Even 'chembaruthi poale' he uses the bashangam of kaapi, in the very beginning, like, 'Pa NI2 Ma Pa Ni3 Sa'. This is one of the instance in which his classical 'vidwat' was manifest.
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Wonderful start! To start kaapi in madhyamam and use its key phrase 'Ga3 Ma Ni2 Pa Ga2 Ri Sa Ni3' at the very beginning is an excellent approach to the tune. He starts 'ada maapila' like, Ma Ga3 Ga3 Ma Pa, Pa Ma Ga3 Ma Ni2 Pa Ga2 Ri Sa Ni3 Sa Sa. As far as I know Illayaraja is the only one who used kaapi in cinema. His other Kaapi are ada maapila (maapilai), hei paadal onru (priya). Lastly,there is one song in Kaapi raaam in Chembaruthi: chembaruthi poalae (after decades, Banumathi Ramakrishna sang a tail piece of this song). The lyrisict says in pallavi "kadal thaneer karikudu kaaranam irukkudu, meenavar vidugira viyarvaikal kadalile kalakudu." (Sea water is saline because of 's fishermen's sweat). Probably, muthulingam or whoever was the lyrisict, had a strong tea before writing that song! That song goes to tell the pathetic life of fishermen. In "kadalile ezhumbura" the lyrics is unusually good. But, probably MSV's Unnakenna Mele Ninrai (Simla Special) is the best of Sindhu Bhairavi. Illayaraja has innumerable songs in Sindhu Bhairavi, a variegated population from valai osai kalakala ena to shenbagame, shenbagame etc. One in three of all cinema songs are in Sindu Bhairavi scale (one of the commonest cinema melodies, like the 20th mela Natabhairavi). Both these songs are excellent Sindu Bhairavi's. Illayaraja himself has sung the former ( thso, thso rendition ) and Nagoor Hanifa the latter. They are "kadalile ezhumbura alaikalai" and "kaadhalile tholvi". In chembaruthi, two of the 4 carnatic songs, are in Sindu Bhairavi raagam. So much about chakravaagam and its janyams and Illayaraja. (Those people like Thamizh vendan & co, who have no other job other than inundating the S.C.T with meaningless news about Thamizh Ezham, now, have a point!). In the charanam he says, if you listen to and speak Thamizh, " Oon mezhugai urugum, athil ulagam karainthu pogum", such is the beauty of this language! One cannot write any better,about the greatness of Thamizh language.
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Amudhae thamizhae starts like Sa Ri Ga,Sa Ri Ga, Sa Ri Ga Pa Ga Ri Sa, Sa Ri Sa Da Sa.Pulamai Pithan's lyrics glorified that song. One should be an artist and play those songs to know their quality. Those two songs are "amudhae thamizhae" (kovil pura), and "nila kuyilae" (magudi). I don't think that such a raga exists in carnatic music with any known name. Particularly, S.P.Shailaja has sung like the shrill sound you hear when you apply the breaks on a car that you bought for 500 $! There are two other songs in which he has deleted both Ni and Ma in chakravaagam.
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Krishnachandar and S.P.Shailaja tried their best, but probably spoiled it. Then came "Thendral vanthu muthamittathu" in malayamaarutham in "Oru odai nadiyagirathu"(another sridhar's movie). Dheepan chakravarthi had struggled to keep in pace with that tune (like some violinists get into trouble with Sesha- gopalan's pace!). Maybe Illayaraja's first malayamaarutham was "poojakaana neram" in "kaadal ovium. What a wonderful start! The sharp rishabam gave a beautiful colour to this song. Ga Pa Da Sa Ni Da Pa Da Pa Ga, Ga Pa Ga Sa Sa Ri. Yesudoss and Uma Ramanan had done a wonderful job in that song. I distinctly remember how the 'Ananda Vikatan' magazine wrote in glowing terms about "kannmani nee vara kathirun- then" song in malayamaarutham.
NAGOOR HANIFA HITS SONGS MOVIE
His first malayamarutham came as a pleasant surprise in Sridhar's movie (for whom he always had a soft corner) "Thenralae ennai thodu". Sa Ri1 Ga3 Pa Da2 Ni2 Sa, Sa Ni2 Da2 Pa Ga3 Ri1 Sa. In the janya raagas of chakravaagam, he has excellent numbers. Illayaraja has only few chakravaagams in his account.