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South Indian Classical Music
Electric Cello:
V.R.Sekar
1. “Evaribodhana”
[4:25 (A Varnam - a composition with limited lyrics with an
extensive importance on Raga’s aural image and rhythmic structures)
is a composition of Patnam Subramanya Iyer (1845-1902) in the Raga
Abhogi which is: with D as tonic (as in all compositions) consists
of: in the Tala “Adi” - 8 beats cycle in simple time. In the first half of the composition, the arrangement consists of notes occurring in the raga as described above. In the second half, I have deliberately introduced “non-raga” notes to add more color to the harmony. Another feature to be noted is that the other three instruments complementing the first violin play with more gamakas (the special ornamentation characteristic of Indian music) in this particular arrangement in the first half.
2. “Vaathaapi” [4:29 (A kriti- a composition with lyrics - generally in three sections - Pallavi, Anu-Pallavi and Charanam) is a very popular composition by Dikshitar (1775-1835) in the Raga- Hamsadhwani which is : Ascending: D-E-F#-A-C#-D Descending: D-C#-A-F#-E-D in the Tala “Adi” - 8 beats This is a composition invoking the popular God – Ganesha (who is depicted with an elephant head and believed to remove all obstacles); this is usually performed at the opening of a concert. The specialty in this arrangement is the cello taking on the role of percussion with pizzicato and driving the quartet with energy. It may also be noted that at the end of each section, there is a simulation of the characteristic percussive ending heard in a typical south Indian performance.
3. “Shree Maha Ganapathi” [10:54] Another krithi devoted to the popular God, Ganesha by Dikshithar in the Raga- Gowla: Ascending: D-Eb-G-A-C#-D Descending: D-C#-A-G-Eb-F#-G-Eb-D In the Tala “Misra Chapu” - 7 beats cycle. In this piece, I have introduced the elements of Alapana (Raga improvisation) by Violin and Cello. One will not miss the percussion heard in a regular classical South Indian concert because the second violin, viola and cello while supplying the harmony are constantly keeping the pulse. In addition, I have also introduced as a chief feature for this particular piece the elements of Swarakalpana (A series of improvisations of melody within rhythm, landing on a particular line of the composition at the end of each improvisation) which is played in turns by the violin, viola and cello.
4. “Paraathpara” [3:36] a Kriti by Papanasam Sivan (1890-1973) invoking God Siva, in the Raga – Vaachaspathi: Ascending: D-E-F#-G#-A-B-C-D Descending: D-C-B-A-G#-F#-E-D In the Tala- “Adi” - 8 beats. In this piece, I have composed an introduction before the Pallavi section, the introduction being one continuous melody interwoven by violin, viola and cello. Also, there are “interludes” before the sections of Anupallavi and Charanam.
5. “Gnaana mosagaradha” [4:53] a well- recognized Kriti by Thyagaraja (1767-1847) in the Raga- Poorvikalyani: Ascending: D-Eb-F#-G#-A-B-A-D
Descending: D-C#-B-A-G#-F#-Eb-D This beautiful Raga which uses minor second, major third and Augmented Fourth inspired me to form a beautiful harmonic basis for the melodic lines of the famous composer Thyagaraja. In the Charanam, the other three instruments play very beautiful percussive arrangements and go into arpeggios with pizzicato embellishing the melodic lines of this composition. This is the major feature of my arrangement for this particular composition. The phrasing of the lyric as intended by the composer in the opening line (gnaanamu = great knowledge; osaga raadha = cannot you grant me?) is important and I have attempted to accomplish this by the way the three accompanying instruments are used to emphasize this phrasing.
6. “Orajoopu” [3:39] a Kriti by Thyagaraja is in the raga, Kannadagowla: Ascending: D-E-F-G-A-C-D Descending: D-C-B-A-G-F-D In the ‘introduction’, the introductory melody played by the first violin has been woven out of the first line of the composition against the other three instruments playing a jazzy ‘trombonic’ phrase.
7. “Shree Subramanyaaya Namasthe”[9:01] A Dikshithar composition in the Raga- Kambodhi: Ascending: D-E-F#-G-A-B-D Descending: D-C-B-A-G-F#-E-D In the Tala “Rupakam” - 3 slow beats. This is a very majestic piece in slow tempo, unlike other compositions of Dikshithar which are more vigorous in character. Although the harmony, I used here, consists of simple major and minor chords, the effect on this particular piece evokes a unique ambience.
8. “Sudhaamayi”[4:46] a Kriti by Muthaiah Bhagavathar (1877-1945) is in the Raga Amruthavarshini: Ascending: D-F#-G#-A-C#-D Descending: D-C#-A-G#-F#-D In the Tala- Rupakam - 3 beats. The “tremolo” in the ‘Intro’ is definite to make the listener sense that the Raga “Amruthavarshini” is associated with rain! The introduction itself is a decoration on three notes by the first violin that lead to the opening ‘word’ of the Pallavi.
9. The Thillaana [4:50] is a lighter composition usually performed towards the end of a concert and is of percussive quality syllables as the main ingredient of opening lines, being mainly a rhythm oriented composition. This piece is composed by the well-known contemporary Indian Violinist Lalgudi G. Jayaraman, born in 1930. The Raga Desh: Ascending: D-E-G-A-C#-D Descending: D-C-B-A-G-F#-E-D In the Tala “Adi” - 8 beats This beautifully composed and often performed piece in the very appealing Raga Desh, I feel, is elevated even more by the use of simple and common harmony.
10 “Chinnanjirukiliye” [4:28] is a very popular song from the Tamil film “Manamagal” (1951), Music by C.R. Subbaraman with lyrics from the great Indian poet Subramanya Bharathi. This is a composition in multiple Ragas - known as Ragamalika - which is a garland of Ragas. It is in 3 beats. These sorts of pieces are played at the end of a concert. I have introduced some modern harmony which seems to fit well into the composition while the original interludes have been left intact.
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