This music album deserves for a thesis w.r.to the rhythm arrangement. Unfortunately, I am under-appreciated to write-in vividly about them. Still, below is just a synopsis of its songs.
Kunnathe Konnaykum {in tamil - Kundrathu} is based on 4/4 beat cycle. It’s pallavi has programmed percussion. Its contour of orchestra heavily reminds the song – Sempoovae Sempoovae. Similarly, the first line has the color of the song - Hele Kogile Impagala - Nammoora Mandara Hoove {Nenjathin geetham – Kangalin vaarthaigal}, may be both the songs are based on Suddha dhanyasi {Ain’t sure about it}. Usage of Sarangi steals the melody.
Aadiushassandhya Poothathivide {Aadhi mudhal} is based on 4/4 beat cycle. It has heavy usage of Bass drums throughout the song & embellishment of subsidiary percussion instruments alike Castanets, Cabasa/Shakers & triangle. Wagnerian style of brass arrangement steals its melody.
Ambum Kombum Komban Kattum {Ambum Kobum} sounds alike based on triple beat rhythm, which may be 6/8 beat cycle. It has poly-rhythm structure with Djembes & baton {drum sticks}. Saranams have well-structured Bass drums & Cabasa/Shakers.
Odathandil Thalam Kottum Kattil {Moongil Thannil thaalam} is based on 4/4 beat cycle. It has programmed rhythm & the entire song sounds much of contemporary r & b {rhythm & blues} song. 2nd interlude has been initiated with Djembes & shakers, later once the guitar strumming starts, raw synth rhythm joins along with Pan Flute to make tribal ambience.
Such a haunting album with lively Ryhthm arrangement!
always
~~Raaja rules!
Wednesday, November 25, 2009
All the world's a stage!
Ithu yeppadi irukku - 1978
Story: The core of its story should have been adopted from the Sujatha’s Anitha Ilam Manaivi. However, credit for this script was given to Panju Arunchalam.
*ing: Jaishankar, Sridevi, Y.Vijaya, Y.G.Mahendran, Sarathbabu and et al.,
Story goes alike this: Y.G.Mahendran and his lady love happened to see the cadaver of Y.Vijaya’s husband.
Jaishankar & Sridevi come into scene for further investigation of this execution. Many undisclosed truths like Y.Vijaya’s affair with Sarathbabu and et al., were discovered.
The executioner and the reason for execution were revealed at climax.
Talking about the BGM and songs, Raaja sir’s fear-provoking reverberation with heavy orchestra has enhanced the eeriness to the script.
Songs Kai Regai and Dhinam Dhinam were given less consideration when compared to Engum Niraintha. My pick of its music album is Dhinam Dhinam by P. Susheela.
Dhinam Dhinam:
To my belief, this composition makes an apprehension ambience, unwarrantedly. I was really moved by the mystical or frightening frame of mind induced by its core melody. My musical voyage into this composition reached to a great altitude, however, unto now, I was not able to recognize, what made me to be trepidation with respect to this composition.
Melodic Organ's mere piece originates this song and classical guitar replicates its lead melody with organ accompaniment. A brass, accordion with snares brings back the retro epoch in front of us. 1st and 2nd interlude have array of menacing violin, ascending & descending tenor of flute, wavering bassoon {in 1st interlude alone} continue to frighten me. Saranams have Indian rhythm of Tabla complement.
Nevertheless, it is being offered me a whimsical experience of its every listening!
always
~~Raaja rules!
Story: The core of its story should have been adopted from the Sujatha’s Anitha Ilam Manaivi. However, credit for this script was given to Panju Arunchalam.
*ing: Jaishankar, Sridevi, Y.Vijaya, Y.G.Mahendran, Sarathbabu and et al.,
Story goes alike this: Y.G.Mahendran and his lady love happened to see the cadaver of Y.Vijaya’s husband.
Jaishankar & Sridevi come into scene for further investigation of this execution. Many undisclosed truths like Y.Vijaya’s affair with Sarathbabu and et al., were discovered.
The executioner and the reason for execution were revealed at climax.
Talking about the BGM and songs, Raaja sir’s fear-provoking reverberation with heavy orchestra has enhanced the eeriness to the script.
Songs Kai Regai and Dhinam Dhinam were given less consideration when compared to Engum Niraintha. My pick of its music album is Dhinam Dhinam by P. Susheela.
Dhinam Dhinam:
To my belief, this composition makes an apprehension ambience, unwarrantedly. I was really moved by the mystical or frightening frame of mind induced by its core melody. My musical voyage into this composition reached to a great altitude, however, unto now, I was not able to recognize, what made me to be trepidation with respect to this composition.
Melodic Organ's mere piece originates this song and classical guitar replicates its lead melody with organ accompaniment. A brass, accordion with snares brings back the retro epoch in front of us. 1st and 2nd interlude have array of menacing violin, ascending & descending tenor of flute, wavering bassoon {in 1st interlude alone} continue to frighten me. Saranams have Indian rhythm of Tabla complement.
Nevertheless, it is being offered me a whimsical experience of its every listening!
always
~~Raaja rules!
Sunday, July 26, 2009
Mad Mod Mood Fugue
When Raaja sir has made His first trip to France {on 19-09-1983 through Airfrance} to meet the great french composer and arranger - Paul Mauriat, Raaja sir had specially composed a three piece record composition.
After hearing that composition, Paul Mauriat has appreciated the outcome and also, he proclaimed that it was the first such an attempt.
Actually, it was the same piece - Mad Mod Mood Fugue {2 minutes 03 seconds}. Later this composition has paved the way for the album - "How to name it?"
