Sa Re Ga Ma of Fashion

This is my 'much-hyped' magazine which was selected for Newsweek.... As it had not reached the readers I have intended it to, I am soon planning to do a modified version and re-launch the article by organizing an event.... Till then, you can enjoy the first version of Sa Re Ga Ma of Fashion and drop your invaluable comments!

Video directed by: Satish

Background Music provided by: Dr. A.R.Rahman

Mixed by: Praneel Shah

Aman Ki Asha

My line for you:

"'Peace' and 'Piece' both sound the same... but the former has much more lasting effect than the latter... Its only known by experiencing it!"

Here is the video of the ad being aired on television:

Video directed by: Vinil Mathew

Music Composed by: Shankar Mahadevan

Singers: Shankar Mahadevan, Rahat Fateh Ali Khan

Lyrics by: Gulzar

Produced by: Swadha Kulkarni, Footcandles Films

Initiative conceived by: Times of India and Jang Groups

My Interview (On the Article)

Kudos to your fantabulous article. It was a nice read.

Thank You!

Do you think all the music composed by Rahman sir or any other director is based on Carnatic music or Hindustani?

No... In no case, it can be understood that way because there are a lot of genres in the music prevalent all over the world. But one can segregate this whole of music quotation into two branches for an easy understanding of the art.

1>Indian Music

2>Western Music

Indian Music comprises of two branches namely Carnatic and Hindustani... Indian Music has the strongest base compared to any other genre of music. The roots of music have originated from the carnatic music... so if one terms it as the moolah of music, it is in no way an exaggeration. Raagams are a part of classical music.

Western Music comprises of rock, rap, jazz, country, etc... It has the same seven notes C D E F G A B as that of Sa Re Ga Ma Pa Da Ni in Indian classical music albeit in a different notion.

And it is not necessary that every song is based on carnatic or hindustani. They are just two forms of music. And trying to relate every other song with either carnatic or hindustani is one of the wrong practices adopted in learning the music.

We have so many music composers all over the world. And naturally, all of them do not know carnatic or hindustani. So a composer composes a song basing on his learnt or known genre. Similar is the case of A R Rahman... He learnt Indian music... So most of his songs contain Indian flavor... and its purely his genius that he blended the western music with Indian music by foraying into the western music and learning the nauances of it.

What do you say about Pappu Can't Dance or other fast numbers?

Yes... this pappu cant dance is a fast number based on western beat music... I can't say the exact genre because I don't have much knowledge on the western music... One thing I can say about these type of numbers is that they are not based on Indian classical music (laughter).

And what do you say about Dreams on fire (from Slumdog Millionaire)?

Its another western symphony which has a strong feel embedded within it.

Does it have roots with any Classical/Hindustani Raga?

No... It doesn't.

And can you relate any Western song to that in an Indian raga?

Sometimes yes and sometimes no.... when it is Rahman, you can relate few western songs to Indian because his way of composing is totally unique... he masters the art of blending western into Indian music which no other Indian composer is good at.... that's one of the secrets of his success. You can consider the examples of Fanaa in Ayudha Ezhuthu, Rehna Tu in Delhi 6, etc...

And do you know how Rahman sir or anyone else does a fusion?

If I have known the way Rahman sir does a fusion, then I guess Rahman sir would not have as easily pocketed those 2 Oscars (intended pun!). It would be the same in case of anyone else as well.

You have said to consider the example of Mausam and Escape from SDM. Which is that Raga?

Mausam and Escape is another example of blending western music with Indian flavor... It starts with a slight shade of Malahari (not pure) but then takes a paradigm shift to Rahman genre of mixing the things!

Who do you feel is the best among Ilaiyaraja and Rahman?

A very difficult question. But the answer is very simple. One cannot compare two extremes. Both of them are legends in their own way.

Are all the songs required to be in specific raga or mix up of ragaas? If he composes the song in western style, is the Indian ragaas applicable? For eg : is there any raaga associated with Petarap (Kadhalan) ?

No... Its not that way. I have said earlier. It's sometimes Yes and sometimes No. I am not sure of that song... it sounds complex to my ears.

Is there any raga which ARR was never used so far even in parts?

Yes... there are many like Kamavardhini, Valaji, Ketakapriya, Amrutha Varshini, etc... very rare raagas and which cannot be used at the outset.

Of late, we have not seen an article based on the music. When can we expect one?

Actually, I have wantedly refrained from writing a piece with music as subject as I was feared of getting branded as a writer who writes only on music. I don't want to take such kind of acclaim. As a writer, I feel one should be able to pen on any subject. That's why I have switched to various topics. Money, Fashion, Autism, Human Relations, Reality Shows, Leadership..... I have explored quite a variety of topics last year. Probably I may soon write a piece based on music. You have to wait.

I have gone crazy over your Sa Re Ga Ma of Fashion. What is your feeling when it was selected for Newsweek?

Thanks. But don't go crazy over it. Just read and try to garner a piece or two knowledge bytes from it. Even if you don't, there is no problem. Just inculcate the habit of reading. It really is of use. My feeling was really satisfying for my effort. But it has not reached the intended audience I had kept in my mind while writing probably because of lack of promotion... you know these days, every product needs a promotion. I plan to do an edited version and re-launch the article by organizing an event.

You have said that Ilaiyaraja sticks to only one raaga. But actually he doesn't. What is the reason behind such a controversial statement?

