ORU RAGAM THARADHA VEENAI - UNNAI VAAZHTHI PAADUGIREN

KAANA VENDAMO - NANDHANAR

NADHAM ENUM KOVILILE - MANMADHA LEELAI

nAdhamenum kOvililae
gnAna viLakkEtRi vaithEn
yEtRi vaitha viLakkinilae
eNNai vida nee kidaithAi

(nAdham)

ma dha ni dha sa.. sa ni dha ma dha ma ga ri
ma ga ri sa ma ga ri sa dha ma ga ri.. ni dha ma
ga.. ma.. dha.. ni.. sa

isaiyum enakkisaiyum - dhinam
en manam thAn adhil asaiyum
karamum undhan siramum - nee
asaithAi nAn isaithEn
(nAdham)

vilaiye enakkilaiyae - dhinam
veRum kathaiyAnathu kalaiyae
nilaiye solli unaiyae - nAn
azhaithEn uyir pizhaithEn
(nAdham)

ma dha ni dha sa.. sa ni dha ma dha ma ga ri
ma ga ri sa ma ga ri sa dha ma ga ri.. ni dha ma
ga.. ma.. dha.. ni.. sa

iRaivan ena oruvan -
enadhisaiyil mayangida varuvAn
rasigan enRa peyaril - inRu
avanthAn unnai koduthAn
(nAdham)

நாதமென்னும் கோவிலிலே 

ஞான விளக்கேற்றி வைத்தேன் 

ஏற்றி வைத்த விளக்கினிலே 

எண்ணெய் விட நீ கிடைத்தாய்..

நாதமென்னும் கோவிலிலே ..

இசையும் எனக்கிசையும் - தினம் 

என் மனம் தான் அதில் அசையும் 

கரமும் உந்தன் சிரமும் - நீ 

அசைத்தாய் நான் இசைத்தேன் 

நாதமென்னும் கோவிலிலே ..

விலையே எனக்கிலையே - தினம் 

வெறும் கதையானது கலையே 

நிலையே சொல்லி உனையே - நான் 

அழைத்தேன் உயிர் பிழைத்தேன் 

நாதமென்னும் கோவிலிலே ..

இறைவன் என ஒருவன் 

எனதிசையில் மயங்கிட வருவான் 

ரசிகன் என்ற பெயரில் - இன்று 

அவன் தான் உன்னைக் கொடுத்தான் 

நாதமென்னும் கோவிலிலே ..

AZHAITHAAL VARUVAALE SRIRANJANI - JAADHI MALLI

KB alone can create situations like this. the music savvy hero tries to break the ice with the heroine by singing this song.

kushboo, a singer whose name is 'sri ranjani' in this movie is highly upset with the attitude of mukesh, the hero. his acerbic tongue leaves her terribly hurt.

he also is wary of his guilt and tries to cajole the heroine. knowing that if he sings a raga wrongly, particularly one which has her name, she would definitely come out in the open, he sings this song.

spb is in his usual comfort zone. u should particularly hear him when the song ends. dhool.
while singing sriranjani he introduces 'pa' and that does the trick.
enjoy the song.

NADHAM EZHUNTHADHADI - GOPURA VASALILE

NADHA VINODHANGAL - SALANGAI OLI

Swaravardhini, Sriranjani, Hamsanandhi, Vasantha, Lalitha.

Kanniks Kannikeswaran writes:

I am blogging after a while.

A long long distance trip kept me away from the internet.

The long drives through Quebec and North Eastern United States were very interesting. More on that in another blog.

What I really want to write about here is naada vinodangal, from the Tamil film Salangai Oli from 1983 (or was it 82? I am not very sure).

The song naada vinodangal is a work of art. There is a lot packed into the song. More than meets the eye.

The song starts with a sloka. More on the sloka at the end of this piece.
Then, the strings introduce Sriranjani (the raga) along with the tablas and the mridangams.

‘Naada vinodangal’ — booms SPB.

SP Shailaja chimes in.

Then comes the first interlude. Shailaja chimes in on the svara ‘ni’ several times, as the bgm works its way through the raga sri ranjani.

Then there is an abrupt change to the raga hamsanandi.

What?

Yes. Why hamsanandi? The answer becomes clear as we proceed with the song.

‘sari, ni, sa, dh, ni, …’ etc.

The bgm comes to an end, and the song continues.

‘kailai naathan nadanam aadum sivarupam’.

The word ‘pournami’ strikes a jarring note as it uses the shuddha ma as opposed to the tivra ma.
It is then that you realize that the song has switched to the raga vasanta.

Oho.

Then comes ‘bharatam ennum natanam’ — the ‘nam’ on the natanam switches ‘dha’ to the komala dhaivatam.

Aha. Here is lalita.

Then the song returns to the pallavi in sriranjani again.

So there are sri ranjani, hamsanandi, vasanta and lalita – whose “scales” are derived by dropping the panchamam from kharaharapriya, gamanasramam, suryakantam and mayamalavagowla respectively.

Interesting. A decent amount of thought must have gone into its creation.
Now let us look at the sloka.

By and large it is a pentatonic, Sa ga ma dha(komal) ni (komal) sa. But there is an additional tivra rishabham in ‘vande’ in the last line. With these 6 notes, it fits into the scale of ragavardhini (minus the pa of course).

Thus the song itself – a salutation to Shiva uses five ragas all devoid of the panchamam – pa – hence the title panchama varja panchamam.

So, as I had said earlier, there is more than meets the eye in this song. Much more!

Note: The above discussion completely overlooks the tail end of the song ‘kaaviri mangai’, which appears unrelated to the rest of the song.

http://kanniks.wordpress.com/2008/07/10/salangai-oli-naada-vinodangal-panchama-varja-panchamam/