~~Talking about this movie, it was completed by mid of '97 itself, however, it was not released yet for some internal issues. Apparently, they are planning to release it now. Infact, film maker had attempted to release it by end of last century with a new name "Oruvan Oruvan muthalali", however, it gone futile.
It was directed by Gangai amaren.
*ing: Venkatprabhu, Sangeetha and et, al., It has some interesting numbers.
This music album has an induction by Gangai amaren who flatters Raaja sir and complaints about contemporary music style {I mean by that time - mid of '97}.
Nagmaa Nagmaa Nagmaa Intha by Mano {I kinda remember that all the songs were penned by Gangai amaren itself and not by Vaali sir, correct me if I am incorrect}.
What happens when Jimi Hendrix & Larry Graham meet Jazzy B?
I am afraid their combination may lead to an avant-grade fusion of Punjabi grovvy bhangra rhythm with funky guitar work, which we may coin as "Punjabi rock".
Apparently, this song starts with Solkattu {vocal beat measure} by Mano with some flattering comments with castrato. Then, this lude get into a new stage for dancing with electrified distortion guitar, synth rhythm, tabla loop {eh? or track tabla was enhanced with double the speed} with funky pops onto bass guitar strings.
First 2 lines of Pallavi lead have filler of rocking distortion guitar chords, which raise the temperature of my vicinity {wink}. As soon as pallavi starts tabla's rhythm had been borrowed by programmed percussion with funky slapping onto bass guitar as bassline. Jazzy piano as bassline steals my soul during this vocal part.
1st interlude, again, is it spick & span arpeggio on synth or chords played on guitar with pedal? Anyway, it was well-played and was accompanied with synth flute and pleasing bass guitar, all gather to take us to a new harmonious zone. 2nd part of this interlude has an interesting string instrument, which sounds alike Middle Eastern string instrument and simultaneously, makes me to perplex whether rhythm guitar sounds with off-beat with mere measure of bass guitar slaps.
Saranam has cogent poly-rhythm - programmed percussion is accompanied with tabla and correspondingly, change of vocal pitch at the last part of this stanza was accompanied with distortion guitar, which makes new synonym of fusion music.
2nd interlude, distortion guitar’s call was responded or comically imitated with Middle Easternish alap and later, both intermingle with each other with panicky synth sound {in lighter vein}, however, distortion guitar would not play dischord progression, which we would need to make a note of it. Last part of 1st interlude was repeated again and this lude ends with vocal beat measure and its appropriate rhythm through tabla.
Again, last 2 lines of Saranam, steal the melody {at least for me}. You bet!
Postlude: It is an attention-grabbing lude. Dhol was replaced with bass drum and was accompanied by Chimta to paint bhangra color for this lude. Energetic scat singing of mano with falsetto, imitates as cart-driver is hilarious.
It is such a cadenced number, which enhances my pulse.
always
~~Raaja rules!
Friday, November 7, 2008
Tuesday, October 28, 2008
Semi-Ghazal
~~The word ghazal is an Arabic word that literally means a "discourse" or more correctly a "talk to women". Initially, Ghazal is of poetic form rather than musical, however, nowadays, it is more sung alike thumri {Meera oriented songs}. Those days, the ghazal never exceeds 12 couplets {they call it "shers"} and nowadays, it has been minimal, say about 7 couplets in average. Last word of the couplets should have same sound or rhyme, which we call it as "Monai" {they call it as "Radif" or "Qaafiyaa"} or it could be same word itself. Sometimes "Radif" is more like meter or "Alavukhol". From Thiruvasagam, Thiruk koththumpi song has Chenrudhay koththumbi at end of every verses. Well, it is supposed to be Vengkalipa rather than couplets. "Koththumbi" in Thiruk koththumpi song is supposed to be Qaafiyaa.
If we combine two lines {1 + 2 and 3 + 4} of each verses {of Thiruk koththumpi} then we would arrive couplets, otherwise, Thiruk koththumpi could be called as Guzzanelle {in lighter vein}. Guzzanelle is very amicable to Ballad. In that manner, Thiruk koththumpi in Raaja sir's Thiruvasagam in Oratoria is reportedly "Ballad" or "Devotional Ballad" {I did coin this term - (smile)}. So does, painfully Muthu Natraamam from thirup Porchchunnam {Here, "idiththun^ame" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "....chunnam idiththun^ame"} and Putrilval aravum from achchappaththu {"Mare" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "...thavaraik kannai amman^am anychu mare"} and umbargatkarache ozivaran^irain^dha of Pidiththa paththu {Here, "thiniye" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "...chikkenap pidiththen en^gezun^ tharuluva thiniye"}.
All the songs, which has couplets cannot be Ghazal compositions. It should also have usage of ethnic music instruments like Harmonium, Tabla {frame drum}, Rabab {Oudh or Gambus, eh?} or Guitar {especially Jagjit singh's Ghazal} Sarangi, Riq {Ganjira}, kamancheh {eh?}, Santoor and Sitar, to create the middle eastern musical flavour.
There is an excuse for cine compositions wherein we normally follow the rule of Pallavi, Anupallavi {sometimes}, 2 - 3 {4, eh?} Charanams for a song. To my knowledge, Vairamuthu's lyrics for "En uyire En uyire" from Uyire has Ghazal's couplets form and its first two lines are supposed to be "Matla", overall form and mood of the entire ghazal. It has 1 "Matla" + 7 more couplets, which is contemporary Ghazal's format. However, orchestra arrangement of this song forsaken the color of Ghazal's contour. Painfully, the lyrics of Gangai Amaran's Indha Maan Undhan Sondha Maan could be added lattermost to this list.
Well, theme of Ghazal is all about origin of love to lonesome in poetry form and sometimes, {nowadays} religious and political awarness as well. Since botheration of poetic format, most of the time Ghazal compositions have been contaminated with usage of pure raaga. In other words, application of pure {hindustani} raagas are not amicable with Ghazal compositions as it needs to sustain the allure of poems rather than experimentation of swaras. Off-late, in a Ghazal concert, an indian Ghazal singer intended to use raagas like Puriya Dhanasree and Pahadi for Ghazal compositions which has drained the originality of Ghazal.
On other hand, bastardization of the contemporary Ghazal lyrics format descends the quality and originality of Ghazal, however, some of cine songs have ethnic orchestra, which creates a grey color of Ghazal, for instance last part of Konji Konji from Veera wherein only Tabla and harmonium were played and makes the grey color of Ghazal in it, Raaja sir did not intend to made it out with Ghazal's nuances {At least in my perception (wink)}. However, the song - Poongathre - Friends has dense nuances of Ghazal, in many aspects. It is not a pure Ghazal composition, though.
So considering these factors, we do not have any typical or very Ghazal compositions in Raaja sir's musical products {mabbie, would be there without my knowledge - (smile)}. However, rather than lamenting, we could console ourselves by considering some parallel or corresponding Raaja sir's compositions, which has nuances of Ghazal, if not in typical lyrical aspect, but with usage of orchestra and melody. Sometimes lyrical format especially Charanam endorse to some extend to make Ghazal nuances, however, it's last line stands alone without pair sentence and does not make a couplet and thus, lessening one of the features of Ghazal. So, with lotta obligation or condone, below songs may fall into contemporary cine Ghazal songs, which we could call it as "Semi Ghazal". You bet!
P.S: Well, I have gone through around 1500 songs, randomly and so, there is a possibility that HE would have attempted for pure Ghazal in the remaining 2000 + songs. Also, there should not be any complaints on HIM as Ghazal songs are required according to the situation of the movie or directors' requirement/choice only. So, Raaja sir is {always} an immaculate soul {smile}.
I have just had a glimpse on few of HIS compositions and end up with this list, however, during my leisture time, I would need to sit down to consolidate Ghazal oriented songs in HIS compositions. {wink} Otherwise, I am good!
Maniyosai - Payanangal Mudivathillai {First two lines inspired from Ghulam's composition}
Oru Kaviyum from Aruvadai naal
Hamhai Akailae - Nando {I am afraid that it would be Marathi lavani genre, nevertheless, charanam, take the credit of Ghazal}
Prema Entha - Abhinandan {Telugu}
Unnai Naan - Ilaiya Ragam {Pathos}
Achaani - Maadha Un Koyilil
Vazhkai Odam sella - Aval appadithan
Anupallavi of Othadi Othadi Orama - Dharmathin thalavin {eh?}
Yendha yenmam - Ezhumalaiyan Mahimai
Poongathre - Friends
Oh Priya - Idayathaithirudathe {charanam}
Naan paadum mouna raagam - Idhaya Kovil {especially Charanam}
Mangai Nee Maangani - Innisai Mazhai
Kattril yenthan - Johnny - {Charanam}
Unn Kannil - Kanne Kalai Maane
Naatham en jeevane - Kadhal oviyam {Awesome usage of Bass guitar}
Kavikuyil - Kathal Oviyam
Kanna varuvaya - manadhil urudhi vandum
Ananda thein - Manipoor maamiyaar
Chukalle Tochave - Nireekshana {Telugu}
Mayanginen - Nanae Raja Nanae Mandiri
Thena thenpandi - Udhaya geetham - {Charanam}
Devan Thantha Veenai from Unnai Naan Santhithen {Charanam}
Konjam Sangeetham - Veetila veesenga {Charanam}
Enn Manamae - Vishwa Thulasi
Nirpathuve Nadappathuve - Bharathi...
P.S: MSV sir has composed a Ghazal album by late 90's and all the songs were penned by Kamakodiyan {who also wrote the song - Malliga mottu mansa thottu for Raaja sir}.
always
~~Raaja rules
If we combine two lines {1 + 2 and 3 + 4} of each verses {of Thiruk koththumpi} then we would arrive couplets, otherwise, Thiruk koththumpi could be called as Guzzanelle {in lighter vein}. Guzzanelle is very amicable to Ballad. In that manner, Thiruk koththumpi in Raaja sir's Thiruvasagam in Oratoria is reportedly "Ballad" or "Devotional Ballad" {I did coin this term - (smile)}. So does, painfully Muthu Natraamam from thirup Porchchunnam {Here, "idiththun^ame" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "....chunnam idiththun^ame"} and Putrilval aravum from achchappaththu {"Mare" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "...thavaraik kannai amman^am anychu mare"} and umbargatkarache ozivaran^irain^dha of Pidiththa paththu {Here, "thiniye" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "...chikkenap pidiththen en^gezun^ tharuluva thiniye"}.
All the songs, which has couplets cannot be Ghazal compositions. It should also have usage of ethnic music instruments like Harmonium, Tabla {frame drum}, Rabab {Oudh or Gambus, eh?} or Guitar {especially Jagjit singh's Ghazal} Sarangi, Riq {Ganjira}, kamancheh {eh?}, Santoor and Sitar, to create the middle eastern musical flavour.
There is an excuse for cine compositions wherein we normally follow the rule of Pallavi, Anupallavi {sometimes}, 2 - 3 {4, eh?} Charanams for a song. To my knowledge, Vairamuthu's lyrics for "En uyire En uyire" from Uyire has Ghazal's couplets form and its first two lines are supposed to be "Matla", overall form and mood of the entire ghazal. It has 1 "Matla" + 7 more couplets, which is contemporary Ghazal's format. However, orchestra arrangement of this song forsaken the color of Ghazal's contour. Painfully, the lyrics of Gangai Amaran's Indha Maan Undhan Sondha Maan could be added lattermost to this list.