Fugue is a music concept, which supposed to be originated from the contrapuntal family, however, it differs from other contrapuntal idioms by: A main melody was played and it would be responded by counter-melody at different pitch. It is need not to be a factor of overlapping same melody with regular interval.
BTW, in chorale fugue, main melody will be replicated with two successive voices and fourth voice enters against the first/main melody.
This concept differs with instrumental fugue, I reckon. In canon, the complete main melody will be replicated by follower melody; however, it does not followed in Fugue.
May be a main melody was followed by its follower melody to some extent can called as "Fuga canonica".
Normally, at pre-baroque era, fugal work is performed with voices alone. Later, it had accompainment of instrument. However, Bach's Bourree in e-minor was written for lute.
Coming back to Mad Mod Mood Fugue:
Raaja sir's Mad Mod Mood Fugue is interwoven with three melodies. One violin plays the 15th melakartha raaga Mayamalavagowla and reportedly, 2nd violin plays the counter-melody of Bach's Bourree in e-minor and a bassguitar as bassline to form Trio structure.
Trio is a composition, which is written for three voices and instruments performed by three persons. Here, only 3 instruments play their own melodies.
I personally feel that this three piece orchestra movement is alike Allegretto {a moderately quick tempo} - Allegro {a quick, lively tempo} – Allegretto. {eh?}
At their initial stage, all the three instruments play their own melody without any botheration among themselves, after the 1st minute; there is a fuss among the two violins to consider about their melodies with each other. At 1:20, array of string instruments were more alike Allegro movement {a quick, lively tempo}, wherein western violin’s call was responded by Indian classical violin with bass accompaniment for main melody. Eventually, all the 3 instruments try to sustain their original melody. Subham!
always
~Raaja rules!
After hearing that composition, Paul Mauriat has appreciated the outcome and also, he proclaimed that it was the first such an attempt.
Actually, it was the same piece - Mad Mod Mood Fugue {2 minutes 03 seconds}. Later this composition has paved the way for the album - "How to name it?"
Fugue is a music concept, which supposed to be originated from the contrapuntal family, however, it differs from other contrapuntal idioms by: A main melody was played and it would be responded by counter-melody at different pitch. It is need not to be a factor of overlapping same melody with regular interval.
BTW, in chorale fugue, main melody will be replicated with two successive voices and fourth voice enters against the first/main melody.
This concept differs with instrumental fugue, I reckon. In canon, the complete main melody will be replicated by follower melody; however, it does not followed in Fugue.
May be a main melody was followed by its follower melody to some extent can called as "Fuga canonica".
Normally, at pre-baroque era, fugal work is performed with voices alone. Later, it had accompainment of instrument. However, Bach's Bourree in e-minor was written for lute.
Coming back to Mad Mod Mood Fugue:
Raaja sir's Mad Mod Mood Fugue is interwoven with three melodies. One violin plays the 15th melakartha raaga Mayamalavagowla and reportedly, 2nd violin plays the counter-melody of Bach's Bourree in e-minor and a bassguitar as bassline to form Trio structure.
Trio is a composition, which is written for three voices and instruments performed by three persons. Here, only 3 instruments play their own melodies.
I personally feel that this three piece orchestra movement is alike Allegretto {a moderately quick tempo} - Allegro {a quick, lively tempo} – Allegretto. {eh?}
At their initial stage, all the three instruments play their own melody without any botheration among themselves, after the 1st minute; there is a fuss among the two violins to consider about their melodies with each other. At 1:20, array of string instruments were more alike Allegro movement {a quick, lively tempo}, wherein western violin’s call was responded by Indian classical violin with bass accompaniment for main melody. Eventually, all the 3 instruments try to sustain their original melody. Subham!
always
~Raaja rules!
Sunday, July 12, 2009
Melody of departed souls!
~~What happens when two different departed souls meet and recollect their nostalgic thoughts?
Well, the end product would be the immaculate song - Aayiram malargale malarungal from Neram Maaratha pookal!
Actually, its live rhythm sounds more of marching genre song; say the usage of bass drums and big cymbals. This song beings with spick and span aalap of Jency. Accelerando of string orchestra and her alluring voice drenched with melancholic feel, take us outta our place. Western guitar was played with tribal tinge and tremolo through oboe {eh?} {…remember the song – Thookanna kuruvi kudo thoongum machan marathile?}, xylophone and rhythm arrangement make so much of tribal ambience.
2nd part of 1st interlude has contrapuntal of two flutes with running acoustic guitar accompaniment makes sonata structure to some extent. String orchestra arrangement in the 2nd interlude obstinate and enhances the bluish feel and so does in the 3rd interlude.
In the last lude, there is actually, imitation of melody by string orchestra, which has been borrowed from the flute and later it sounds more like call and response. Eventually, electric lead guitar plays mystical melody with tambourine to wind up the lude before MV makes his special appearance. The lead vocal melody is drenched in Raajaish Suddha Dhanyasi.
This song is very special to me in many aspects!
Lyrics translated into English:
~~Thousand flowers, effloresce
Sing the honey song and dance
{Amutham means something special drink, which would be available in heaven. Lemme use honey here for amudha}
Epic of love god.
Yourself and myself, come closer and say...say
Saranam #1:
In the sky, moon may diminish {diminish} and grow {again}
However, would the poetic line within us change?
Raagas are hundred, feelings are hundred
My song and your song are same, aren't they? {smile}
Saranam #2:
Rain may come in summer season and {so} spring season may be changed
Would the written fate/destiny change?
God of period/time says it's last birth relation
Who you are? Who am I? who made us together?
