Dad's the spirit!

Though an ardent fan of his illustrious father, R.D. Burman held his own by giving us memorable hits. Remembering the musician on his 17th death anniversary today

R.D. Burman was rehearsing with Mohammad Rafi for the song 'Hum Bekhudi Mein', and he guided the singer to render the number in a way he felt was right. Apparently, after listening to the final composition, S.D. Burman was so annoyed that he admonished his son in public. A reflexive R.D. Burman immediately understood his lacunae, and followed his father's instruction, and the song, of course, went on to become a hit.

There are countless anecdotes of S.D. Burman and son R.D. Burman agreeing and disagreeing on compositions. The matchless singer and composer that he was, S.D. Burman wanted his son to be efficient like him. In fact, he'd sent R.D. Burman to learn Indian Classical music from Ustad Ali Akbar Khan, and to Salil Chowdhury for the details of music arrangement.

R.D. Burman grew up surrounded by music. He strongly desired to become a singer and composer in the tradition of his illustrious father. A trained harmonica player, he played the instrument effectively for the numbers 'Hain Apna Dil' and 'Yaad Aa Gaye', composed by his father. When the bongo player was not able to do justice to the beats of the song 'Aye Meri Zindagi', R.D. Burman himself played it to his father's baton creating a haunting melody.

He arranged music for almost all his father's compositions till "Guide" and "Jewel Thief". When he ventured on his own to compose for "Teesri Manzil", he succeeded immensely. So happy was S.D. Burman that he told his son that people pointed to him as R.D. Burman's father when he was out on a regular morning walk at Bandra.

From the late 60s, father and son started working separately yet maintaining the best of relations. R.D. Burman helped with the background score of "Aradhana" singing 'Hey Hey' creating a mesmerising effect. He even helped his father by being around at the recording of 'Meet Na Mila' and 'Nadiya Kinare' as the latter was not keeping good health.

For a number of his own compositions such as 'Sharm Aati Hain Magar', 'Isi Liye Maine' and 'Raina Beet Ja', he received the best guidance of his father. It was believed that father and son were not exactly on talking terms after R.D. Burman composed for "Hare Rama Hare Krishna". It was a misconception. R.D. Burman wanted to follow his own line of creation he had mastered over the years. S.D. Burman never interfered, and gave his son the liberty to move on.

Father and son, along with Lata Mangeshkar, rendered the unforgettable number 'Raina Soi Soi' with the ideal blend of Naga folklore and Western beats. Though R.D. Burman was very effective, he was said to be pleased that his father outclassed him and the nightingale in sheer singing ability and delivery of lyrics musically.

A different effect

S.D. Burman created a musical effect in the song 'Pyase Do Badan' with saxophone, 12-string guitar and trombone, which spell-bound R.D. Burman, who agreed he could have never utilised Asha Bhonsle's voice so magically and sensuously. He's said to have listened to the song again and again to note the arrangement.

S.D. Burman and Salil Chowdhury apparently used to enjoy it whenever R.D. Burman declared Salil Chowdhury his musical guru, and not his father. Salil Chowdhury used to rebuke his student, and an apologetic R.D. Burman would look to his father for rescue, who would promptly bless his son and son's 'guru'.

No wonder on October 31, 1975, when S.D. Burman breathed his last, R.D. Burman called up Salil Chowdhury and cried he had lost the banyan tree under which he grew. Salil Chowdhury obviously had no words to console him. When R.D. Burman passed away on January 4, 17 years ago, Salil Chowdhury is said to have cried in anguish: "Regal music in Hindi films has come to an end. The contribution of the Burmans to Hindi film music is unique in their own dimensions, very difficult to touch."

A Raga's Journey — The magic of Mayamalavagowla

A raga that is symmetric and very easy to teach and learn is Mayamalavagowla. This is the reason beginners' lessons in Carnatic music are based in Mayamalavagowla and its derivative ragas.