Well, theme of Ghazal is all about origin of love to lonesome in poetry form and sometimes, {nowadays} religious and political awarness as well. Since botheration of poetic format, most of the time Ghazal compositions have been contaminated with usage of pure raaga. In other words, application of pure {hindustani} raagas are not amicable with Ghazal compositions as it needs to sustain the allure of poems rather than experimentation of swaras. Off-late, in a Ghazal concert, an indian Ghazal singer intended to use raagas like Puriya Dhanasree and Pahadi for Ghazal compositions which has drained the originality of Ghazal.
On other hand, bastardization of the contemporary Ghazal lyrics format descends the quality and originality of Ghazal, however, some of cine songs have ethnic orchestra, which creates a grey color of Ghazal, for instance last part of Konji Konji from Veera wherein only Tabla and harmonium were played and makes the grey color of Ghazal in it, Raaja sir did not intend to made it out with Ghazal's nuances {At least in my perception (wink)}. However, the song - Poongathre - Friends has dense nuances of Ghazal, in many aspects. It is not a pure Ghazal composition, though.
So considering these factors, we do not have any typical or very Ghazal compositions in Raaja sir's musical products {mabbie, would be there without my knowledge - (smile)}. However, rather than lamenting, we could console ourselves by considering some parallel or corresponding Raaja sir's compositions, which has nuances of Ghazal, if not in typical lyrical aspect, but with usage of orchestra and melody. Sometimes lyrical format especially Charanam endorse to some extend to make Ghazal nuances, however, it's last line stands alone without pair sentence and does not make a couplet and thus, lessening one of the features of Ghazal. So, with lotta obligation or condone, below songs may fall into contemporary cine Ghazal songs, which we could call it as "Semi Ghazal". You bet!
P.S: Well, I have gone through around 1500 songs, randomly and so, there is a possibility that HE would have attempted for pure Ghazal in the remaining 2000 + songs. Also, there should not be any complaints on HIM as Ghazal songs are required according to the situation of the movie or directors' requirement/choice only. So, Raaja sir is {always} an immaculate soul {smile}.
I have just had a glimpse on few of HIS compositions and end up with this list, however, during my leisture time, I would need to sit down to consolidate Ghazal oriented songs in HIS compositions. {wink} Otherwise, I am good!
Maniyosai - Payanangal Mudivathillai {First two lines inspired from Ghulam's composition}
Oru Kaviyum from Aruvadai naal
Hamhai Akailae - Nando {I am afraid that it would be Marathi lavani genre, nevertheless, charanam, take the credit of Ghazal}
Prema Entha - Abhinandan {Telugu}
Unnai Naan - Ilaiya Ragam {Pathos}
Achaani - Maadha Un Koyilil
Vazhkai Odam sella - Aval appadithan
Anupallavi of Othadi Othadi Orama - Dharmathin thalavin {eh?}
Yendha yenmam - Ezhumalaiyan Mahimai
Poongathre - Friends
Oh Priya - Idayathaithirudathe {charanam}
Naan paadum mouna raagam - Idhaya Kovil {especially Charanam}
Mangai Nee Maangani - Innisai Mazhai
Kattril yenthan - Johnny - {Charanam}
Unn Kannil - Kanne Kalai Maane
Naatham en jeevane - Kadhal oviyam {Awesome usage of Bass guitar}
Kavikuyil - Kathal Oviyam
Kanna varuvaya - manadhil urudhi vandum
Ananda thein - Manipoor maamiyaar
Chukalle Tochave - Nireekshana {Telugu}
Mayanginen - Nanae Raja Nanae Mandiri
Thena thenpandi - Udhaya geetham - {Charanam}
Devan Thantha Veenai from Unnai Naan Santhithen {Charanam}
Konjam Sangeetham - Veetila veesenga {Charanam}
Enn Manamae - Vishwa Thulasi
Nirpathuve Nadappathuve - Bharathi...
P.S: MSV sir has composed a Ghazal album by late 90's and all the songs were penned by Kamakodiyan {who also wrote the song - Malliga mottu mansa thottu for Raaja sir}.
always
~~Raaja rules
Monday, October 20, 2008
Poovae semboovae
A gentleman called Jercy malencheck from Yugoslavia made it onto India to Appa's office. He wanted to meet us {Myself and my brother}. We had a great time with him throughout the day. I was doing my 7th standard by that time {chuckle}. We went to Higginbotham's {a biggest bookstore in chennai} and American book house in chennai. At one of the shops, we bought few cassettes and he has gifted us a couple of cassettes in our choices. One is Aranmanai kili and other one is Hits of Yesudoss. And the cassette "Hits of Yesudoss" has this song - Poovae semboovae un vaasam varum. Nostalgic thoughts
Well, talking about this immaculate composition, its core melody and lyrical theme of this song could be imposed on a cute lullaby, protoganist {of this song} would sing for his spouse, though. So, in such a way, it is a corresponding song for "Enthan vazhkkaikku artham solla" from Chinna Kannamma.
This song is based on 3-beat cycle, pallavi has nuances of waltz swing. I am afraid this song is not based on a single raaga. Alike, it is such a fusion number with different genres, good enough integrated/incorporated without bothering the beauty/allure of the melody. Interestingly, the prelude and postlude are tantamount piece with stream like running guitar and discontinuous/rambling puff on blow hole of flute, which are guarantee for descend of stress. Another factor is, string instruments were played with more than normal pace, say string orchestra arrangement, bass guitar, sitar, acoustic guitar, solo violin so does both the interludes.
Manirathnam says Raaja sir is a point wherein east meets west. At 1st interlude, strange call and response betwixt indian string instrument - Sitar and western string instrument - string orchestra. Classical violin's easily seductive distortion accompained by hindustani ethnic rhythm - tabla and ghunghroo and moves onto western zone with string orchestra and oboe play the melody, which can be imposed to akaaram {aaaa} after 1st line of 1st Charanam, in lighter vein or is it my misinterpretation? Avant-garde {2nd} interlude has stunning slapping through bass guitar and cymbols interwoven with tabla and ghunghroo. Ethnic violin's 2 calls was responded by bass guitar and also, lead for prestissimo kinda string orchestra movement with tabla and ghunghroo concomitant.
Yennaalum sangeetham sandhoshamey!
always
~~Raaja rules!
Well, talking about this immaculate composition, its core melody and lyrical theme of this song could be imposed on a cute lullaby, protoganist {of this song} would sing for his spouse, though. So, in such a way, it is a corresponding song for "Enthan vazhkkaikku artham solla" from Chinna Kannamma.
This song is based on 3-beat cycle, pallavi has nuances of waltz swing. I am afraid this song is not based on a single raaga. Alike, it is such a fusion number with different genres, good enough integrated/incorporated without bothering the beauty/allure of the melody. Interestingly, the prelude and postlude are tantamount piece with stream like running guitar and discontinuous/rambling puff on blow hole of flute, which are guarantee for descend of stress. Another factor is, string instruments were played with more than normal pace, say string orchestra arrangement, bass guitar, sitar, acoustic guitar, solo violin so does both the interludes.
Manirathnam says Raaja sir is a point wherein east meets west. At 1st interlude, strange call and response betwixt indian string instrument - Sitar and western string instrument - string orchestra. Classical violin's easily seductive distortion accompained by hindustani ethnic rhythm - tabla and ghunghroo and moves onto western zone with string orchestra and oboe play the melody, which can be imposed to akaaram {aaaa} after 1st line of 1st Charanam, in lighter vein or is it my misinterpretation? Avant-garde {2nd} interlude has stunning slapping through bass guitar and cymbols interwoven with tabla and ghunghroo. Ethnic violin's 2 calls was responded by bass guitar and also, lead for prestissimo kinda string orchestra movement with tabla and ghunghroo concomitant.
Yennaalum sangeetham sandhoshamey!
always
~~Raaja rules!
Wednesday, September 24, 2008
Raajaish Pop-rock
Song: Netru indha neram...
Movie: Tik Tik Tik
Singer: Latha Rajinikanth.
Genre: Pop rock.
~~Pop-rock is a subgenre of rock music that uses "catchy" pop style, with light lyrics over top of "guitar-based" songs.
Until 0:30 there was no melody. Prelude was just constructed with solo synth rhythm, stupendous running bass guitar and pleasing tines of synth. Exactly, 00:26th second has lead for string orchestra & tines of synth at 0:33 for next 5 seconds only. Still, so pleasing. You bet! Spick and span la la la by Latha with accompainment of synth rhythm and thrumming of acoustic guitar give de lead for Pallavi...Again, avant-garde of canon rule employed when pallavi ends with ".....Kolangaleyyy" by Latha, which is supposed to be leader melody that was imitated by choir take de role of follower.
At Pallavi, lead Cabaret singer recollect wut happened by yesterday at de same time, how breeze was frolic with herself and her Spouse.
1st Interlude has stunning orchestra arrangement: Presto kinda string orchestra originates this interlude with wah guitar, which continues to accompaines jazzy piano. I am afraid harmonic progression of rhythm guitar and bass guitar maintains jazz nuances and drum kit as bassline or is it arppegiator through synth? Again, Raajaish idiom of string orchestra {largo movement, eh?} + bass guitar and synth for pop song is more like evening drizzle at seashore. You bet!
Accelerando in charanam's melody is very much integrated with it's pallavi's flow.
Raaja sir has used solo violin at ludes for Pop, disco/funk and psychedelic compositions like Ilamai itho itho, Endrendum Aananthamey, Mella mella ennai, Vaanam keley vanathal, et al., It is typical Raajaish idiom of lude. This song is no exceptional, at 2nd interlude, Ethnic solo violin and congos bring tribal ambience. I am afraid that now running bass guitar accompanied by synth chord replicates de same melody played through Ethnic solo violin, eh? Choir, string orchestra with strumming of bass guitar were interlocked to have unique chord progression unto....? how come Raaja sir 80's pop song without scat singin'..? Yup, scat singing - Papupa Papupa pa Papupa Papupa pa is more like coda to ends this interlude. Again, synth string orchestra chords as bassline during scat singing was sung follows "Imitation" rule rather than canon as there is very micro seconds difference betwixt scat singing and synth string orchestra chords, correctta?
At 2nd charanam, lead Cabaret singer reveals her "Viraga" desire, which came in her dream at a fullmoon night!
Again, same pallavi repeated at de end with piano to complete this peppily peppily Pop. Such an amazing song! You bet!
always
~~Raaja rules!
Movie: Tik Tik Tik
Singer: Latha Rajinikanth.
Genre: Pop rock.
~~Pop-rock is a subgenre of rock music that uses "catchy" pop style, with light lyrics over top of "guitar-based" songs.
Until 0:30 there was no melody. Prelude was just constructed with solo synth rhythm, stupendous running bass guitar and pleasing tines of synth. Exactly, 00:26th second has lead for string orchestra & tines of synth at 0:33 for next 5 seconds only. Still, so pleasing. You bet! Spick and span la la la by Latha with accompainment of synth rhythm and thrumming of acoustic guitar give de lead for Pallavi...Again, avant-garde of canon rule employed when pallavi ends with ".....Kolangaleyyy" by Latha, which is supposed to be leader melody that was imitated by choir take de role of follower.