Saranam #3:
On earth, clouds would go and play by luck
This time, Rathi would fly throughout the mountain
Unslanted small hill, unseen heart
Without singing lullaby, how could become {a} mother? {what a line?}
always
~~Raaja rules!
Well, the end product would be the immaculate song - Aayiram malargale malarungal from Neram Maaratha pookal!
Actually, its live rhythm sounds more of marching genre song; say the usage of bass drums and big cymbals. This song beings with spick and span aalap of Jency. Accelerando of string orchestra and her alluring voice drenched with melancholic feel, take us outta our place. Western guitar was played with tribal tinge and tremolo through oboe {eh?} {…remember the song – Thookanna kuruvi kudo thoongum machan marathile?}, xylophone and rhythm arrangement make so much of tribal ambience.
2nd part of 1st interlude has contrapuntal of two flutes with running acoustic guitar accompaniment makes sonata structure to some extent. String orchestra arrangement in the 2nd interlude obstinate and enhances the bluish feel and so does in the 3rd interlude.
In the last lude, there is actually, imitation of melody by string orchestra, which has been borrowed from the flute and later it sounds more like call and response. Eventually, electric lead guitar plays mystical melody with tambourine to wind up the lude before MV makes his special appearance. The lead vocal melody is drenched in Raajaish Suddha Dhanyasi.
This song is very special to me in many aspects!
Lyrics translated into English:
~~Thousand flowers, effloresce
Sing the honey song and dance
{Amutham means something special drink, which would be available in heaven. Lemme use honey here for amudha}
Epic of love god.
Yourself and myself, come closer and say...say
Saranam #1:
In the sky, moon may diminish {diminish} and grow {again}
However, would the poetic line within us change?
Raagas are hundred, feelings are hundred
My song and your song are same, aren't they? {smile}
Saranam #2:
Rain may come in summer season and {so} spring season may be changed
Would the written fate/destiny change?
God of period/time says it's last birth relation
Who you are? Who am I? who made us together?
Saranam #3:
On earth, clouds would go and play by luck
This time, Rathi would fly throughout the mountain
Unslanted small hill, unseen heart
Without singing lullaby, how could become {a} mother? {what a line?}
always
~~Raaja rules!
Thursday, June 18, 2009
Giri Pradakshina/Valam - Counter thought
I have experienced a new throbbing phase with this celestial album in the last 12 days. Ain’t saying this because I am a fan of Raaja sir, however, certainty, this album is so powerful tool to reach god and new spiritual arena. It has been alike a confession for me. I have learnt so many new factors in the last 12 days. I was more alike in betwixt deep sea and devil. I mean to say Materialistic life or Spiritual life. It has been a pilgrimage for me more like Girivalam. I have been listening to these compositions mostly while travel. So, the ambience and the mood created by these compositions were made me to feel I am losing myself from this acquisitive world.
I discovered that attaining spiritual grade is not an ease chore when I wanted to make it out truly and deeply!
P.S: Need to travel 17 Kms of Giri Pradakshina/Valam.
always
~~Raaja rules!
Wednesday, June 17, 2009
Giri Pradakshina/Valam - 1st Kilometer
Being emotionally inclined to Raaja sir’s compositions, I intentionally did not make it out my presence onto Thiruvasagam in Oratorio audio release function {Jul 01, 2005}, however, during its function, all my thoughts were about it, I was in office, though.
On the same day, I left the office by very late evening and found a crowd near a TV showroom. OMG, I reckon, in KTV, Thiruvasagam in Oratorio audio release function was shown. I was not able to hear the speech; however, I could see Raaja sir in the frame. So, I was very glad and felt it like I got His dharsan.
When I came to know that this Album is available in Market, I went to Landmark - Spencer. As soon as, I entered the Hall, to my surprise, everywhere Raaja sir's poster {promo pixels of this album} were taped, my heart skipped beating. {When I was small, I used to see Raaja sir's posters onto walls, front mirror of autorickshaw, every casette shops, painting shops, friday newpapers...et al., - Nostalgic thought}. Some english song was played at that hall. I went near a rack, which is full of this divine album. Then, without any reluctant I took an album with my malicious and grimed hands, which has 6 holy compositions. My eyes were already filled with ceremonially impure moisture, which were trying to come across the lower eye-lids. I was not able to read the track names as my vision was blurred/hazy with smudge tears. It was more like Confession for me.
All of a sudden, when I heard a counter voice {intermingled with rustic, religiousness and holiness} of Raaja sir over the tenor voice of Ray Harcourt for the composition - Polla vinayen, I was not by myself. I was feeling celestial breeze let into my ears without my consent and started provoking the hidden spiritual cells. Goosebumps! When I checked my pocket I was having Rs.75 only. As I was in urge to know about this album, I did not take enough money with me. I believe my friend Sudharshan was with me and said he could offer the money to buy this CD. I was with my typical vanity and said “No, I suppose to buy this album with my own money”. {Is there anything called own money?} {Now, often I am buying this cd and offering it to others. Even, yesterday also I bought a cd for some anonymous person at my dad’s office}.
