Such is the importance of Varnams. After learning what would be equivalent of Rhymes, its in varnams that you are seriously exposed to 3 or 4 pages of notes for one song! That scares the hell out of many right there.. Its also the first time one is exposed to structured melody of Pallavi, anu pallavi, mukthai swaram, Charanam and the zenith - Chittai swaram! When the real reason for drop out is to practice a varnam in multiple speeds, Its one of those excuses "My teacher is harassing me, who cares if its Chitta or chittai? In such a tough regimental life of Varnams, the first oasis that you would come across is the Abhogi varnam - "Evvari Bodhana".
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Such is the importance of Varnams. After learning what would be equivalent of Rhymes, its in varnams that you are seriously exposed to 3 or 4 pages of notes for one song! That scares the hell out of many right there.. Its also the first time one is exposed to structured melody of Pallavi, anu pallavi, mukthai swaram, Charanam and the zenith - Chittai swaram! When the real reason for drop out is to practice a varnam in multiple speeds, Its one of those excuses "My teacher is harassing me, who cares if its Chitta or chittai?
In such a tough regimental life of Varnams, the first oasis that you would come across is the Abhogi varnam - "Evvari Bodhana". Thats when you realize that carnatic music can also be understood without complications. The oddity of 4 consecutive swarams intercepted by a big gap and a jump to Dha and then melsthaai Sa. You will run over this sequence like a little puppy exploring a new territory.
In the line "Chalendra Sri Venkatesa" when you climb up "dha sa ri saa ri ga ma ri gaa maa ga ga ri sa" and come down as "ri ga ri sa sa dha ri sa sa dha ma dha ma ga ri sa" you will get the same adrenalin rush of going high on a giant wheel and coming down. As you progress further with Abhogi, you will also realize its laying out a clever litmus test for you. Because, often you would forget that there is no panchamam in the song and intuitively deliver that otherwise essential note and suddenly it tastes and sounds absolutely jarring with Sivaranjani..
Slip of one note and a world of difference. I still do this mistake :-!! Proof that nature and music can be very cruel to you! One of the those where authenticity stands out.
Composing a classical song is one. But handling the same raga for a film song and yet capturing the same essence of that raga takes a different skill.
For example, Without Panchamam its very difficult arrange a song and to give it a color of light music. Its because of the lack of fixing the root chord. But in this song, Raaja still arranges the song with his trademark rhythm guitar backing the song beautifully. There are not much options for him.. There is no root chord and thats a big handicap. The best bet you have is the Major 4th and minor second Note that both of them are relative major-minor and then perhaps convoluted variants of minor 6th and added minor 9ths by omitting the 5th.
But the unrelenting quest to find the common ground pushes this innovator all the way and you get this song. It not only arrests the listener it also provides him the benchmark to identify other Abhogi based songs. This song is the Logarithm table reference for many who try to identify other Abhogi based songs. Such is the influence of this song. Using Mukthai swaram-ish idea in one of the interludes is another novelty in this song.
The second interlude is composed full of Abogi swarams that are repeated in Veena. And talking of Veena, what to say about the elegance with which its scales the Abhogi back and forth, always landing in Sadjam and alternatively rhyming with its melsthai counterpart.
Its his Veenai bits which provide the uncluttered happiness visualization in your mind. When it comes to composing song belonging to different schools of music, there is none who can stick to the aesthetics of the domain and delivering.
Right from the days of Papanasam sivan to CR Subburaman to KV Mahadevan, composing a out and out carnatic raaga based song in cine music has been hallmark of film music. Illaiyaraja is the last composer still holging this legacy. He is the only one who still produces songs of this highly classical nature. You can be a Ilaiyaraaja lover or hater, but you cannot deny this. Its a fact! This blog offers my perspective on Maestro Ilaiyaraaja, The soul who has undoubtedly been a great influence in my life.
Apart from giving my objective thoughts and subjective emotions on his songs, I hope to bring out some anonymous ultimates. I hope to make this blog, home of my and of course your Ilaiyaraaja Experience Previous Posts.
ABHOGI VARNAM PDF
Fem Abhogi is a raga used for compositions in a medium to fast tempo. Views Read Edit View history. A new window will pop up. You are now logged in. Please help improve this article by adding citations to reliable sources. Varnma check your email. Available on the Appstore Get it on Google Play.
Evari Bodhana Lyrics
Anupallavi: A sort of recapitulation, sung with lyrics or sahitya also. Muktaayi Swaram: Sung completely with syllables—or swaras -- like s sa r Ri g ga m ma p pa d da n ni sa This is the higher version of the normal one. Charanam: Sung with lyrics Chitta Swara: Sung completely with syllables. In a Pada varnam, there are lyrics which correspond to the Charanam swaras.