At Pallavi, lead Cabaret singer recollect wut happened by yesterday at de same time, how breeze was frolic with herself and her Spouse.
1st Interlude has stunning orchestra arrangement: Presto kinda string orchestra originates this interlude with wah guitar, which continues to accompaines jazzy piano. I am afraid harmonic progression of rhythm guitar and bass guitar maintains jazz nuances and drum kit as bassline or is it arppegiator through synth? Again, Raajaish idiom of string orchestra {largo movement, eh?} + bass guitar and synth for pop song is more like evening drizzle at seashore. You bet!
Accelerando in charanam's melody is very much integrated with it's pallavi's flow.
Raaja sir has used solo violin at ludes for Pop, disco/funk and psychedelic compositions like Ilamai itho itho, Endrendum Aananthamey, Mella mella ennai, Vaanam keley vanathal, et al., It is typical Raajaish idiom of lude. This song is no exceptional, at 2nd interlude, Ethnic solo violin and congos bring tribal ambience. I am afraid that now running bass guitar accompanied by synth chord replicates de same melody played through Ethnic solo violin, eh? Choir, string orchestra with strumming of bass guitar were interlocked to have unique chord progression unto....? how come Raaja sir 80's pop song without scat singin'..? Yup, scat singing - Papupa Papupa pa Papupa Papupa pa is more like coda to ends this interlude. Again, synth string orchestra chords as bassline during scat singing was sung follows "Imitation" rule rather than canon as there is very micro seconds difference betwixt scat singing and synth string orchestra chords, correctta?
At 2nd charanam, lead Cabaret singer reveals her "Viraga" desire, which came in her dream at a fullmoon night!
Again, same pallavi repeated at de end with piano to complete this peppily peppily Pop. Such an amazing song! You bet!
always
~~Raaja rules!
Monday, September 22, 2008
Counterpoint or canon?
I always wonder how come most of de ppl say En kanmani un kathali from Chittukuruvi has counterpoint. I go with wut other say. However, still there is a digression, when almost everyone says En kanmani follows Counter-point rule or as per Sathish it is delayed counter-point then why should a layman {yeah, it's me}, says it does follow Canon rule?
Kindly have a glimpse on below chart, wherein I've tried to make it's melody structure overlapping:
Un kaadhalii
Ila maanganii
unaip paarththadummm,
Would you accept de point all these three sentences/lines sung in same melody???
Sirikkinradheyyy & Sirikkinradhey, again both are same melody, first sirikkinradheyyy with lil improvisation, though.
Naanamoa and moa - overlapping of melody on it's improvisation alone unlike above lines.
So, in this song, wut happened was overlapping of improvisation and de lead melody {it is a word, though}.
Canon: Melody/song with one or more imitations of de melody played after a given duration {e.g. quarter rest, one measure, etc}
If it is okay that leader melody should be discontinued in short duration (quarter rest) as soon as de follower melody is joined then wut I said is correct w.r.to En kanmani song.
Quarter rest or quarter note or crotchet: A rest/note having one-fourth de time value of a whole rest/not or double de value of an eighth-note/rest, or quaver.
Now, wut is quaver?
Trill on an instrument or with the voice, which is supposed to be improvisation {Gamakam in Indian music}.
Now, replace improvisation with quaver for this song/ on above explaination.
Does this make any sense?
If yes then my argument is somewhat okay {smile}.
Talking about counter-point, an orchestra piece/song, which should have a main melody in one-pitch and counter melody is in another/same pitch, however, with different melody/tune/theme. It may have two or more counter tune/melody.
Now, talking about counter-point in this song: To my untaught knowledge, counter-point could not be made with same melody or overlapping with improvisation. So, this song does not have counter-point. Most probably, it should be canon, theoretically {at least}.
Also, there is a thought that En Kanmani is de first counter-point attempt by Raaja sir. However, postlude of Naan pesa vanthein sollathan oru vaarthai from Paalootti vartha kili {Raaja sir's 2nd Tamil movie, directed by Devaraj-Mohan and produced by P.Madhavan} has vocal counterpoint by SPB and S.Janaki, which is supposed to be Raaja sir's first attempt for counterpoint.
always
~~Raaja rules!
Kindly have a glimpse on below chart, wherein I've tried to make it's melody structure overlapping:
Un kaadhalii
Ila maanganii
unaip paarththadummm,
Would you accept de point all these three sentences/lines sung in same melody???
Sirikkinradheyyy & Sirikkinradhey, again both are same melody, first sirikkinradheyyy with lil improvisation, though.
Naanamoa and moa - overlapping of melody on it's improvisation alone unlike above lines.
So, in this song, wut happened was overlapping of improvisation and de lead melody {it is a word, though}.
Canon: Melody/song with one or more imitations of de melody played after a given duration {e.g. quarter rest, one measure, etc}
If it is okay that leader melody should be discontinued in short duration (quarter rest) as soon as de follower melody is joined then wut I said is correct w.r.to En kanmani song.
Quarter rest or quarter note or crotchet: A rest/note having one-fourth de time value of a whole rest/not or double de value of an eighth-note/rest, or quaver.
Now, wut is quaver?
Trill on an instrument or with the voice, which is supposed to be improvisation {Gamakam in Indian music}.
Now, replace improvisation with quaver for this song/ on above explaination.
Does this make any sense?
If yes then my argument is somewhat okay {smile}.
Talking about counter-point, an orchestra piece/song, which should have a main melody in one-pitch and counter melody is in another/same pitch, however, with different melody/tune/theme. It may have two or more counter tune/melody.
Now, talking about counter-point in this song: To my untaught knowledge, counter-point could not be made with same melody or overlapping with improvisation. So, this song does not have counter-point. Most probably, it should be canon, theoretically {at least}.
Also, there is a thought that En Kanmani is de first counter-point attempt by Raaja sir. However, postlude of Naan pesa vanthein sollathan oru vaarthai from Paalootti vartha kili {Raaja sir's 2nd Tamil movie, directed by Devaraj-Mohan and produced by P.Madhavan} has vocal counterpoint by SPB and S.Janaki, which is supposed to be Raaja sir's first attempt for counterpoint.
always
~~Raaja rules!
Friday, September 5, 2008
Friday, August 22, 2008
Maalai Ilam Manathil - Aval Oru Pachai Kulanthai
~~Aval Oru Pachai Kulanthai is de first movie for director S.A. Chandrasekar. S.N.Surendar's first song in Raaja sir's composition {according to him, however, websites may say some other movie...(wink)} and for Soba Chandrasekar as well. After anyone's first listen, they may say that this song sounds like some L.R.Eswari's song for Shridhar sir's movie and should be composed by MSV {smile}.
I just got obsessed to dis song {at least in de recent days} because of its core melody and orchestra arrangement. I am afraid my vicinity is completely filled wid dis song. Magnitude of this song is its freshness/color, which brings de retro ambiance {say late 70's} because of de usage of Classical guitar {eh?}, Acoustic guitar, Accordion, Bangos, Congos, Drums played with brush, Guiro (scratches my soul) was extensively used throughout de song, Moog synth, Clarinet and Piccolo.
Though, a Classical guitar initiates dis song wid Moog synth accompaniments in de prelude, Accordion steals de spotlight {mabbie de reason, it is not being used very often nowadays other than instant mesmerizing melody played through it}. I always stunned at our composer's timing/calculative usage of orchestra. Scintillating Classical guitar and charismatic Accordion take de responsibility of prelude, which were used as more like for coda at 1st interlude {wid Piccolo} and 2nd interlude respectively. Similarly, usage of striking Piccolo at 1st interlude and pleasing clarinet at 2nd interlude are elegant.
~~Another interesting factor is last word of charanams continue wid pallavi, which is an avant-garde factor {even today}. It has been attempted in very few songs only, I guess {smile}.
1st charanam ends like Ithu than indruuu “Maalai Ilam Manathil “…
2nd charanam ends like Vazhvellam sugam aarambam aagumm "Maalai Ilam Manathil..." {pallavi again wid vocal harmony of de lead singers}.
Ins and outs: Somehow, its core-melody reminds me Maalai nerathu mayakkam and Naanamo naanamo. It has very Raajish presentation, though.
Vazhvellam sugam thodarum with Raaja sir's such haunting compositions...
always
~~Raaja rules!
I just got obsessed to dis song {at least in de recent days} because of its core melody and orchestra arrangement. I am afraid my vicinity is completely filled wid dis song. Magnitude of this song is its freshness/color, which brings de retro ambiance {say late 70's} because of de usage of Classical guitar {eh?}, Acoustic guitar, Accordion, Bangos, Congos, Drums played with brush, Guiro (scratches my soul) was extensively used throughout de song, Moog synth, Clarinet and Piccolo.
Though, a Classical guitar initiates dis song wid Moog synth accompaniments in de prelude, Accordion steals de spotlight {mabbie de reason, it is not being used very often nowadays other than instant mesmerizing melody played through it}. I always stunned at our composer's timing/calculative usage of orchestra. Scintillating Classical guitar and charismatic Accordion take de responsibility of prelude, which were used as more like for coda at 1st interlude {wid Piccolo} and 2nd interlude respectively. Similarly, usage of striking Piccolo at 1st interlude and pleasing clarinet at 2nd interlude are elegant.
~~Another interesting factor is last word of charanams continue wid pallavi, which is an avant-garde factor {even today}. It has been attempted in very few songs only, I guess {smile}.
1st charanam ends like Ithu than indruuu “Maalai Ilam Manathil “…
2nd charanam ends like Vazhvellam sugam aarambam aagumm "Maalai Ilam Manathil..." {pallavi again wid vocal harmony of de lead singers}.
Ins and outs: Somehow, its core-melody reminds me Maalai nerathu mayakkam and Naanamo naanamo. It has very Raajish presentation, though.
Vazhvellam sugam thodarum with Raaja sir's such haunting compositions...
always
~~Raaja rules!
Tuesday, August 19, 2008
I am not attached to titles: Raaja sir
COIMBATORE: Ilayaraja, the acclaimed music director, said he was not attached to titles that had ‘‘no meaning’’. Explaining why he chose to write the two Tamil books, Venpa Nanmalai and Gnana Ganga, that were released at a function here on Sunday, he said he was not responsible if people called him a Raga Devan, Isai Gnani or a saint.
‘‘I am not attached to any title. I want them to be abolished,’’ said an emotionally surcharged Ilayaraja, who had slowly drifted into spirituality after enthralling Tamils with his film music for a few decades. ‘‘Please do not compare me with saints like Vallalar and Ramanar,’’ he pleaded, adding such comparison was an insult to them.
He said he had written the books for those commoners who had no formal education like him and thereby could not understand the classic Tamil literature. ‘‘I neither write for me nor for you nor with the intention of changing the world,’’ he remarked. Poets Sirpi, Puviarasu, M Metha, P Chidambaranathan, Palani Barathi, Muthulingam, Karunanidhi and others offered felicitation.
Source: newindpress
Comment: Raaja sir, for you Vallalar and Ramanar are great saints, however, for me ya're a great Saint! En Swamiji!!!
always
~~Raaja rules!