On that day, I just turned back to my end with some sort of satisfaction in my life. To my surprise, I found the Thiruvasagam Cd at my flat, which was bought by my Anna. He said "I know Kamal you would be longing to get this CD". At that very moment, I felt alike I am a blessed child onto this earth. Another coincidence, again Polla vinaiyein was played at my flat as
well when I reached there. Anna was pulling my legs said songs are so lengthy and et al., I did not mind anything and started playing the cd from the first song – Poovar senni mannar {A marching genre song}, march towards your target. As I’ve already heard the 1st verse of this song sung by Raaja sir at press meet. I have a clue how it sounds. Overwhelming! Polla vinaiyein, we were simply moved by the orchestra, exactly at 14th minute and 37th second. This composition is nothing but just a confession and at 17:53, it was alike renaissance. Pooverukonum Purantharanum sounded alike a devotional ballad with a pleasing vocal harmony at the last part. Umbarkatkarasaey has such a melancholic feel. Muthu Natramam made me to perplexed, how could these words fit into such a melody. Puttril vazh Aravum is such an inspirational song {Raaja sir's dialect and Alap, its melody would be imitiated by grand western string orchestra}, which I personally allied to Raaja sir’s typical gesture who does not frighten for any terrifying act.
As soon as I finished listening to the songs, I’ve called up Dr.Vijay venkatraman through phone. He was busy with his clients. Still, he took break to give consideration for my call and feedback. What I know about music to give the feedback of this devotional album made it in grand scale? When he questioned me “what do you feel about these compositions? I was panic and wordless. With all emotions, I said this album is tantamount to 100 times of “Thendral vendu theendum pothu” song as this song was an ultimate composition for me in this world. Juvenile behavior! I shall take this opportunity to thank Dr.Vijay venkatraman for all his patience and tolerance to listen to my Juvenile narration.
Once I am done with that call, I started listening to these compositions again. It was around 11 pm. I switched off all the lights and with headphone I started eavesdropping this album again. When I was listening to the composition - Umbarkatkarasaey, I became emotional and tears were poured out, I have closed my eyes, though. So, this song became my favorite song right away.
And in the last 5 years, more or less daily we would be listening to this Thiruvasagam album. By June 6th - June 18th {2004}, Raaja sir has composed the melodies and orchestra annotations for Thiruvasagam in Oratoria. So, for a sentiment, I have been listening only to Thiruvasagam songs for all these 12 days and today June 18th is Manickavasagar day. On this day, Manickavasagar has been incorporated to Lord Shiva. Also, I have been gathering the information all about the making of this album and other its oriented stuff.
Raaja sir has suffered lot while doing this project, so much of stress and also, offened by many ppl. Infact, whenever we do research on any ancient holy projects, these are common obstacles.
I have experienced the same kind of pain, if not upto what Raaja sir has been. Yup, it was 6 painful days {first}. I was not able to recognize what is what. From the 7th day, I was somewhat relaxed and attained the normal state.
By that time, I was reminded to Swami Vivekananda's lines {from his personal letter about his trip to Europe from Madras}
"Myself, I have no peace, am burning literally day and night, but somehow or other, wherever I go hundreds and, in some [places] as in Madras, thousands would come to me day and night and would be cured of their skepticism and unbelief but I—! I am always unhappy!! Thy will be done!!!".
P.S: So far travelled Giri Pradakshina/Valam is 1 Kilometer.
To be continued shortly...!
always
~~Raaja rules!
Limca book of records
Apparently, the page - 93 of Limca book of records - 1998 has information about Raaja sir's record in Indian cinema. I happened to come across it through google search. However, there is no preview available for it. Below is synopsis of it:
Limca book of records
History - 1998
Page 93
Ilayaraaja has composed over 3500 songs for about 700 films. Society of Indian
Record Collectors The Society of Indian Record Collectors, established in ...
#3:
Record Collectors The Society of Indian Record Collectors, established in ...
More details:
Limca book of records
Published by Bisleri Beverages Ltd., 1998
Original from the University of Michigan
Digitized 4 Sep 2008.
# 2: I have no clue for the subsequent two records. I reckon it could be for Raaja sir has composed the melody on seeing the already picturized songs for the movie - Hey Raam.
# 2: I have no clue for the subsequent two records. I reckon it could be for Raaja sir has composed the melody on seeing the already picturized songs for the movie - Hey Raam.
Limca book of records
History - 2001The original lyrics of Sameer composed by L.Subramanyam were replaced with new tunes by Ilayaraja. This was done after the songs were picturised by the ...
More details
Limca book of records
Published by Bisleri Beverages Ltd., 2001
Original from the University of Michigan
Digitized 28 Aug 2008
Limca Books Of Records 2000
1905Page 147
... Independence era, bagged seven of the Kerala State Film Awards, 1996, including one for lead actor Mohanlal and another for Illayaraaja for his music
More details
Limca Books Of Records 2000
Published by Limca Book of Records, 1905
Original from the University of Michigan
Digitized 29 Aug 2008
ISBN 8190114808, 9788190114806
always
~~Raaja rules!
Saturday, June 6, 2009
Thiruvasagam in Oratoria - A Musical pilgrimage!
Today is a special day in Raaja sir’s music career. Yes, before 5 years today {June 6th} is the day on which Raaja sir has started off composing the melodies and its oriented orchestra annotation for the album “Thiruvasagam in Oratoria”. He has chosen some selected verses from the below:
Polla vinayen from Sivapuranam {Namashivaya vazhga},
Puttril vazh Aravum Anjen from Acchap paththu,
Pooverukonum Purantharanum from Thirukoth-thumbi {Shivanodu ikkiyum - Incorporating with Lord Shiva},
Umbarkatkarasaey from Pidiththa paththu {Muththik-kalap-puraiththal},
Muthu Natramam from Acchop pathikam {Anupava-vazhi ariyaamai},
Poovaar Senni Mannan from Yaaththirai paththu {Anubhava Athiitham uraiththal}.
He has accomplished the composing work on June 18th, which is actually saint Manickavasagar day! i.e., The music composing work of this project was well thought-out in the last 12 days of Saint Manickavasagar.
