Ezhu Swarangalum Song Download EXCLUSIVE
Quirino Rico
It turns out, that the sruti/key of this song is a note in between C and C#, exactly 40 cents above C to be precise. This means that MSV is operating in a microtonal key, or in other words, a key that is in between notes we may see on a piano or sruti box.
From the beginning of the song, on top of the rare key/sruti, there is another musical feature which grips us as listeners, which has to do with the raga, or melodic framework of the song. The song starts off in raga Pantuvarali (also known as raga Kamavardhini), and this raga is extremely unstable and thus gripping in its very nature.
The gratification process takes more twists and turns than we may have expected coming into the song, but MSV does not change anything (raga-wise) for almost the first three minutes. In these first three minutes, MSV puts the focus on the melody, and allows us to digest the melodic content (in fact, throughout the whole song, the emphasis is consistently on the melody). The percussion parts are largely consistent, which allows it to operate in our subconscious.
Before we get to the raga changes though, it is important to clarify the structure of the song. The song has a central pallavi, and four separate charanams, each in its own raga. After each charanam, the song goes back to the pallavi, before going on to the next charanam. The song ends with the pallavi after the final charanam. The first charanam is in raga Pantuvarali (same as the pallavi; hence is not discussed in particular), the second in raga Ranjani, the third in raga Sindhu Bharavi, and the fourth in raga Kamboji.
The manner in which MSV changes ragas is actually fairly sudden, in a way which immediately and freshly re-engages us listeners with the song. The first note that is played in the new ragam, which is raga Ranjani, is a Ga2, a note not present in raga Pantuvarali. This odd note immediately signals the transition to a new raga, and thus gets us interested in the direction that the song may take.
The classification of ragas as per time appears more extensive in Hindustani music than in Carnatic music. Even so, early morning traditions of song and spiritual chanting are integral to South Indian traditions related to temples and ceremonies. South Indian weddings always take place early in the morning. Early morning Seva in temples is considered very special. In Hindustani music, there are many morning ragas.
One of the best philosophical songs written by Kanndasan and rendered beautifully by Vani Jayaram to the tune of MSV. Another Gem by KB-MSV-Kannadasan Team. It is a song to listen to when you are sad or upset and puzzled by the questions the life throws at you ! Note: For brevity, I have removed lines which are repeated while singing.
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