innum ennai enna seiya pogirai
i once wrote that ears are just an extension of your mind. if u r biased enough you can even hear shankarabharanam in sindhu bhairavi.
when i heard the song first time i came to the conclusion that it is tilang. it continued till today. i never heard it critically again. i was so convinced that it is tilang, afterall a semitone difference, isnt it? but i had to hear it again today. it is indeed gambeera nattai.
and i have never actually referred to the a/a of tilang. so, i learnt today that it has n2 in avarohanam.
and the famous mallari in gambeera nattai i mentioned had biased me that gambeera nattai shud have the phrase mgrgs.
so all these made me think that it is tilang.
paadi varum vaanmathiye parvaigalin poompaniye
s..snp.....s..snp.....s..snp....s...gns...
yes. both np and ns are using n3. i have never heard a love song in gambeera nattai. as i already said there r very few compositions in g.n even in carnatic.
but still i feel, the bhava is more of tilang, because we play gambeera nattai only in plain notes without gamakam.
and the lines in charanam 'poovodu daan sera ilangatru poraadum podhu........theeermanam podu'
and 'nee daane naan padum sugamana akasha vani, padamal koodamal urangaadhu reengara theni' has some beautiful karvais reminding u of tilang eventhough it involves ni3.
there r no such thing hitherto in gambeera nattai in carnatic. raja is raja.
thanks krishnan and vel for making me hear the song once again, critically.
when i heard the song first time i came to the conclusion that it is tilang. it continued till today. i never heard it critically again. i was so convinced that it is tilang, afterall a semitone difference, isnt it? but i had to hear it again today. it is indeed gambeera nattai.
and i have never actually referred to the a/a of tilang. so, i learnt today that it has n2 in avarohanam.
and the famous mallari in gambeera nattai i mentioned had biased me that gambeera nattai shud have the phrase mgrgs.
so all these made me think that it is tilang.
paadi varum vaanmathiye parvaigalin poompaniye
s..snp.....s..snp.....s..snp....s...gns.
yes. both np and ns are using n3. i have never heard a love song in gambeera nattai. as i already said there r very few compositions in g.n even in carnatic.
but still i feel, the bhava is more of tilang, because we play gambeera nattai only in plain notes without gamakam.
and the lines in charanam 'poovodu daan sera ilangatru poraadum podhu........theeermanam podu'
and 'nee daane naan padum sugamana akasha vani, padamal koodamal urangaadhu reengara theni' has some beautiful karvais reminding u of tilang eventhough it involves ni3.
there r no such thing hitherto in gambeera nattai in carnatic. raja is raja.
thanks krishnan and vel for making me hear the song once again, critically.
and another reason for my contention is all gambeera nattai compositions' eduppu is in shadjam like the famous 'sampoorna ramayanam' t.k.bhagavathy 's
lengthy exposition of ragas as ravana, or the mallari i mentioned, etc. like
'spmp gmpmg gmpmgmgs sgns sss ppp mmm ggg ss pp mm gambeera nattai' or
'sgp pmgmr nrg mgrgs'
and tilang compositions have eduppu in madhyamam or panchamam like
'mp mpmg' in prabho ganapathe or 'p..pm gs gmg' in 'shanthi nila vaendum' and 'mp mp mp mp mpmpmgs sgmp' in innum ennai enna seiya pogirai. and the only bhava for gambeera nattai is that of victory march or war declaration. and tilang being an hindustani raga can accomodate any anya swara safely tagged as misra tilang and is suitable for any possible bhava including love. u may also notice that the same sampurna ramayanam contains a song 'man magal mugam kandaen' in tilang which is a soga geetham.
generally when identifying the raga the most important thing that shud be taken into account is the bhava and then the scale or a/a. so this song is in the scale of gambeera nattai giving a feel of tilang.
lengthy exposition of ragas as ravana, or the mallari i mentioned, etc. like
'spmp gmpmg gmpmgmgs sgns sss ppp mmm ggg ss pp mm gambeera nattai' or
'sgp pmgmr nrg mgrgs'
and tilang compositions have eduppu in madhyamam or panchamam like
'mp mpmg' in prabho ganapathe or 'p..pm gs gmg' in 'shanthi nila vaendum' and 'mp mp mp mp mpmpmgs sgmp' in innum ennai enna seiya pogirai. and the only bhava for gambeera nattai is that of victory march or war declaration. and tilang being an hindustani raga can accomodate any anya swara safely tagged as misra tilang and is suitable for any possible bhava including love. u may also notice that the same sampurna ramayanam contains a song 'man magal mugam kandaen' in tilang which is a soga geetham.
generally when identifying the raga the most important thing that shud be taken into account is the bhava and then the scale or a/a. so this song is in the scale of gambeera nattai giving a feel of tilang.