‘‘I am not attached to any title. I want them to be abolished,’’ said an emotionally surcharged Ilayaraja, who had slowly drifted into spirituality after enthralling Tamils with his film music for a few decades. ‘‘Please do not compare me with saints like Vallalar and Ramanar,’’ he pleaded, adding such comparison was an insult to them.
He said he had written the books for those commoners who had no formal education like him and thereby could not understand the classic Tamil literature. ‘‘I neither write for me nor for you nor with the intention of changing the world,’’ he remarked. Poets Sirpi, Puviarasu, M Metha, P Chidambaranathan, Palani Barathi, Muthulingam, Karunanidhi and others offered felicitation.
Source: newindpress
Comment: Raaja sir, for you Vallalar and Ramanar are great saints, however, for me ya're a great Saint! En Swamiji!!!
always
~~Raaja rules!
Monday, August 18, 2008
Raaja sir in Guiness Book
~~Almost 10 years before I read an article, which said Raaja sir was credited in Guiness book of world records by early of 90's, however, it is highly embarrassing that none of the websites reveal/confirm about this. Anuradha sriram confirmed it in a couple of her interviews {TV/Radio}. Eventually, Thank god, I was invited to an astounding blog by Mr.Mohan Jayaraman {Emjay} wherein Thesis of Anuradha sriram - "Ilayairaja: Composer as phenomenon in Tamil Film Culture" has been posted. It reveals that Raaja sir's record was credited in the Guiness Book of World Records for music composed for more than 600 films in five languages within 16 years. So, this is de only proof for Raaja sir's name credited in Guiness Book Of World Records...!!!
blog: http://7swara.blogspot.com/2008/06/thesis-on-isaignani.html
always
~~Raaja rules!
Wednesday, August 13, 2008
Funky Wah-Wah effect
Wah-Wah effect:
Guitar, which would have a Wah-wah pedal to produce that unique mimic sound.
Definition from wiki:
A Wah-wah pedal (wah pedal) is a type of guitar effects pedal that alters the tone of the signal to create a distinctive effect, intended to mimic the human voice.
Eric Clapton first played wah-wah with Cream on "Tales of Brave Ulysses" on the Disraeli Gears album and used it for both background riffs and an extended solo on "White Room". Also, Jimi Hendrix and Led Zeppelin did use it for their compositions.
As Manirathnam said, Raaja sir's compositions are the point wherein east meets west. I personally feel Raaja sir has influence of Jimi Hendrix in HIS 80's disco/peppy compositions.
* A couple of seconds at prelude of Voodoo Chile with wah wah effect strongly reminds the wah-wah effect at prelude of "Senyorita I love you" from Johnny.
* "Senyorita I love you" has prelude with solo "wah-wah effect" through electric lead guitar alike Voodoo Chile/ Voodoo child does. My point is Raaja sir had not replicated the same chord of Wah-Wah effect as in Voodoo Chile/ Voodoo child, however, he did attempt the idiom of prelude with solo Wah-Wah effect. That's it.
* In the movie Indru poi naalai vaa. A scene starts with synth/organ chord makes morning ambience. Once "Ennaththa kannaiyya" pops out from the ditch, Wah-Wah effect had been made through pedals.
* In the Kannada Movie - Pallavi Anu Pallavi {Priya O Priya (tamil)}, when Anil shows the hidden snaps of Deepti Naval, funky Wah-wah effect was made in its pedal through Electric Lead Guitar.
* Even, in the songs - 2nd interlude of Ithu oru nila kaalam from Tik Tik Tik & theme music of the same movie have Wah-wah effect.
* Netru intha neram from Presto kinda string orchestra originates this interlude with Wah-wah pedal, which continues to accompaines jazzy piano.
* Interludes of Panivizhum malarvanam & Neethane en pon vasantham from Ninaivellam Nithya have Wah-wah effect.
* Kavidhai paadu kuyile kuyile is supposed to be a soft rock song, which has stunning usage of bass guitar and flanging effects & Wah-wah effects.
Ratchasan {Tamil} or Rakshasudu {Telugu}:
* Nee mutham thanthal inikkum or Nee Meeda Naaku: It has accentuated beats throughout the song with stunning bass guitar & Wah-wah pedal effects.
* Accha Accha's prelude has mind-blowing jazz rhythm with cymbol and spin & span harmony by Janaki amma and choir or her echo effect {eh?} would steal de melody. It has interesting brass arrangement, synth chords and Wah-wah pedal effects.
* Hey naugthy {even in thamizhil also, Hey naugthy} has very rock structure: At 2nd interlude, bass guitar & Wah-wah effect with synth chord, which transfers to drum machine with funky sounds are so peppily peppily rock elements!
Mela Mela from Nirnayam: String orchestra arrangement at 1st interlude gives new color to the song whereas funky wah-wah effect of electric lead guitar through pedal at 2nd interlude gives more pep to the song.
So does many funk, Pop & Disco numbers of Him have the funky usage of Wah-Wah effect through Electric Lead guitar.
always
~~Raaja rules!
Thursday, July 31, 2008
Dhanam - Music review
Ilamai kanavugal - Karthick and Rita. Lyrics - Valli
…..begins with spick and span voice of Rita. Soon after manual rhythm and funky synth bass give the lead for Pallavi. String orchestra and bass guitar are used as filler. Former for 1st interlude and later in betwixt the handsome Charanams. Normally, any music lover can extract hidden or candid pleasure in the 2nd interlude of any Raaja sir’s song. Very peppy/mind blowing interlude for melody songs. Soft native cadence/stupefying interlude for {electronic} rhythm oriented song. This song falls on the second huddle. Staggering synth chord progression and strings arrangement do follow call and response rule with live bass drum at 2nd interlude.
Interesting fact: It does have tines of turntable sound, might be made through synthesizer, which I have neva expected {at least in this album}. It does not bother the lead melody, though {smile}.
Ulagam kedakuthu – Sunitha sarathy. Lyrics – Valli
…begins alike contemporary electro funk song and changes path as energetic pop. 1st and 2nd interludes have interesting middle-eastern lute kinda instrument {Oudh…eh?}. At 2nd interlude, well structured Brass instruments along with bang band orchestra are more away from usual pattern. Programmed percussion and chipmunk voice mix change the color of the song. However, Sunitha’s put-on accent/slang let down the song.
Dhanam Dhanam – Karthick. Lyrics – Valli
It is not a normal run-of-the-mill kinda song. It does have interesting rhythm pattern with south Indian earthy instruments with Djembes and synth bass as bassline.
Koothu onnu – Raaja sir and Feji. Lyrics – Palani Bharathi.
I guess after the song - Velli kizhama from Shiva, Raaja sir’s attempt for dis genre of the song. It has more tribal nuances say de flute prelude, peppy programmed & live rhythm during vocal part and Djembes at 2nd interlude and reed sound through synth. Stunning usage of bass guitar {synth bass…eh?} is simply rocking.
Unnakulle irukirein – Sriram parthasarathy – Bilsenday. Lyrics – Mu.Metha.
…yet another mesmerizing romantic composition from Raaja sir’s music factory. First a couple of lines strongly strike de melody de song Kommallo koyila - Ninnu choodaka nenundalenu, later so much of twist both in lead melody and rhythm/orchestra. Pallavi has both synth rhthym and manual percussion. Chord progression with piano/synth, bass guitar, string orchestra, live percussion at first interlude is Gorgeous. After 2nd line of Charanam, de melody, poly-rhythm wid miruthangam and synth bass steal the spotlight. Awesome, alluring, passionate, zeal and lovely 2nd interlude has mild accelerando of flute, string orchestra with embellishment of synth chord later dazzling live percussion joins to completely change the ambience so romantic. My pocket is already filled with so many numbers like this {of course Raaja sir} song. This song turns on greediness within me to acquire it as well {giggle}.
Kannanukku enna vendum – Bhavatharini, Prasanna and Sriram Parthasarathy. Lryics – Vishali Kannadasan.
Song of the album.
This semi-classical song would make your day very meaningful and momentous.
Charanam:
Nadhi vazhi oru oodam povathu pole, vithi vazhi en ullam un pugal {pugazhil} paadum.
As a boat goes according to de direction of stream, my soul would praise your overwhelming according to the destiny.
Thurigaigal theetatha oviyum neeye. Paaril unnai paadatha kaalangal veeney,
You are work of an art, which was not painted by brush. Day without singing about you is futile.
Unnai potra manin methu ullam undu khodi khodi, unthan ullam enna vendru sollu Kanna {smile}.
There are crore crore soul onto this earth to praise you. Kindly, tell us about your ideology.
Actually, I have just imposed Raaja sir on the place of protagonist {Krishnah} for the above lines. So, day without listening to your compositions/not singing about you is meaningless.
Even, the second charanam has evocative lines as your melody through flute would evoke water flow even on moon and my desire is longing for that lullaby. Raajasaranam.
This song prevents me to lament about my misdemeanor and more like declaration of guilt. I should say it is a divine magnum opus.
Kattilukku thana pombala – Raaja sir. Lyrics – Muthuligam.
It is a very situational song with philosophical lines, which script depends. All about social issues of mercy/pities women and bad gestures of male-chauvinist. Interesting ethnic rhythm with synth bass and distortion guitar apt for this rational song.
A mixed album with many alluring interludes, contemporary output and fulfilling melodies.
always
~~Raaja rules!
…..begins with spick and span voice of Rita. Soon after manual rhythm and funky synth bass give the lead for Pallavi. String orchestra and bass guitar are used as filler. Former for 1st interlude and later in betwixt the handsome Charanams. Normally, any music lover can extract hidden or candid pleasure in the 2nd interlude of any Raaja sir’s song. Very peppy/mind blowing interlude for melody songs. Soft native cadence/stupefying interlude for {electronic} rhythm oriented song. This song falls on the second huddle. Staggering synth chord progression and strings arrangement do follow call and response rule with live bass drum at 2nd interlude.
Interesting fact: It does have tines of turntable sound, might be made through synthesizer, which I have neva expected {at least in this album}. It does not bother the lead melody, though {smile}.
Ulagam kedakuthu – Sunitha sarathy. Lyrics – Valli
…begins alike contemporary electro funk song and changes path as energetic pop. 1st and 2nd interludes have interesting middle-eastern lute kinda instrument {Oudh…eh?}. At 2nd interlude, well structured Brass instruments along with bang band orchestra are more away from usual pattern. Programmed percussion and chipmunk voice mix change the color of the song. However, Sunitha’s put-on accent/slang let down the song.
Dhanam Dhanam – Karthick. Lyrics – Valli
It is not a normal run-of-the-mill kinda song. It does have interesting rhythm pattern with south Indian earthy instruments with Djembes and synth bass as bassline.
Koothu onnu – Raaja sir and Feji. Lyrics – Palani Bharathi.
I guess after the song - Velli kizhama from Shiva, Raaja sir’s attempt for dis genre of the song. It has more tribal nuances say de flute prelude, peppy programmed & live rhythm during vocal part and Djembes at 2nd interlude and reed sound through synth. Stunning usage of bass guitar {synth bass…eh?} is simply rocking.