Besides the original verses, Raaja sir has appended a couple of lines in the composition - Puttril vazh Aravum Anjen: Vaathanur adigal {Saint Manickavasagar} vazhga, vaazhththum avar adiyaar vazhga!
Reportedly, these compositions are considered as “Classical Cross-over” genre. Infact, this album is an Oratorio album. Oratorio is a musical composition for vocal and orchestra, which narrates a sacred story {hymn} without any dramatic performance.
Basically, Oratorio is a work type. Considering the western factors, each compositions from this album fall into different genre.
Poovaar Senni Mannan is Marching genre,
Polla vinayen is Choral music genre {verse - Aakkam alavu is alone “A cappella”},
Thiruk koththumpi could be called as Guzzanelle {in lighter vein}. Guzzanelle is very amicable to Ballad. In that manner, Thiruk koththumpi is reportedly "Ballad" or "Devotional Ballad" {I did coin this term},
Umbarkatkarasaey – Choral music genre,
Muthu Natramam – Ballet Genre {in lighter vein},
Puttril vazh Aravum Anjen – Classical genre {Initially, it has mere opera elements of dialect}.
"சொல்லிய பாட்டின் பொருள் உணர்ந்து சொல்லுவார்
செல்வர் சிவபுரத்தின் உள்ளார் சிவன் அடிக்கீழ்ப்...
"Cholliya pattin porul unar{i}ndhu cholluvar
selvar Shivaburaththin ullar Shivan adikkizhp..."
The above lines are from last verse of Shivapuram {93rd and 94th lines}.
As Rev.G.U.Pope: 'NEATH THY SACRED FEET
THEY LEARN THE MEANING OF THEIR SONG.The blessed ones
In Civan's town who dwell, - full many a one, - beneath...'
If someone understand this song {shivapuranam} and explain/narrate about this song then he/she would go to Lord shiva's place...!
Through this album Raaja sir has rewritten the norms of Oratorio. After all He is an incarnation of Music!
always
~~Raaja rules!
Polla vinayen from Sivapuranam {Namashivaya vazhga},
Puttril vazh Aravum Anjen from Acchap paththu,
Pooverukonum Purantharanum from Thirukoth-thumbi {Shivanodu ikkiyum - Incorporating with Lord Shiva},
Umbarkatkarasaey from Pidiththa paththu {Muththik-kalap-puraiththal},
Muthu Natramam from Acchop pathikam {Anupava-vazhi ariyaamai},
Poovaar Senni Mannan from Yaaththirai paththu {Anubhava Athiitham uraiththal}.
He has accomplished the composing work on June 18th, which is actually saint Manickavasagar day! i.e., The music composing work of this project was well thought-out in the last 12 days of Saint Manickavasagar.
Besides the original verses, Raaja sir has appended a couple of lines in the composition - Puttril vazh Aravum Anjen: Vaathanur adigal {Saint Manickavasagar} vazhga, vaazhththum avar adiyaar vazhga!
Reportedly, these compositions are considered as “Classical Cross-over” genre. Infact, this album is an Oratorio album. Oratorio is a musical composition for vocal and orchestra, which narrates a sacred story {hymn} without any dramatic performance.
Basically, Oratorio is a work type. Considering the western factors, each compositions from this album fall into different genre.
Poovaar Senni Mannan is Marching genre,
Polla vinayen is Choral music genre {verse - Aakkam alavu is alone “A cappella”},
Thiruk koththumpi could be called as Guzzanelle {in lighter vein}. Guzzanelle is very amicable to Ballad. In that manner, Thiruk koththumpi is reportedly "Ballad" or "Devotional Ballad" {I did coin this term},
Umbarkatkarasaey – Choral music genre,
Muthu Natramam – Ballet Genre {in lighter vein},
Puttril vazh Aravum Anjen – Classical genre {Initially, it has mere opera elements of dialect}.
"சொல்லிய பாட்டின் பொருள் உணர்ந்து சொல்லுவார்
செல்வர் சிவபுரத்தின் உள்ளார் சிவன் அடிக்கீழ்ப்...
"Cholliya pattin porul unar{i}ndhu cholluvar
selvar Shivaburaththin ullar Shivan adikkizhp..."
The above lines are from last verse of Shivapuram {93rd and 94th lines}.
As Rev.G.U.Pope: 'NEATH THY SACRED FEET
THEY LEARN THE MEANING OF THEIR SONG.The blessed ones
In Civan's town who dwell, - full many a one, - beneath...'
If someone understand this song {shivapuranam} and explain/narrate about this song then he/she would go to Lord shiva's place...!
Through this album Raaja sir has rewritten the norms of Oratorio. After all He is an incarnation of Music!
always
~~Raaja rules!
Wednesday, June 3, 2009
Mystical experience
Induction:
In my mobile phone, I have the 3 notes composition {Instrumental} composed for Italy concert as ringtone. My sister has the same ring tone for her hubby's call.
Mystical and whimsical experience:
She got a call from her hubby on evening of 3rd June. Initially, I thought, it was on my mobile and later realized that it was for her. Thenceforth, I was hearing the same flute piece around me. I found that it was not on my mobile and even, did not play this composition in my PC or any other means as well. I thought it could be my pre-occupied notation. After my sister was done with the call, She informed me that my mobile was ringing with the same tone, infact I did not receive any call. My sister and I were surprised and panic as we were able to hear the 3 notes flute with Ganjra rhythm continuously without any mode {music player}. Is it "caprice" or "A capriccio", eh? {chuckle}
P.S: I used to have Putham puthu kalai as ringtone and as my Anna has it for his mobie, I changed this spick and span composition as alarm tone. I mostly go to bed at morning and awake up at evening, though {wink}
always
~~Raaja rules!