The notes that feature in Mayamalavagowla are sadja, suddha rishaba, antara gandhara, suddha madhyama, pancama, suddha dhaivata and kakali nishada. It is a morning raga that evokes peace, harmony and sometimes a hint of sadness.

The well-known "Sri Gananatha" geetham is based on Malahari raga, a janya of Mayamalavagowla.

"Tulasi dala," "Vidulaku Mrokeda," "Rakshimpave" and "Merusamana" are well-known Thyagaraja kritis in this raga. "Srinathadi Guruguho Jayati," the very first composition of Muthuswamy Dikshitar, was in this raga too.

In cinema, one of the first songs to have been composed in Mayamalavagowla is "Govinda Varada Srihari Gopala" from "Tukaram," starring Musiri Subramania Iyer. "Alibaba-vum 40 Thirudargalum" featured the very peppy "Azhagana ponnuthan" in this raga, sung by Bhanumathy.

"Kallellam manicka kallaguma" from "Alayamani," sung by T.M.S. and L.R. Eswari in the music of Viswanathan–Ramamurthy, is a brilliant example of this raga. In the haunting humming "spm, /grs /s, r,s r,s g..." the various stages of progression of the raga are outlined – the gandhara pause, next pancama and finally a complete octave sweep to upper sadja.

"Solladi Abirami," the passionate outpouring of Abirami Bhattar from the film "Adhiparasakthi" (music K. V. Mahadevan) is based on this raga. Mostly in the upper octave, the opening of this song highlights the importance of gandhara in this raga.

"Anthapurathil oru maharani" from the film "Deepam," in the music of Ilayaraja and sung by T.M.S. and S. Janaki, is an example of a free-flowing Mayamalavagowla. Starting in the top sadja, the opening phrase "ss n d p d m p,p,p" straightaway establishes the stamp of the raga. This song flagged off a successful innings in Mayamalavagowla for the maestro, and he would compose, over the next few decades, some of his best-known tunes in this scale.

Ilayaraja's creations in this raga define its place in film music. One of the most melting pieces in this raga is "Rama namam oru vedhame" from the film "Sri Raghavendrar." Sung tunefully by Vani Jayaram, this song shows the dutiful disciple repeating phrases in this raga and gleaning knowledge from the guru, and the choice of raga couldn't have been more apt. "Kadhal kavidhaigal" from "Gopura Vasalile," sung by Chitra and S.P.B., is a bright song in this scale and in the lines "idhayam idam maarum, ilamai parimarum" subtle gamakas come alive in the pancama-dhaivata region.

"Madura marikkozhundu vaasam" from "Enga Ooru Pattukaaran" showcases this raga in a folkish style. The groovy 6-8 beat complements the mood and the opening "p d s, n,d mpdp" clearly points to this raga. The song "Mariyamma Mariyamma" from "Karagattakaran" is a striking Mayamalavagowla. Once again in a village setting, this song captures the raga's earthy appeal in the voices of Malaysia Vasudevan and Chitra. In "Thevar Magan," a little piece sung in chorus stole our hearts - "Maasaru ponne varuga." The sangati in "Eesanin pangey varuga" reminds one of a proper kriti in this raga.

"Poova eduthu oru maalai" from "Amman Kovil Kizhakkale" is another memorable melody in Mayamalavagowlai from Ilayaraja's sound factory, as is "Mookuthi poomele" from "Mouna Geethangal," by Gangai Amaran.

A.R. Rahman in the film "Alli Arjuna" composed "Solladhe solaikili," sung by Swarnalatha and S.P.B. in this raga, with lilting backgrounds and interludes defining a modern Mayamalavagowla.

In Hindustani music, the raag Bhairav is the equivalent of Mayamalavagowla. "Mohe bhool gaye sanvariya" from the film "Baiju Bawra," sung by Lata Mangeshkar and with music by Naushad, is a classy Bhairav, handled in a moderate tempo. "Ek ritu aye, ek ritu jaye" from the film "Gautam Govinda," with music by Laxmikant-Pyarelal and sung by Kishore Kumar, is a breezy depiction of Bhairav. -CHARULATHA MANI