Unnakulle irukirein – Sriram parthasarathy – Bilsenday. Lyrics – Mu.Metha.
…yet another mesmerizing romantic composition from Raaja sir’s music factory. First a couple of lines strongly strike de melody de song Kommallo koyila - Ninnu choodaka nenundalenu, later so much of twist both in lead melody and rhythm/orchestra. Pallavi has both synth rhthym and manual percussion. Chord progression with piano/synth, bass guitar, string orchestra, live percussion at first interlude is Gorgeous. After 2nd line of Charanam, de melody, poly-rhythm wid miruthangam and synth bass steal the spotlight. Awesome, alluring, passionate, zeal and lovely 2nd interlude has mild accelerando of flute, string orchestra with embellishment of synth chord later dazzling live percussion joins to completely change the ambience so romantic. My pocket is already filled with so many numbers like this {of course Raaja sir} song. This song turns on greediness within me to acquire it as well {giggle}.
Kannanukku enna vendum – Bhavatharini, Prasanna and Sriram Parthasarathy. Lryics – Vishali Kannadasan.
Song of the album.
This semi-classical song would make your day very meaningful and momentous.
Charanam:
Nadhi vazhi oru oodam povathu pole, vithi vazhi en ullam un pugal {pugazhil} paadum.
As a boat goes according to de direction of stream, my soul would praise your overwhelming according to the destiny.
Thurigaigal theetatha oviyum neeye. Paaril unnai paadatha kaalangal veeney,
You are work of an art, which was not painted by brush. Day without singing about you is futile.
Unnai potra manin methu ullam undu khodi khodi, unthan ullam enna vendru sollu Kanna {smile}.
There are crore crore soul onto this earth to praise you. Kindly, tell us about your ideology.
Actually, I have just imposed Raaja sir on the place of protagonist {Krishnah} for the above lines. So, day without listening to your compositions/not singing about you is meaningless.
Even, the second charanam has evocative lines as your melody through flute would evoke water flow even on moon and my desire is longing for that lullaby. Raajasaranam.
This song prevents me to lament about my misdemeanor and more like declaration of guilt. I should say it is a divine magnum opus.
Kattilukku thana pombala – Raaja sir. Lyrics – Muthuligam.
It is a very situational song with philosophical lines, which script depends. All about social issues of mercy/pities women and bad gestures of male-chauvinist. Interesting ethnic rhythm with synth bass and distortion guitar apt for this rational song.
A mixed album with many alluring interludes, contemporary output and fulfilling melodies.
always
~~Raaja rules!
Wednesday, July 23, 2008
Vishwanathan Anand: Mind over matter.
Vishwanathan Anand's all-time favorite:
Maestro. Ilayaraja and old Hindi film songs are among his all-time favourites.
Source: The Times of India.
Byline: Gayatri Ramanathan
P.S: Mind games {smile}.
always
~~Raaja rules!
Maestro. Ilayaraja and old Hindi film songs are among his all-time favourites.
Source: The Times of India.
Byline: Gayatri Ramanathan
P.S: Mind games {smile}.
always
~~Raaja rules!
Sunday, July 20, 2008
Meaning for my tears :' (
rajasaranam wrote: என் அவா சிக்கிà®°à®®் அவர் கடலாய் சமுத்திà®°à®®ாய் à®®ாà®± வேண்டுà®®் என்பதே. à®’à®°ு பத்து பதினைந்து 'சிà®®்பொனி'களாவது à®…à®®ைக்க வேண்டுà®®், என் வாà®´்வு தீà®°்வதற்க்குள் கடலாட வேண்டுà®®்.
I was not able to control my tears when I read the above statement. It is al about Raaja sir and He should compose atleast 10-15 symphonies before end of my life. Actually, I was listening to HIS compositions until now and lastly I listened to "Muthumani maala" from chinna gounder. I just changed FM station to western classical works and at the same time got to see this message. Currently I am listening to a flute concerto {allegretto}. Its pleasure evokes my interest that Raaja sir should stop composing music for b-grade movies and should come out with a couple of symphonies or orchestral works.
Anyway, our so called music lovers and critics would not be able to understand its significance. Still, hardly ppl like me longing for such compositons.
When western classical era started, its composers were blaming/commenting Baroque composer - Johann Sebastian Bach's compositions as boredom without knowing its complicatedness. However, after 100 + years, during Romantic Era {1827-1900}, its composers started recognizing His work's stature/merit. Raaja sir is being follower of Bach {as well}, shares same position as Bach did during and after his period. However, who is the loser???
always
~~Raaja rules!
Raaja sir's miracle
July 16, 2008:
A Tamil couple living in Germany thanked maestro Ilayaraja, which also left the music director stunned, for the great medical miracle that he performed unwittingly. The incident was reported in a well-known magazine recently. Well, it seems that a few months ago the young couple was told by the doctors in Germany that the child in the mother's womb showed no movement. The worried couple went back home and turned on their music set to listen to Ilayaraja's Thiruvasagam. Surprisingly, the lady started to feel the baby kicking. They repeated the music many times and felt the same result. The doctors were also surprised when the lady delivered the baby a few months later through normal labor. As a token of gratitude, the couple recently visited the maestro to pay respects and express their gratefulness. Now, that's a true medical miracle from the maestro!
~~Goosebumps! Overwhelming!! Astounding!!!
Actually, there is a movie called "Maadhangal Ezhu", which was directed by Yugi sethu and co-stars are Naseer and Ramyakrishnan. Music by Vidhyasagar. Thing is that, there is a scene in which yugi would play a flute and {7 month} baby in Ramyakrishnan's womb will shake its leg. Wut a coincidence? {smile}.
Shri. Balamurali Krishna said that if a baby listen to Raaja sir's Thiruvasagam in Oratoria from its babyhood then that baby would become a(n) prodigy/intellectual. True!!!
Raaja sir said Western classical music has dominance to activate the brain cell {especially Mozart's composition, it was proved scentifically} and of course, stereotype/monotonous pre-recorded loops/pre-set rhythm oriented songs will dumb the brain cells. HE has now proved it, HE is not insisted to testimony de dominance of HIS compositions, though. {Yugi sethu, would you get an opportunity to read dis?}
Thanga veenai aanalum thaanaai paadathu meettavum Ketkavum oruvan veendumey,
Even Gold veenai {lute} cannot sing by itself; someone needs to play it and someone to listen it.
Raagam 100 irunthaalum thaanaai paadathu raagangal therinthavan oruvan veendumey,
Eventhough, there are 100 Ragams, it cannot sing by itself; someone is needed who knows about raagam,
Isaiyale mayangatha manam than Ulakil yethu? Irunda manthinil isai nuzhaiyathu,
How could a soul without spellbound by Music? Music will not go into obscure soul {devil},
AVAR padal sellatha idam than Ulakil yethu? {Athai thodarinthu yaaaaaaarum sella mudiyaathu},
Where is a place in this world wherein HIS music has not reached? {No one can go behind it}.
After all HE is an incarnation of music. If HE cannot then who can do it?
always
~~Raaja rules!
Tuesday, July 8, 2008
Uliyin osai - Re-recording - A layman's view
Howdy!
I wanted to watch the movie - Uliyin osai for only two reasons - 1) Raaja sir's music score and 2) Kalaignar's dialogue. Fortunately, it happened on the first day {July 4th 2008} itself. The ambience and number/genre of people made me to doubtful whether I have made a mistake to watch such a movie. No proper promo pixels/banner at theatre.
Fortunately, without any commercial advertisement, movie was started. The very first second of the movie, it starts with a mind-blowing flute more-like colorful butterflies flying around me and its melody stimulated some chemical reaction throughout my soul. Within me, I said: WOW, OVERWHELMING, AWESOME and it’s my Raaja sir and so, I am into the theatre.
This Medieval era story-oriented movie has interesting western string accompaniment, {Violin, Viola, Cello, Double Bass, Harp}, diplomatic usage of Guitar {only B, e strings, I guess, at last part of 1st scene}, Contrabassoon {which I have never heard in recent movies}, Oboe, French Horn, Tuba, Big Bamboo flute, Piano, Harpsichord or is it synth? Sarangi {most of the scenes}, Santoor, percussions other than Miruthangam, Tabla Tarang, Bass Drum, Kanjira, Snare Drum, Cymbols (hit-hat), Tambourine and Timpani, a couple of percussions were used, which I was not able to follow them and of course synthesizer {smile}. Raaja rules!
Heroine - Samundi (Keerthi chawla) Introduction:
WOW, certainty this could be everyone's expression for usage of flute and percussion in this scene. Melody through flute was Outstanding. Actually, Remo fernandos has released an (x) album, which has a track called "The flute song" {tabla and flute}, it is an ancient composition by unknown composer. The original "The flute song" was well inspired by Raaja sir's for Samundi's introduction dance. This music piece would provoke everyone to snap their fingers or slap onto their lap. It is an Amazing {“A” capital} composition and such a haunting piece.
There is a particular scene wherein Iniyan {Vineeth who was commissioned to make 108 dancing sculptors at Brihadeeswara Temple} makes a sculpture on seeing Samundi's gesture/pose {Abhinayam}, its re-recording would start from its previous scene itself. Actually, it has been attempted by Raaja sir in many of His movies, I mean the re-recording for a particular scene would start from its previous scene {instant example Soorasamharam, in a villian's scene programmed rhythm would be played from last few seconds of its previous scene}. In this movie, Rhythm of tabla tarang and sarangi starts from its last scene and the composition transforms to string orchestra ----> veena ----> re-recording of Kallai irunthen, its charanam noor raandugal....would be played through violin and synthesizer.
Manoramma {Azhagi}:
Manoramma reveals her wish to the other sculptors that even she is also willing to participate with their work by giving a feast. By that time, enhancement of flute melody is note-worthy. It is Raaja sir and of course, it is Raaja sir and so, there is separate theme music for Manoramma who will sell her goats for feast's expenditure. Initially, flute and kanjira would bring color to that scene and later, a sold out goat would run back to Manoramma...Sarangi and percussion were played, which made salt waters to cross my lower eye-lids. For two more Manoramma's scence, Sarangi and Kanjira were played. There is one-more song called Maanaada mayil aada had been added in the movie, which was not in audio/album. Manoramma and Kovai sarala were featured in it. Kovai Kamala has rendered voice for Manoramma. When Manoramma watches the stimulation {Brihadeeswara Temple model} with surprise, oh no,,,Raaja sir is my God! That scene has Amazing orchestration!!!
Kanja Karuppu:
Soodamani (Kanja Karuppu) who is helper for Iniya. Even for Kanja Karuppu, theme music with Santoor (kinda instrument) and Kanjira had been played for his scenes.
Rescue:
2nd heroine - Muthunagai (Akshaya) attempts for suicide. Iniyan would rescue her and by that time, an inspiring western string orchestra would be played like Adagio movement {slow tempo or mabbie Andante, moderate slow tempo}.
Snake dance:
Movie has an interesting snake dance, which reveals malicious thought of Muthunagai. It has quick movement of string orchestra {mabbie allegro/presto movement} as background score.
Usage of Contrabassoon:
1) It comes when King Raja Raja Chola {Sarath babu} regrets as he was not able to get a dancer {model for pose} for sculpture, contrabassoon gives gloomy feel.