In my mobile phone, I have the 3 notes composition {Instrumental} composed for Italy concert as ringtone. My sister has the same ring tone for her hubby's call.
Mystical and whimsical experience:
She got a call from her hubby on evening of 3rd June. Initially, I thought, it was on my mobile and later realized that it was for her. Thenceforth, I was hearing the same flute piece around me. I found that it was not on my mobile and even, did not play this composition in my PC or any other means as well. I thought it could be my pre-occupied notation. After my sister was done with the call, She informed me that my mobile was ringing with the same tone, infact I did not receive any call. My sister and I were surprised and panic as we were able to hear the 3 notes flute with Ganjra rhythm continuously without any mode {music player}. Is it "caprice" or "A capriccio", eh? {chuckle}
P.S: I used to have Putham puthu kalai as ringtone and as my Anna has it for his mobie, I changed this spick and span composition as alarm tone. I mostly go to bed at morning and awake up at evening, though {wink}
always
~~Raaja rules!
Friday, May 29, 2009
A cappella!
A composition without instrumental/orchestra accompaniment is referred as "A cappella".
Raaja sir has performed this music genre either as a complete song or at a part of the song as follows:
Naan poranthu From Maayabazar 1995,
Polla vinayein from Thiruvasagam {Exactly the verse - Aakkam alavu},
Thenpandi cheymayile - Nayagan {Raaja sir's version},
Chembavala {kummi} part from Aracha Santhanam - Chinna thambi,
From 2:00 at Ich liebe Dich - Pudhu pattu
Overture of Vaanam thottu - Thevar magan does not have any orchestra until 40th sec, which was plaited with 5-6 part choir{?}, more alike a fugue {not technically, though},
Devan kovil - Naan paadum paadal: Prelude Alap of Janaki amma was accompained by choir alone to make mesmerizing harmonic zone unto 20 sec...et al.,
Talking about the complex texture of voice in the song - Naan poranthu From Maayabazar 1995: Well, polyphonic voice {parallel motion, oragum} was originated by medieval era itself.
To my interpertation, Raaja sir has either composed the orchestra arrangement for this song and later implemented with voices or intend to utilize the voice through which HE would have made the chords or melodies of instruments. {Perplexing, eh?}
Here, I go…At the overture or prelude, 3 part vocal {2 females and a male} imitate the tremolo chord till first 08 seconds. Later part, 2 part vocal imitate violin lead; say female voice {Contralto} and male voice {Castrato} imitate treble and bass respectively. 20th second’s punch voice imitates Timpani/bass drum beat.
During pallavi, the backing scat singing – ram bam pap imitates cello/violin notes. At 29th and 30th seconds “Chinchigguchin” is embellishment, either of santoor or guitar strum…! One may ask why not scat singing imitates any percussion? Actually, of late I found in re-recording session of Naan kadavul, Raaja sir dictates the notes for cello as scat singing “Tha ram pam”…! At 40th sec, the vocal backing imitates the violin movement {andante, eh?} and at 43rd and 44th sec are alike presto movement {quick movement} and next five seconds repeat the same pattern more alike strophic form. 49 – 58 seconds, running notes may be for guitar. Next 5 secs have call and response of “Beat measure”.
When Raaja sir sings ghost scaring mantra, backing vocal imitates Udukai sound (or anklet, eh?){01:09 – 01:17} and rhythm of Udukai from 01:18 – 01:25Backing vocal from 01:26 imitates piano chords and string orchestra joins at 01:31 to make pleasing harmonic structure.
Let me presume the backing vocal at saranam as percussion arrangement till 01:58 and percussion sounding continues, however, here syncopation had been attempted till 02:08From 02:09, two part vocal hums the melting melody, backing vocal imitates pizzicato through double bass {since it is male voice}. Finally, female voice more alike coda imitates snares and accomplish the 1st saranam.
When the 2nd interlude has rhythm succession, at 02: 53 trumpet sound was imitated, its call was responded by some reed instrument sounds decrescendo.
Eventually, giggle of males and females were call and response and overlap to make stretto structure…! {wink}
Performing the multi-layer vocal arrangement is not a big deal for Raaja sir.
* Re-recording of Olangal has 8 different choir compositions - one in Minor scale, one in Major scale and et al., which was supposed to be employed for the 1st time in indian cinema.
* 6 different voices overlapping/super imposing was also attempted by Raaja sir in the song - Vaa Vaa manjal malare from Raajathi raaja.
* Raaja raajathi raajan from Agni natchathiram has two different tones of Raaja sir {say bass and treble} overlap throughout the melody!
* 3 overlapping voices as vocal harmony in pallavi of Adi aathadi illam and vocal harmony in 1st interlude by Janaki amma for the song - Vikram Vikram.
* The song Vaanam thottu ponna from "Thevar Magan" is something alike Requiem version of Pottri paadadi ponne. It is kind of fugue format; successive progression of five or six choir parts sing the same melody with different tones.
* Ilavattam from My dear maarthandan has counter-tenor vocal harmony replicates {pseudo} the lead song's melody with pseudo-interval and does not make canonical subject...!
Wut not?
Ruler of Vocal arrangement!
always
~Raaja rules!
