Rahman has done is, he has skillfully “copied” the Sudha Saveri swaras and transliterated it into Hindholam as Ga2 Ma1 Ma1, Ga2 Ma1 Ga2 Ma1 and so on. Because, “ravilE” means night in Thamizh and morning in Malayalam! See how different the meanings are?! It is like Pandiyarajan and S.V.Sekhar travelling overnight and going to Kerala in Kadhanayakan!! Though Thamizhnadu and Kerala are adjacent states, words might have totally opposite meanings there! If a Thamizh doctor prescribed a sleeping pill to a Malayalee and told him “ee guligai ravilE kazhicho!”, he will be in trouble. What if you viewed these notes from the reference shruthi of “Ri2-Da2-Ri2”?! The raagam might change totally. If you viewed these notes from within the boundaries of a different musical territory, then it might have a different meaning. The above swaras have meanings only within their respective Shruthi. If we played Kausalya Supraja the tune goes like this: Sa Ri Ri (kausalya) Sa Ri Ri (supraja), Sa Ri Sa Ri (Rama poorva), Sa Ri Sa Ri Sa Sa (Sandhya pravarthadhE). The swaras of Sudha Saveri are: Sa Ri2 Ma1 Pa Da2 Sa Sa Da2 Pa Ma1 Ri2 Sa. That is the SHRUTHI!! Ilayaraja has many times just used the Sa Pa Sa shruthi as the background score in cinemas and lilted the audience by the magical effect of the SHRUTHI! Rahman also has used the drone of the Shruthi conspicously in many of his songs and added great melody to the songs (eg: the Panthuvarali song in Rangeela sung by Swarana Latha and Udit Narayan. The thambura just gives the Sa Pa Sa notes to the Katcheri. In katcheris you may often see somebody sitting on the stage and playing the thambura.

A single note when played alone is probably meaningless in classical music without the Shruthi. Any swara derives its identity only with reference to the shruthi. Shruthi forms the territorial boundaries in music. Instead, if you played X x 2 * 5/12 (X times 2 to the power 5/12), you are adding madhyamam to the two Sa’s and it is called as the madhyama shruthi. Additionally if you played X x 2 * 7/12 (read this as X times 2 to the power 7/12) with X and 2X, then, you are adding the panchamam to the two Sa’s and you get panchama shruthi. So, you can take any frequency (Sa) and play the 2X frequency of that fundamental frequency (upper Sa) and make a shruthi. Thus we will have an entire Sa Ri Ga Ma Pa Da Ni Sa between these notes. Be X = 1 hertz, and 2X = 2 hertz, or be X = 100,000 hertz and 2X = 200,000 Hz, there is one and only one octave inbetween these two respective sets of notes. We know that if we sounded a note with any frequency (X) and another note twice its frequency (2X), then there is an entire octave between these two notes. If Rahman indeed copied willfully, how could he present a Sudha Saveri tune in a Hindholam song? Subbulakshmi’s Kausalyaa Suprajaa is in the raagam Sudha Saveri. Rahman has tuned his maargazhi poovE in the raagam Hindholam. Is it correct to call the flute interlude in maargazhi poovE as a copy of kausalyaa suprajaa? A.R. A chain of copying! My friend has lost his peace and is now a terribly agitated individual.

#Ilayaraja concert usa 2016 movie#

How dare the freshmen music director of the movie Meendum Savithri (Ravi Devendran) copy the interlude of maargazhi poovE (which is itself a copied bit from kousalyaa suprajaa) and present it in his song. How dare he copy the great kousalyaa suprajaa tune and use it as the interlude music in maargazhi poovE ( May Maadham). He called A.R.Rahman as a mammoth recycling bin that takes its own previously tuned songs and polishes it and presents it in a different form.

My friend is very much convinced on this matter. I’ve added links to the songs, so you can listen as you read.Ī.R.Rahman is the number one copier in the world. This is the 13th of 15 articles titled Classical Ilayaraja appeared on Usenet in the 90s.