2) When Manikandan (Thalaivasal Vijay - Muthunagai's brother) challenges to defeat Iniyan, usage of Contrabasson reflects vijay's cunningness.
3) Muthunagai would hit Iniyan's hand with hammer. She will reveal it to Kovai sarala and by that time Contrabasson discloses her pessimistic thought.
Repenting:
Muthunagai repents for her bad gestures once she aware that Iniyan has rescued from her suicide attempt, strong western element was performed through Piano, flute and string orchestra.
First Aid:
Typical cinematic style: Samundi would tear a cloth from her saree to tie on Iniyan's hand, which was wounded by Muthunagai. BGM starts with synth and string orchestra and ends with string orchestra + veena, which were played such way in the manner, a real healer for wound. You bet!
Sneak-peak:
Muthunagai sneak-peaks Iniyan, song - Kaalathai Venra's melody would be played through sythn with typical Raaja sir's pattern of improvisation.
Muthunagai's dream:
She dreams as if Iniyan makes a sculptor from herself. An un-usual string instrument would be played, which has Chinese nuances of violin. Similar to the one, which come in Azhagi, when Shanmugam was informed that Dhanam became matured.
Silence as BGM:
Which I expected from Raaja sir and of course, not in this scene. I mean I am talking about silence as BGM. Raaja sir is an intellectual composer in handling silence as BGM. Iniyan will remove the bandage (saree cloth) and Samundi would enter in the hall and watches him. Then, common dialogue as "Hows yer health and wound" and so...wherein BGM supposed to be played to enhance the rrromantic feel, however, it was not made it out and because of this intellectual prediction/decision by Raaja sir, I was totally drenched with romance {wink}.
Parrot catching:
Even if anyone who do not see this scene and listen to its re-recording alone would come to a conclusion that it is a bird-oriented scene. Of course, it is because of usage of flute. Its melody could easily be imposed on fluttering of parrot's wings {smile}. Parrot will take the saree cloth (bandage) from Iniyan, flute and percussion as backing orchestra. Parrot flees to Muthunagai's place same melody of flute and tabla tarang continues. Muthunagai would be in swiming pool, re-recording of Kallathai veedra {eh?}....would be played through string orchestra and ends with sythn chord and tabla tarang.
Raaja sir, King of melody!!!
When Iniyan enters to Muthunagai place in search of parrot, an ancient percussion was played. Iniyan asks "Shall I catch the parrot"....Jesus! A chord progression among synthesizer and solo violin were splendid, incredible, delightful/blessed to listen it… Raaja sir, King of melody!!! Again flute plays a melody to create the ambience of parrot flying.
Samundi poses as Iniya makes a sculpture, all of sudden a scorpion come closer to Samundi. So, she tries to escape from it and slips from the floor. As usual, Iniyan would catch her...Sarangi ---> Veena and Tabla Tarang combine to make an amazing melody, which is like new baby's smile {gives lotta pleasure}. AWESOME!!!
Arrest:
When Iniyan was arrested, re-recording with Timpani, cymbals, cello/double bass (was not sure) were played to enhance the seriousness of that shot.
Ringing the Bell {Aarachi mani}:
Mabbie Chimes was used to make Bell sound. As we all know that it is an ancient norm that King would come when the bell was ringed. It means someone appeals for case/needs a judgment. In this movie, Rich/heavy orchrestra was played during King's entry >>> French horn, String orchestra, tuba was played.
Iniyan's escapes and repents:
Cello/viola and string orchestra was played when Iniyan escapes from the soldiers and Sarangi was played when he repents for his gesture.
Climax:
Muthungai cries when Iniyan punishes himself, their theme melody was played through Flute and string orchestra...Bhavatharini's cute voice sum-up the movie by singing Kaalathai venra song!!!
Songs:
Canon rule {change of pitch/rhythm for same melody} was used in last part of Alaiyelam chozhavala nadu as like – Yejaman kaaladi and En jodi manja kuruvi {vikram}.
Pularginra Pozhuthu: For a few seconds, Raaja sir’s voice is so catchy.
Aganthaiyil Aaduvatha: Pick of the album especially Raaja sir’s contribution.
Kallai irunthen – Charanam, adding ice to the cake.
Kaalathai Venra – ppl would understand its pallavi if and only if they watch the climax of this movie.
I am afraid the song - Abinayam kaatukinra was edited while I watched the movie.
Fresh, romatic, sensible, apt, inspiring, outstanding, simple and majestic music score had enhanced the standard of this ordinary movie.
Have a good one!
always
~~Raaja rules!
I wanted to watch the movie - Uliyin osai for only two reasons - 1) Raaja sir's music score and 2) Kalaignar's dialogue. Fortunately, it happened on the first day {July 4th 2008} itself. The ambience and number/genre of people made me to doubtful whether I have made a mistake to watch such a movie. No proper promo pixels/banner at theatre.
Fortunately, without any commercial advertisement, movie was started. The very first second of the movie, it starts with a mind-blowing flute more-like colorful butterflies flying around me and its melody stimulated some chemical reaction throughout my soul. Within me, I said: WOW, OVERWHELMING, AWESOME and it’s my Raaja sir and so, I am into the theatre.
This Medieval era story-oriented movie has interesting western string accompaniment, {Violin, Viola, Cello, Double Bass, Harp}, diplomatic usage of Guitar {only B, e strings, I guess, at last part of 1st scene}, Contrabassoon {which I have never heard in recent movies}, Oboe, French Horn, Tuba, Big Bamboo flute, Piano, Harpsichord or is it synth? Sarangi {most of the scenes}, Santoor, percussions other than Miruthangam, Tabla Tarang, Bass Drum, Kanjira, Snare Drum, Cymbols (hit-hat), Tambourine and Timpani, a couple of percussions were used, which I was not able to follow them and of course synthesizer {smile}. Raaja rules!
Heroine - Samundi (Keerthi chawla) Introduction:
WOW, certainty this could be everyone's expression for usage of flute and percussion in this scene. Melody through flute was Outstanding. Actually, Remo fernandos has released an (x) album, which has a track called "The flute song" {tabla and flute}, it is an ancient composition by unknown composer. The original "The flute song" was well inspired by Raaja sir's for Samundi's introduction dance. This music piece would provoke everyone to snap their fingers or slap onto their lap. It is an Amazing {“A” capital} composition and such a haunting piece.
There is a particular scene wherein Iniyan {Vineeth who was commissioned to make 108 dancing sculptors at Brihadeeswara Temple} makes a sculpture on seeing Samundi's gesture/pose {Abhinayam}, its re-recording would start from its previous scene itself. Actually, it has been attempted by Raaja sir in many of His movies, I mean the re-recording for a particular scene would start from its previous scene {instant example Soorasamharam, in a villian's scene programmed rhythm would be played from last few seconds of its previous scene}. In this movie, Rhythm of tabla tarang and sarangi starts from its last scene and the composition transforms to string orchestra ----> veena ----> re-recording of Kallai irunthen, its charanam noor raandugal....would be played through violin and synthesizer.
Manoramma {Azhagi}:
Manoramma reveals her wish to the other sculptors that even she is also willing to participate with their work by giving a feast. By that time, enhancement of flute melody is note-worthy. It is Raaja sir and of course, it is Raaja sir and so, there is separate theme music for Manoramma who will sell her goats for feast's expenditure. Initially, flute and kanjira would bring color to that scene and later, a sold out goat would run back to Manoramma...Sarangi and percussion were played, which made salt waters to cross my lower eye-lids. For two more Manoramma's scence, Sarangi and Kanjira were played. There is one-more song called Maanaada mayil aada had been added in the movie, which was not in audio/album. Manoramma and Kovai sarala were featured in it. Kovai Kamala has rendered voice for Manoramma. When Manoramma watches the stimulation {Brihadeeswara Temple model} with surprise, oh no,,,Raaja sir is my God! That scene has Amazing orchestration!!!
Kanja Karuppu:
Soodamani (Kanja Karuppu) who is helper for Iniya. Even for Kanja Karuppu, theme music with Santoor (kinda instrument) and Kanjira had been played for his scenes.
Rescue:
2nd heroine - Muthunagai (Akshaya) attempts for suicide. Iniyan would rescue her and by that time, an inspiring western string orchestra would be played like Adagio movement {slow tempo or mabbie Andante, moderate slow tempo}.
Snake dance:
Movie has an interesting snake dance, which reveals malicious thought of Muthunagai. It has quick movement of string orchestra {mabbie allegro/presto movement} as background score.
Usage of Contrabassoon:
1) It comes when King Raja Raja Chola {Sarath babu} regrets as he was not able to get a dancer {model for pose} for sculpture, contrabassoon gives gloomy feel.
2) When Manikandan (Thalaivasal Vijay - Muthunagai's brother) challenges to defeat Iniyan, usage of Contrabasson reflects vijay's cunningness.
3) Muthunagai would hit Iniyan's hand with hammer. She will reveal it to Kovai sarala and by that time Contrabasson discloses her pessimistic thought.
Repenting:
Muthunagai repents for her bad gestures once she aware that Iniyan has rescued from her suicide attempt, strong western element was performed through Piano, flute and string orchestra.
First Aid:
Typical cinematic style: Samundi would tear a cloth from her saree to tie on Iniyan's hand, which was wounded by Muthunagai. BGM starts with synth and string orchestra and ends with string orchestra + veena, which were played such way in the manner, a real healer for wound. You bet!
Sneak-peak:
Muthunagai sneak-peaks Iniyan, song - Kaalathai Venra's melody would be played through sythn with typical Raaja sir's pattern of improvisation.
Muthunagai's dream:
She dreams as if Iniyan makes a sculptor from herself. An un-usual string instrument would be played, which has Chinese nuances of violin. Similar to the one, which come in Azhagi, when Shanmugam was informed that Dhanam became matured.
Silence as BGM:
Which I expected from Raaja sir and of course, not in this scene. I mean I am talking about silence as BGM. Raaja sir is an intellectual composer in handling silence as BGM. Iniyan will remove the bandage (saree cloth) and Samundi would enter in the hall and watches him. Then, common dialogue as "Hows yer health and wound" and so...wherein BGM supposed to be played to enhance the rrromantic feel, however, it was not made it out and because of this intellectual prediction/decision by Raaja sir, I was totally drenched with romance {wink}.
Parrot catching:
Even if anyone who do not see this scene and listen to its re-recording alone would come to a conclusion that it is a bird-oriented scene. Of course, it is because of usage of flute. Its melody could easily be imposed on fluttering of parrot's wings {smile}. Parrot will take the saree cloth (bandage) from Iniyan, flute and percussion as backing orchestra. Parrot flees to Muthunagai's place same melody of flute and tabla tarang continues. Muthunagai would be in swiming pool, re-recording of Kallathai veedra {eh?}....would be played through string orchestra and ends with sythn chord and tabla tarang.
Raaja sir, King of melody!!!
When Iniyan enters to Muthunagai place in search of parrot, an ancient percussion was played. Iniyan asks "Shall I catch the parrot"....Jesus! A chord progression among synthesizer and solo violin were splendid, incredible, delightful/blessed to listen it… Raaja sir, King of melody!!! Again flute plays a melody to create the ambience of parrot flying.
