Kuyil Paattu

My customer always insists on KISS. KISS? Keep it simple and stupid.

Rajkiran was one such actor/director who kept things simple and carved a segment of the crowd for his creations. And not to leave out Maestro’s music that was the backbone to his success. During those days, only some people had Raaja’s “Kadaaksham” and made their living solely due to Maestro’s magic like Ramarajan, P.Vasu, RV Udhayakumar, R.Sundarrajan etc.

Some songs are very dear to your heart. One such in my list is: - “Kuyil Paattu .. O Vandhadhenna Ila Maane”. Whenever I hear this song, I make it a point to tell whoever is next to me that Maestro has given a song packed with joy, love and a hidden sorrow (have you felt that way?).

This song comes in 2 versions. One sung by Illayaraja (a sad number) and the other one by Swarnalatha (a fast paced).

The situation of the latter version of the song goes like this.
Rajkiran (a rustic chap) finally is touched by love of Meena and Meena is getting ready to receive Rajkiran who has gone out to buy some flowers for her. Towards the end of this song, Meena who is pregnant slips and meets a fatal end.

On one hand, you must bring out the joy, happiness and longing for love.
Yet, on the other hand the tune should have a hidden sorrow and a gripping feel. What a challenging situation for a composer!

Illayaraja clearly brings out both the aspects in this evergreen number. He had chosen “Sivaranjani” raga for this situation. I read a review that Sivaranjani could also be called as Mughari + Ranjani. Meaning: It brings out the Joy/Love with a backdrop of sorrow. No wonder he is also known as “RaagaDevan”. What an apt selection!

The traversal of sa ri ga2 pa sa ri ga2 pa da in “Indru Vandha Inbam Ennavo” brings the joy and once the higher octaves are reached (da Ga2 Ra Ra Ga2) for “Kuyile” you are touched with a sense of gripping sorrow. The raga lakshanam is completely exploited as melody and presented to our ears in the Pallavi.

In the Charanam, he beautifully elevates us between lower and higher octaves. He has constrained himself to the grammar and carefully avoided Ma and Ni.

I recollect a review about usage of Sivaranjani in film music as “Every Tom, Dick and Harry has handled this raga …” Might be true, but Maestro has been simply superb in his own style.

Other creations set to this raga are:

Tere Mere Beech Me (Laxmikant Pyarelal)
Oru Jeevan Thaan Un Paadal Thaan (Laxmikant Pyarelal?)
Adi Aathaadi (Raaja)
Unnai Thaane (Raaja)
Enadhu Gaanam Un Kaadhil Vizha Villaya (T.Rajendar in Oru Thaayin Sabadham)
Poraale Ponnuthaayee (ARR)

One similarity in most of the songs tuned to this raga is that they all indicate the intimate relationship between two and most of them are repeated twice in the movie (once for a happy occasion and other for pathos).

Will meet you all with a different post soon.

P.S: Being my first attempt to analyze more technically, please excuse any technical mistakes on raga analysis and kindly bring to my attention.