Raaja sir has performed this music genre either as a complete song or at a part of the song as follows:
Naan poranthu From Maayabazar 1995,
Polla vinayein from Thiruvasagam {Exactly the verse - Aakkam alavu},
Thenpandi cheymayile - Nayagan {Raaja sir's version},
Chembavala {kummi} part from Aracha Santhanam - Chinna thambi,
From 2:00 at Ich liebe Dich - Pudhu pattu
Overture of Vaanam thottu - Thevar magan does not have any orchestra until 40th sec, which was plaited with 5-6 part choir{?}, more alike a fugue {not technically, though},
Devan kovil - Naan paadum paadal: Prelude Alap of Janaki amma was accompained by choir alone to make mesmerizing harmonic zone unto 20 sec...et al.,
Talking about the complex texture of voice in the song - Naan poranthu From Maayabazar 1995: Well, polyphonic voice {parallel motion, oragum} was originated by medieval era itself.
To my interpertation, Raaja sir has either composed the orchestra arrangement for this song and later implemented with voices or intend to utilize the voice through which HE would have made the chords or melodies of instruments. {Perplexing, eh?}
Here, I go…At the overture or prelude, 3 part vocal {2 females and a male} imitate the tremolo chord till first 08 seconds. Later part, 2 part vocal imitate violin lead; say female voice {Contralto} and male voice {Castrato} imitate treble and bass respectively. 20th second’s punch voice imitates Timpani/bass drum beat.
During pallavi, the backing scat singing – ram bam pap imitates cello/violin notes. At 29th and 30th seconds “Chinchigguchin” is embellishment, either of santoor or guitar strum…! One may ask why not scat singing imitates any percussion? Actually, of late I found in re-recording session of Naan kadavul, Raaja sir dictates the notes for cello as scat singing “Tha ram pam”…! At 40th sec, the vocal backing imitates the violin movement {andante, eh?} and at 43rd and 44th sec are alike presto movement {quick movement} and next five seconds repeat the same pattern more alike strophic form. 49 – 58 seconds, running notes may be for guitar. Next 5 secs have call and response of “Beat measure”.
When Raaja sir sings ghost scaring mantra, backing vocal imitates Udukai sound (or anklet, eh?){01:09 – 01:17} and rhythm of Udukai from 01:18 – 01:25Backing vocal from 01:26 imitates piano chords and string orchestra joins at 01:31 to make pleasing harmonic structure.
Let me presume the backing vocal at saranam as percussion arrangement till 01:58 and percussion sounding continues, however, here syncopation had been attempted till 02:08From 02:09, two part vocal hums the melting melody, backing vocal imitates pizzicato through double bass {since it is male voice}. Finally, female voice more alike coda imitates snares and accomplish the 1st saranam.
When the 2nd interlude has rhythm succession, at 02: 53 trumpet sound was imitated, its call was responded by some reed instrument sounds decrescendo.
Eventually, giggle of males and females were call and response and overlap to make stretto structure…! {wink}
Performing the multi-layer vocal arrangement is not a big deal for Raaja sir.
* Re-recording of Olangal has 8 different choir compositions - one in Minor scale, one in Major scale and et al., which was supposed to be employed for the 1st time in indian cinema.
* 6 different voices overlapping/super imposing was also attempted by Raaja sir in the song - Vaa Vaa manjal malare from Raajathi raaja.
* Raaja raajathi raajan from Agni natchathiram has two different tones of Raaja sir {say bass and treble} overlap throughout the melody!
* 3 overlapping voices as vocal harmony in pallavi of Adi aathadi illam and vocal harmony in 1st interlude by Janaki amma for the song - Vikram Vikram.
* The song Vaanam thottu ponna from "Thevar Magan" is something alike Requiem version of Pottri paadadi ponne. It is kind of fugue format; successive progression of five or six choir parts sing the same melody with different tones.
* Ilavattam from My dear maarthandan has counter-tenor vocal harmony replicates {pseudo} the lead song's melody with pseudo-interval and does not make canonical subject...!
Wut not?
Ruler of Vocal arrangement!
always
~Raaja rules!
Saturday, February 28, 2009
Distortion Rose
"Eeramana rojavey" Sounds more alike "Skiffle" genre song as it has guitar dominance and rhythm sounds alike some utensil rather than conventional rhythm pattern.
Prelude has distortion sounding through pedals, bass guitar and lead guitar play their own melody and make counter-phase among themselves. 1st interlude has cello, which induces melancholic feel with embellishment of pizzicato through double bass.
Beautiful of this song: from 01:38 - 01:45, whistle sounds a spick and span melody and bass guitar plays some lead form contrapuntal zone, however, at 01:45 - 01:53, whistle's melody would be repeated by both the lead guitarand bass guitar concurrently.
Parallelly, at 02:55, electric guitar makes distortion sounding through pedals and bass guitar would play their own leads until 03:05. From, 03:05- 03:11, I personally feel, bass guitar insist to accompanies/play distortion sound to form new harmonic zone. Raaja sir intend to makedistortion sound for this melancholic song. Whenever, I listen to this piece, it takes me to Baroque era, which has tantamount of bach's organwork {say, toccata and fugue, I do not mean anything about inspiration; here, I refer to impact of interludes of Eeramana rojavey}.
Also, I have noted intense usage/dominance of distortion guitar in another melancholic composition of Him was at 2nd interlude of "Rasavey unnanambi" from Muthal mariyathai...I reckon, usage of distortion guitar on these songs enhance the bluish feel of the composition. A couple of ppl argued with me that 2nd interlude of "Rasavey unna nambi"does not have distortion guitar rather, however, it was through keyboard...I am so obstinate with my interpretation that how come a baby could not decipher his own mom's gesture?
always
~~Raaja rules!
Prelude has distortion sounding through pedals, bass guitar and lead guitar play their own melody and make counter-phase among themselves. 1st interlude has cello, which induces melancholic feel with embellishment of pizzicato through double bass.