Samundi poses as Iniya makes a sculpture, all of sudden a scorpion come closer to Samundi. So, she tries to escape from it and slips from the floor. As usual, Iniyan would catch her...Sarangi ---> Veena and Tabla Tarang combine to make an amazing melody, which is like new baby's smile {gives lotta pleasure}. AWESOME!!!
Arrest:
When Iniyan was arrested, re-recording with Timpani, cymbals, cello/double bass (was not sure) were played to enhance the seriousness of that shot.
Ringing the Bell {Aarachi mani}:
Mabbie Chimes was used to make Bell sound. As we all know that it is an ancient norm that King would come when the bell was ringed. It means someone appeals for case/needs a judgment. In this movie, Rich/heavy orchrestra was played during King's entry >>> French horn, String orchestra, tuba was played.
Iniyan's escapes and repents:
Cello/viola and string orchestra was played when Iniyan escapes from the soldiers and Sarangi was played when he repents for his gesture.
Climax:
Muthungai cries when Iniyan punishes himself, their theme melody was played through Flute and string orchestra...Bhavatharini's cute voice sum-up the movie by singing Kaalathai venra song!!!
Songs:
Canon rule {change of pitch/rhythm for same melody} was used in last part of Alaiyelam chozhavala nadu as like – Yejaman kaaladi and En jodi manja kuruvi {vikram}.
Pularginra Pozhuthu: For a few seconds, Raaja sir’s voice is so catchy.
Aganthaiyil Aaduvatha: Pick of the album especially Raaja sir’s contribution.
Kallai irunthen – Charanam, adding ice to the cake.
Kaalathai Venra – ppl would understand its pallavi if and only if they watch the climax of this movie.
I am afraid the song - Abinayam kaatukinra was edited while I watched the movie.
Fresh, romatic, sensible, apt, inspiring, outstanding, simple and majestic music score had enhanced the standard of this ordinary movie.
Have a good one!
always
~~Raaja rules!
Friday, July 4, 2008
Raaja sir Vs MJ
Someone at orkut wanted to compare the song MJ's The way u make me feel with Raaja sir's Aasai Athigam - Marupadiyum.
The way u make me feel:-
Its my VERY favorite song in MJ's composition {its his own composition, infact}.
It has well structured poly-rhythm. It has rhythm programming, Synthesizers, Synclavier {which is a sampler and has pre-recorded rhythms and sounds} and trumpet. It is a typical electro-pop. It also has vocal harmony and vocal counterpoint/contrapuntal.
BTW, have you ever heard de song - Vennila ennodu vanthu aadava from Nyaya tharasu, Charlie would dance for it? It has ditto same Rhthym programming/loop of "The way u make me feel".
Aasai Athigam:
Prelude & pallavi have 4 different rhythms, one is finger snap, which should have been made through drum machine or synthesizer, 2 different rhythm pattern play same melody/tune, however, wid different range. One mabbie produced by Rhthym programming and other by pad or drum machine. 4th rhythm is through live percussion {bass drum}. Highlight of de song is usage of Bassoon {eh?} at de 1st interlude. Interludes have cute banjo as well.
1st interlude and charanam have live percussion {kinda bangos} wid bass drum. 2nd interlude has bass guitar and banjo make harmonic structure. Does Janaki hum de improvised melody of banjo at 2nd interlude? It is a folk song makes tribal ambience through tune and orchestra. This mabbie, hi-profile tribal song {smile}.
always
~~Raaja rules!
The way u make me feel:-
Its my VERY favorite song in MJ's composition {its his own composition, infact}.
It has well structured poly-rhythm. It has rhythm programming, Synthesizers, Synclavier {which is a sampler and has pre-recorded rhythms and sounds} and trumpet. It is a typical electro-pop. It also has vocal harmony and vocal counterpoint/contrapuntal.
BTW, have you ever heard de song - Vennila ennodu vanthu aadava from Nyaya tharasu, Charlie would dance for it? It has ditto same Rhthym programming/loop of "The way u make me feel".
Aasai Athigam:
Prelude & pallavi have 4 different rhythms, one is finger snap, which should have been made through drum machine or synthesizer, 2 different rhythm pattern play same melody/tune, however, wid different range. One mabbie produced by Rhthym programming and other by pad or drum machine. 4th rhythm is through live percussion {bass drum}. Highlight of de song is usage of Bassoon {eh?} at de 1st interlude. Interludes have cute banjo as well.
1st interlude and charanam have live percussion {kinda bangos} wid bass drum. 2nd interlude has bass guitar and banjo make harmonic structure. Does Janaki hum de improvised melody of banjo at 2nd interlude? It is a folk song makes tribal ambience through tune and orchestra. This mabbie, hi-profile tribal song {smile}.
always
~~Raaja rules!
Sunday, June 15, 2008
Oru Kaithiyin Dairy - Ithu Rosa Poovu
~~It is a funk song wid un-usual earthy southindian instrument like orummi melam and noteworthy brass in de interludes. Ambiguity lyrics {perverted :O thoughts}. So, not for kuttie pasanga like me (under 18). {smile}
Amazing interludes...
Stunning bass guitar wid peppy alto sax initiates de song. Is it distortion guitar or synth in bassline? Trombone keeps de full stop for it. 1st two lines of pallavi originate wid open chord played on guitar. Afro-rhythm for pallavi and snares in de charanams have miami pattern rhythm nunaces.
Alto sax was replaced with soprano for calls and was responded by bass guitar. Trombone and soprano plays melody wid different timing follows stretto rule. 1:27 - 01:36, yet again unconventional factor...orummi, baton {drum}, bass guitar, synth...ennapa ithu combination?
It has laugh-burster vocal candenza, however, wid 2 or more voices...who is tat broncobuster? {Jus kiddin...}
always
~~Raaja rules!
Amazing interludes...
Stunning bass guitar wid peppy alto sax initiates de song. Is it distortion guitar or synth in bassline? Trombone keeps de full stop for it. 1st two lines of pallavi originate wid open chord played on guitar. Afro-rhythm for pallavi and snares in de charanams have miami pattern rhythm nunaces.
Alto sax was replaced with soprano for calls and was responded by bass guitar. Trombone and soprano plays melody wid different timing follows stretto rule. 1:27 - 01:36, yet again unconventional factor...orummi, baton {drum}, bass guitar, synth...ennapa ithu combination?
It has laugh-burster vocal candenza, however, wid 2 or more voices...who is tat broncobuster? {Jus kiddin...}
always
~~Raaja rules!
Thursday, June 5, 2008
Genres in Raaja sir's composition
This is still under construction {wink}:
New jack swing:
Videya Videya kavithai solli from Sethu,
Motta maadi from Anjali,
New jack swing:
Videya Videya kavithai solli from Sethu,
Motta maadi from Anjali,
Pop-ballad genre:
Antha Naal Nyaabagam" from Adhu Oru Kana Kaalam
Hip-hop:
Teen agela from Devan.
Vikram Vikram from Vikram.
Disco:
Solla Solla Enna Perumai from Ellam Inba Mayam
"Ilamai Itho" from Sakalakalavallavan,
Ennadi meenaatchi - Ilamai oonjalaadukirathu.
Rock and Roll
Pattellam super hit than from Rasaiyya,
Poovillaadidum katril - Nadigan,
Rum bam from Micheal madana kamarajan.
Acoustic guitar-propelled Western folk:
Etho mogam etho from Kozhi koovuthu,
Thulli ezhunthathu pattu - Geethanjali
Funk:
Senyorita I love you - Johnny,
Enna Venum - Uyarntha ullam,
Vazha vakkaikum - Apoorva sagotharargal
Jazz-funk:
Maharajanodu from Sathi leelavathy
Meetatha oru veenai - Poonthotham
Jazz:
Niram pirithu - Time,
Chinna vennila from Kadhal rojave,
Mumbai Xpress - Kurangu kaiyil poomala,
Jazz piano:
Nee partha from Hey raam.
Doo-wop:
Puthu cheri from Singaravelan, Vaanam Enna from Vetri vizha.
March:
Suttum Sudarvizhi from Siraichaalai,
Sundari Kannal from Thalapathy,
Ulagame from Ivann,
Oh intha ezhai geetham - Devan,
Manitha Manitha from Kan sevanthal man sevakkum.
Flamenco,
Dingu dongurappo - Valli (technique of golpe is played on guitar) ,
Rakkamma kaiya from Thalapathy,
Uttaalakadi - My Dear Maarththaandan,
Nee Kodutha from Maveeran
Afro-tribal
Malai Aruvi - Annai Oru Aalayam,
Thottam konda raasaave from Pagalili oru iravu,
Tholin mele baaram ille from Ninaivellaam nithya,
Maruthani from Raaja kaiya vacha,
Aadi aadi varum from I love india.
Recent Pop
Engengo pokindra or Doorana vinipinche - Twinkle twinkle little star,
Raam Raam from Heyram,
Kaathal meethu oru kaathal from Kaathal kavithai,
Sollum varai kaathal - Kangalum kavi paaduthe (Spanish pop...eh?)
Electro pop:
One two three four - Punnagai Mannan
Waltz:
Poottukkal pottaalum from Chathriyan,
Thannannam thaanannam - Yaathraa
Reggae:
Chinna manikaga from Senthuram {Traditional Reggae},
Alli sundra valli - Kankalin vaarthaigal,
Elavaner kala - Manam virumputha unnai,
Vanakuyile kuyil from Priyanka - Afro Reggae/tribal, Manasa thota kadhal - Kathal kavithai, Muthu nilave - Time {Shabba Ranks reggae pattern},
Anne Anne sippai from Kozhi kovuthu (???) I've not listened to dis song for many years and so, I am doubtin'...
Polka:
Keladi en paavaiyea from Gopura vasaliye
Techno Pop:
Vaanam perusu thaan from Friends,
Paappa roopa from Poonjolai
Gospel:
Intha Ulagil - Madhu {Smooth Jazz}
Dhevanin kovil moodiya neram - Aruvadai naal
Devan thiruch chabai - Avar enakke sontham {Country}
New-age music:
Uravugal thodarkadhai - Aval appadi thaan
Pop-ballad:
Dianaa dianaa - Kaathal kavithai
Country music:
Pazhaya sogangal from Era vizhi kaviyangal,
Kathal ennum kovil from Kazhugu,
Ilaya nila from Payanangal mudivathillai,
Kaattu vazhi kaal from Athu oru kana kaalam.
Beat:
Kodai kaala kaatre from Panneer pushpangal,
Iniya pon nilave from Moodupani
Alternative rock:
Oh baby from Kadhalukku mariyathai
Alternative rock with power ballad:
Paattellaam from Sooriyan,
Oru murai from Inimay Naangathan,
Oru naal antha oru naal from Devathai (eh...?).
Blues:
Unnai kel from Inimay Naangathan,
Mandrum vantha - mounaraagam.
Bepop:
Raamaraanaalaum from Hey raam has strong influence of Bepop genre of music.
R&B
Ananiththu vidungal - Chithambaraththil oru appaasaami,
Mere zindagi - Aur ek prem kahani...et al
Jaane dho - Cheeni kum
Fusion is also an international genre of music.
Baroque with indian classical - I Met Bach in My House,
Mad Mod Mood Fugue from How to name it.