Wow! A misinterpretation can stir a controversy.... see friend, FYI, I have never mentioned that Raja sir sticks to only one raaga in 'every composition of his'... probably you might have missed out on an i/w of Raja sir where he said that he prefers using a single raaga in one song rather than going for a ragamalika. So I have just taken a point of his and said the statement... Its a normal thing we the writers do! And in no way, I have said that Raja sir uses only one raaga in each and every song of his. Hope you are clear with this explanation.

What is your forthcoming article?

I am contemplating on a couple of subjects, one is 'women' given by Rupa and the other is based on 'knowledge'. Probably you might see one of these subjects.

P.S.: This (Classical Extemporization from Roja to Yuvvraaj's ARR) was my article that I had written exactly one year back. Strangely or deservingly, it was rated as my best work till date by my readers and fans although I don't consider it as my best ever work! I am thankful to all those who have appreciated the piece. For commemorating the first anniversary of my (best-ever?) work, I have done an interview in which few readers have raised certain questions which I am going to post now along with my answers so that the people who couldn't make up for the interview and having the same doubts can get clarified with this transcript.

Hope you all continue to lend me your valuable support....Cheers!

Classical Extemporization from Roja to Yuvvraaj's ARR

January 06, 2009… 12:17 P.M., at this point of time, if you ask any person well versed in various forms of Indian Classical Music (probably a guru or a maestro) that if the same pattern which was actually contrived by Muthuswami Dikshitar and Thyagaraja still being taught to this generation, the answer would be an unanimous NO… because there has been a sea change in the time frames and generations and thereby, various changes were evolved in teaching the music so as to vibe well with the tastes of the generations. Obviously, there would be no change done to the root part, the swaras and the raagas will remain the same!

It was in 1992 when the music wizard A.R.Rahman composed the tunes for his first filmy album Roja... He was 26 then. Now at 43, he composed the tunes for his latest offing, Yuvvraaj. So taking a cue from the above stance, one can wonder the amount of change that had been evolved in his composing styles in this time-gap of 17 years!

The first song of Rahman to which I listened was Nila Kaigirathu from Indira (as that was the first ever film I watched)… At that point of time, I don’t know who Rahman was but that song did haunt me like a diva in my sporadic dreams! The first raaga I learnt was Mayamalava gowla and that was followed by a chain of raagas after which I took a break to analyze the songs based on the learnt raagas… Indeed, the first song I analyzed was Nila Kaigirathu. It is strongly based on Hamir Kalyani.

Pudhu Vellai Mazhai from Roja was a master-piece based on Kapi. The moment I heard Mannmohini Morey from Yuvvraaj, I thought it was a rendition on Kapi. But after a few times of hearing made me confirm that it was the alaap of Aabheri (Ni Sa Ga Ma Pa)! Rahman had composed only one song based on Aabheri, which is Kannodu Kanbathellam from Jeans. The song requires quite a high pitch. Nithyashree Mahadevan was absolutely great in that song as is Vijay Prakash in Mannmohini. When I compared the composing styles of Rahman in both these songs, I felt that he mixed that song with Sudha Dhanyasi and made it a raagamalika while he made a fusion of Aabheri in western in Mannmohini!

The moment I heard Tu Muskura… It made me remind of Sonnalum Ketpadhillai from Kadhal Virus which was based on Nalinakanthi. The interludes embedded in the song are purely western yet the base of the song is in Hamsadhwani. I was flabbergasted at the way Rahman mixed this song on such low notes with western loops. Then I realized that only a Rahman can do this sort of song! Alka Yagnik sounded better even on such low notes and Javed Ali is apt for his Hindustani alaap. The song is best suited to have a perfect evening!

Melody-Rhythm-Lyrical Beauty… these are the 3 pillars on which Carnatic Music is based on… and that is exactly one can witness in Zindagi…. Gulzar explaining the various modes of life and Srinivas taking you through the modes while Rahman is providing the fuel to the song. The song is etched on the raaga Saranga…. It made me reminiscent of Azhage Sugama (based on Dhwijavathi and Sahana) from Paarthale Paravasam. The varied styles in the pace of the song make it a celestial number. Here one can witness the contemporary style of Rahman, composing a melody.

An euphonious song is what I can say about Tu Hi Meri Dost Hain… It is probably the best example of western symphony Rahman is talking about these days and I guess this is the theme which he is trying to infuse in KMMC. This song can be simply listened for its lyrics which go like...

Kabhi dil ka hai saahil, Jahan shaam utarti hai

Kehte hain samundar se, Ek pari guzarti hai

Wo raat ki raani hai, Sargam par chalti hai

Gulzar Saab is to be applauded for his impeccable work. Without his lyrics, this song wouldn’t have been rooted in the ears of listeners. A hundred time listener… I might be sounding vague because it's actually more than a hundred time listener!

How can I forget the resplendent works of A.R.Rahman in Kandukondain Kandukondain? Kannamochi (based on Nattakuranji) and Thongi Choose (based on Kathanukathagulam) deeply evoke my feelings till date…The same Rahman I get to hear listening to these master-piece songs from Yuvvraaj although in a different way! The way Rahman is blending his music with different genres since Roja is simply breathtaking and quite amazing. That indeed makes a striking difference between him and other composers who are into producing some strident sounds.

As the notion says, the change is only about moving forward… one has to move forward adapting to the styles of the current time-frame one is living in without being able to forget one’s moolah! It applies universally, be it an A.R.Rahman, be it a Raghav or anyone else. Rahman has instigated various styles of music in him according to the changes and he is making his music move forward with them and along with it, he is transcending places. Let us wish him a wonderful birthday and request him to continue enthralling us with his music!