Greetings from a newbie to this group. It is great to see an Indian tablature
site take off in such a big way. I have quite a few Tamizh and Hindi guitar ta
bs which I hope to share with you in future. I have seen a number of very nice
posts here from people like Ananth and Jayswami and I hope I can both contrib
ute and learn from this group.
I thought that I would start off by posting the chords to the song "Madai Thi
ranthu" from Nizhalgal..
I play the song in the A#maj Scale. I don't know if this is the original one s
ince I worked out the chords for this a few years ago, but it still works. If
this is not the original scale, you can always move it around.
Ok.. the A#maj scale consists of the following notes:
A# C D D# F G A
The corresponding chords are:
A#, Cm, Dm, D#, F, Gm and Am-dim
(I apologize for being a little pedantic here but I have found that it usually helps to understand the scale first before going on to the chords).
The other thing to note is that you could call this the A#maj Scale or the Gmin Scale. The Gmin is the relative minor of the A#maj scale. (On the fretboard, you can identify this by going down three semitones (half notes) to find the relative minor of a major scale). The notes and chords remain the same except that you would start from G instead of A#. On second thoughts, seeing how the song shapes up, I would rather call this the Gmin Scale.
Anyway, let me give the chords first before a brief discussion:
Intro - 1
Dm Gm A# Dm
Madai thiRanthu, Thaavum nathi alai naan,
Dm Gm A# Dm
Manam thiRanthu, koovim thiru kuyil naan,
Dm Cm Gm
Isai Kalaingan, yen aasaigaL aayiram
Gm A# Dm Cm F
Stanza - 1
Dm A# Gm A#
Kaalam KaNinthathu, kathavugaL thiRanthathu
Dm A# Gm A#
Nyaanam ViLainthathu, nal Isai piRanthathu
Cm Cm Cm A#
Puthu raagam padaippathaale, Naanum iRaivanE,
A# A# A# Cm
Isaikkena IsaigindRa rasigargaL raajjiyam,
The second stanza is similar.
A few things to note:
In the Gmin Scale, the chords are so:
Gm Amaj-dim A# Cm Dm D# F
I IV V
where I, IV and V denote the tonic, subdominant and dominant of the scale.
1. The piece starts off with the V (Dm) and then resolves to the tonic (Gm) at the very beginning (Madai Thiranthu). I find this interesting because usually, people start off a song with the tonic and usually follow some chord progression, resoving it to the tonic again towards the end.
2. The chord progression in the first lines is I - III - V (nice.. different from the usual I-IV-V.
3. I like the resolution to tonic at the end of the (Ninaiththathu paLiththathu).. as Gm - A# - Dm - Cm - F which follows a I-III-V-IV-VII resolving to I at the next stanza.
4. The stanzas have the same basic I-III-V progression before getting to IV-V at the end (Cm - Dm) .. and letting it hang like that. Creates a certain tension that can ONLY be released by resolving to the I, which is done at the next "Madai Thiranthu" when the Gm is played. I have found that I usually love songs that do this uniformally.. (also songs where there are scale changes... but thats for another day).
5. In the second interlude, Raja subtly adds am F# into the mix. Now this is obviously outside the scale but nobody bothered to tell the Maestro that It creates a very nice effect.
Hope this helps and please feel free to critique/correct me where I have gone wrong.
P. S. The ends of the chords are a little misaligned.. hopefully someone can tell me how to rectify that