Kathal oviyum kandein - Gayathri
Concerto:
Mini Violin concerto in Raja paarvai,
Mini Piano concerto from Cheeni kum.
A cappella:
Naan puranthu From Maayabazar 1995
Last part of Polla vinayein from Thiruvasagam.
Thenpandi cheymayile - Nayagan
Oratorio:
Thiruvasagam!
It would go on and on...because
always
~~Raaja rules
Wednesday, May 14, 2008
Annakili was released on 14th May 1976 {smile}
~~Exactly, de same date before 32 years, de movie - Annakili was released {14th May 1976}. Through which our Raaja sir was incarnated as an individual composer. Raaja sir not only got his metier by this movie, however, He has dedicated Himself & His life for music and became God for poor music lovers like me :-)
This movie has six songs as below:
1. Adi raakaayi mookkaayi - Suththa chamba pachcha nellu - S.Janaki & Chorus
2. Annakkili unnai theduthe - S.Janaki
3. Annakkili unnai theduthu - T.M.Soundararajan
4. Machchanap paaththeengalaa - S.Janaki
5. Sonthamillai panthamillai - P.Susheela
6. Machchanap paaththeengalaa - Pathos
And coincidences,
1) His first Oratoria {Thiruvasagam} also has 6 songs.
2) 14 - 05 - 1976. 1+4 = 5, 05, 1+9+7+6 = 5. And His first symphony has 5 movements. He has invented de ragam 'Pancha'mukhi. His 500th movie was 'Anja'li...lol
3) His first cine song - Annakili Unna Theduthe and first song in Oratoria - Poovar Senni Mannan are based on de ragam - Sindhu Bhairavi, don't they?
Unconventional factors:
~~And talking about its compositions, there is always a talk tat Raaja sir is de first composer who has introduced folk music in tamil cine music. Of course, not...However, He did consolidate folk tunes with carnatic and western idioms, which is an innovate factor, like usage of harmony {western idiom} in Machchanap paaththeengalaa. Usage of Moog synthesizer/synthesizer in Adi raakaayi mookkaayi - suththa chamba pachcha nellu and many to be pointed out.
Annakkili unnai theduthe is herione introduction song, which is supposed to be a peppy song, however, this song has strong melancholic feel in de undercurrent. It gives blue/gloomy feel for sure and not only because of de lines: Kanavodu silanal nanavodu silanal uravillai pirivillai thanimai palanal, but also wid de orchestra arrangement :-)
Normally, when a main character dies in a movie {especially those period}, a shehnai will be played as re-recording to give more gloomy ambience, however, in dis movie, when Annam dies, a percussion beat would come and a couple of lines from Annakkili unnai theduthe, I think string orchestra would come. Tat's it.
You know wut?
As per Raaja sir at Varalatru suvadugal, it was released on 14th May, however, I got its VCD and censor certificate says 12th May :-/ {omg}.
~~Trivia:-
When Shrikanth speaks with Annam, in de background a rustic voice would come, which is mah God's voice :-)
Days and time are running so fast, however, its songs are always stand beyond their time. Mah Music God had given me a teensy-weensy knowledge to discover de un-noticed factors in His compositions, which reveal alot. I do not know how to express in words and my experiences with HIS music is more like a solo violin, which comes during the vocal part of Kanne kalaimane {Vaarthaikku varatha sogaththai vasikkum}.
Bhantham raaga bhantham
unthan santham thantha sontham
oolaiyil veranna sethi
ISAI thevane naanunthan paathi :-)
always
~~Raaja rules!
This movie has six songs as below:
1. Adi raakaayi mookkaayi - Suththa chamba pachcha nellu - S.Janaki & Chorus
2. Annakkili unnai theduthe - S.Janaki
3. Annakkili unnai theduthu - T.M.Soundararajan
4. Machchanap paaththeengalaa - S.Janaki
5. Sonthamillai panthamillai - P.Susheela
6. Machchanap paaththeengalaa - Pathos
And coincidences,
1) His first Oratoria {Thiruvasagam} also has 6 songs.
2) 14 - 05 - 1976. 1+4 = 5, 05, 1+9+7+6 = 5. And His first symphony has 5 movements. He has invented de ragam 'Pancha'mukhi. His 500th movie was 'Anja'li...lol
3) His first cine song - Annakili Unna Theduthe and first song in Oratoria - Poovar Senni Mannan are based on de ragam - Sindhu Bhairavi, don't they?
Unconventional factors:
~~And talking about its compositions, there is always a talk tat Raaja sir is de first composer who has introduced folk music in tamil cine music. Of course, not...However, He did consolidate folk tunes with carnatic and western idioms, which is an innovate factor, like usage of harmony {western idiom} in Machchanap paaththeengalaa. Usage of Moog synthesizer/synthesizer in Adi raakaayi mookkaayi - suththa chamba pachcha nellu and many to be pointed out.
Annakkili unnai theduthe is herione introduction song, which is supposed to be a peppy song, however, this song has strong melancholic feel in de undercurrent. It gives blue/gloomy feel for sure and not only because of de lines: Kanavodu silanal nanavodu silanal uravillai pirivillai thanimai palanal, but also wid de orchestra arrangement :-)
Normally, when a main character dies in a movie {especially those period}, a shehnai will be played as re-recording to give more gloomy ambience, however, in dis movie, when Annam dies, a percussion beat would come and a couple of lines from Annakkili unnai theduthe, I think string orchestra would come. Tat's it.
You know wut?
As per Raaja sir at Varalatru suvadugal, it was released on 14th May, however, I got its VCD and censor certificate says 12th May :-/ {omg}.
~~Trivia:-
When Shrikanth speaks with Annam, in de background a rustic voice would come, which is mah God's voice :-)
Days and time are running so fast, however, its songs are always stand beyond their time. Mah Music God had given me a teensy-weensy knowledge to discover de un-noticed factors in His compositions, which reveal alot. I do not know how to express in words and my experiences with HIS music is more like a solo violin, which comes during the vocal part of Kanne kalaimane {Vaarthaikku varatha sogaththai vasikkum}.
Bhantham raaga bhantham
unthan santham thantha sontham
oolaiyil veranna sethi
ISAI thevane naanunthan paathi :-)
always
~~Raaja rules!
Friday, May 9, 2008
1st time Baroque music and Indian classical...eh?
~~Kaadhal Oviyam kandein - Kavikuyil :-)
It should be for de 1st time in indian music history, Raaja sir has attempted to fuse two different era/region's music in this song. In de interludes, baroque period music has been played as bassline and veena + classical violin were played on top of it. It is also Singer Sujatha's first time song. However, it is not filmed.
Especially, @ 01:01 - 01:05, a classical violin plays de melody wid western string orchestra accompainment + mirudangam for rhythm. Also, @ 01:57 - 02:08, western choir on top of it Veena had been played with mirudangam for rhythm and guest appearance of santoor {smile}. And my VERY favorite seconds are 02:50 - 3:00...Oh jesus!!! A classical violin wid amazing baroque pattern string orchestra accompainment has been used and ALSO, drums played wid brush and mirudangam interlaced to create poly-rhythm structure. Just for a couple of seconds, string orchestra's call was responded by Choir. Coda of guitar to break up its magic and gives lead for different melodic zone. Now, harmonic progression @03:00, choir wid guitar combination for 4 seconds and again veena has been played wid {03:05 till 03:11} choir accompainment, coda of string orchestra to re-route de song to vocal part for last charanam. To my surprise, this song does not have prelude, just a lead for pallavi through a humming.
One doubt? @ 01:40 - 01:43...she sings as "Poonthrendral thamazha-inthu vara"...I think it should be "Poonthrendral thavazha-inthu vara"???...Anyways, Poonthrendral (dis song) thavazha-inthu vara, naan ennai marainthein ;-)
always
~~Raaja rules!
It should be for de 1st time in indian music history, Raaja sir has attempted to fuse two different era/region's music in this song. In de interludes, baroque period music has been played as bassline and veena + classical violin were played on top of it. It is also Singer Sujatha's first time song. However, it is not filmed.
Especially, @ 01:01 - 01:05, a classical violin plays de melody wid western string orchestra accompainment + mirudangam for rhythm. Also, @ 01:57 - 02:08, western choir on top of it Veena had been played with mirudangam for rhythm and guest appearance of santoor {smile}. And my VERY favorite seconds are 02:50 - 3:00...Oh jesus!!! A classical violin wid amazing baroque pattern string orchestra accompainment has been used and ALSO, drums played wid brush and mirudangam interlaced to create poly-rhythm structure. Just for a couple of seconds, string orchestra's call was responded by Choir. Coda of guitar to break up its magic and gives lead for different melodic zone. Now, harmonic progression @03:00, choir wid guitar combination for 4 seconds and again veena has been played wid {03:05 till 03:11} choir accompainment, coda of string orchestra to re-route de song to vocal part for last charanam. To my surprise, this song does not have prelude, just a lead for pallavi through a humming.
One doubt? @ 01:40 - 01:43...she sings as "Poonthrendral thamazha-inthu vara"...I think it should be "Poonthrendral thavazha-inthu vara"???...Anyways, Poonthrendral (dis song) thavazha-inthu vara, naan ennai marainthein ;-)
always
~~Raaja rules!
Tuesday, February 5, 2008
Ethilum Ingu from Bharathi
It is such a haunting SEMI-classical melody wid noteworthy Gamakam/quaver (ain't talkin about 1/8 count) or vocal improvisation. It has an exceptional poly-rhythm pattern throughout de song, which I have never heard in any other song...eh? Pallavi has Ganjeera and congos or its sound produced through synth? De same rhythm pattern continued at 1st interlude as well, which changes for 1st charanam and Ganjeera plays vital role there. In de 2nd interlude, tabla tarang takes de credit for rhythm. Now mirudhangham, tabla tarang and cymbol (uncommon combination) would play phenomenal role in de 2nd charanam.
Dis kinda 2 different rhythms for 1st and 2nd charanam in any other semi-classical song? Yup, it is for Kottathilye kovil pura from Idhya kovil :-) 1st charanam has Tamte/Tammatai/buffalo drum/Duff for rhythm,however, 2nd charanam has mirudangam (for me sometimes it sounds like Tabla :-/ ). At the same time, I feel only the percussion differs and not main rhythm sounding...whimsical :-/
Okay, bout 2nd interlude...@ 02:48 - 03:02, there is a solo violin and flute were played Simultaneously, de same melody. Violin stops at 03:00 itself and flute continues for an extra 2 seconds to break de abrupt ending of its role.
Tune is too beautiful and gorgeous wid more reality. Singer Madhu's voice is adding ice to de cake. Raaja sir's strategic orchestra arrangement neva induced de color of contemporary songs, I mean its a period movie and happens by mid of last century. Still it has its own aroma and freshness. You bet!
BTW, lyrics by Pulavar Pulamaipithan.
Paavana guru by Lalitha dasa: This song was used by MSV and Raaja sir in Mella thirunthathu kathavu and in Music journey - Live in Italy by Raaja sir with western music elements. Whenever, I listen to Ethilum iruppaan song, Paavana guru (Italy concert version) comes in my mind for sure. Both are based on different raagas, though.
always
~~Raaja rules
Subscribe to:
Posts (Atom)