Beautiful of this song: from 01:38 - 01:45, whistle sounds a spick and span melody and bass guitar plays some lead form contrapuntal zone, however, at 01:45 - 01:53, whistle's melody would be repeated by both the lead guitarand bass guitar concurrently.
Parallelly, at 02:55, electric guitar makes distortion sounding through pedals and bass guitar would play their own leads until 03:05. From, 03:05- 03:11, I personally feel, bass guitar insist to accompanies/play distortion sound to form new harmonic zone. Raaja sir intend to makedistortion sound for this melancholic song. Whenever, I listen to this piece, it takes me to Baroque era, which has tantamount of bach's organwork {say, toccata and fugue, I do not mean anything about inspiration; here, I refer to impact of interludes of Eeramana rojavey}.
Also, I have noted intense usage/dominance of distortion guitar in another melancholic composition of Him was at 2nd interlude of "Rasavey unnanambi" from Muthal mariyathai...I reckon, usage of distortion guitar on these songs enhance the bluish feel of the composition. A couple of ppl argued with me that 2nd interlude of "Rasavey unna nambi"does not have distortion guitar rather, however, it was through keyboard...I am so obstinate with my interpretation that how come a baby could not decipher his own mom's gesture?
always
~~Raaja rules!
Saturday, February 14, 2009
Festival for Love
~~Well, today is festival for love. So many true love story would have been effloresced and also, wound up by today. A special song on this special day.
Kathal oviyum from Alaigal oivathillai:
{Originally penned on 06/07/2007}
~~Kathal is oviyam, yup - love is an art. Especially, teenage crush -unforgettable memories. Raaja sir's music is an astounding art and is myonly love, always.
It is such a cute duet in this world, sorry out of world. {chuckle}
It does sound alike R&B with very indianmusical elements. However, as per musicologist P. Greene, it is Bossa novakinda song. It is true!!! Bossa nova songs will have unique usage ofclassical guitar, which would be played with fingers rather than with aguitar pick. Running or flowing guitar would not be incorporated withvocal melody. Piano takes 2nd priority. Rhythm does not play vital role init, however, it would have unique way of rhythm pattern. Rim clicks orclave pattern or son clave pattern rhythm brings de color/identity ofBossa nova songs.
However, Meri zindagi from Aur Ek Prem Kahani is Janya of kathal oviyum,which sounds alike typical contemporary r&b song. You bet!
Well, talking about Kathal oviyum paadum song, congos/drum kit has been replaced by synth rhythm. Rim clicks or clave pattern was replaced byCastanets sound, however, it should have been produced through synth. Haunting choir at pallavi and pulchritudinous bass guitar at saranams steal the show.
I kind of remember, from early of this century, more or less, daily I am listenin to dis song. My days are beautiful coz of this song. Bharathirajashould be so innovative while shootin this song. He has portrayed sopoetically in such a way that Kathick n Radha as Adam n Eve respectively, first human beings (of course, Lilith is de 1st female in this world) inthis world. Location was like Garden of Eden {smile}. Rose petals covertheir shyness {wink}. If we luk into their eyes, we may feel that theyare free from this sin or wicked world. Both are in hands of pleasure, generous, caring, empathy n blab...Pair of sandals called religion had been removed at entry of their love garden.
Even in night, if we listen to slogam (00:01 to 0:16) in the prelude, it would change our atmosphere as if like morning. Melody is notonly pleasure, but also painful and best example is this song; especially,choirs by 00:17 - 0:35 n 01:52 to 2:02 n 02:53 to 03:08 (with bass guitar).Flute, string orchestra, veena, bass guitar and percussion by 01:22 -01:40 were amazing blend of two different regions {east and west} musicalelements. Speciality of this song: beats backing on this song were producedfrom keyboard/synthesizer, which was unusual on those days.
Yup, at 2nd interlude, veena & guitar interaction and also, canon rule was employed with choir and string orchestra.
~~Whenever I listen to this song, I feel like Veena (00:35 - 00:39) (03:08- 03:24) and string orchestra (01:55 to 2:02) (03:25 - 3:35), guitarbacking de song were played on my nerves and not on strings {smile}. Thefusion of Indian percussion and choir at 1:40 - 01:55 would show intermix oftheir (couples) souls {smile}. This is a point wherein fuse of two cult;religions were ruined and love blossoms.
Guitarist Prasanna had pointed out in an interview tat this song taught himbout the use of Major 7th chords.
I recognize that love could be so blissful, pleasure, delightful orindulged according to desire only after learnin the beauty of this song.Hence, I am lovin this song more than I could. This song is beyond the boredom as I've heard this song for more number of times certainty rather thanRaaja sir and Bharathiraja. I wish this song would exist as long as teenlove exists on this world.
always
~~Raaja rules!
Kathal oviyum from Alaigal oivathillai:
{Originally penned on 06/07/2007}
~~Kathal is oviyam, yup - love is an art. Especially, teenage crush -unforgettable memories. Raaja sir's music is an astounding art and is myonly love, always.
It is such a cute duet in this world, sorry out of world. {chuckle}
It does sound alike R&B with very indianmusical elements. However, as per musicologist P. Greene, it is Bossa novakinda song. It is true!!! Bossa nova songs will have unique usage ofclassical guitar, which would be played with fingers rather than with aguitar pick. Running or flowing guitar would not be incorporated withvocal melody. Piano takes 2nd priority. Rhythm does not play vital role init, however, it would have unique way of rhythm pattern. Rim clicks orclave pattern or son clave pattern rhythm brings de color/identity ofBossa nova songs.
However, Meri zindagi from Aur Ek Prem Kahani is Janya of kathal oviyum,which sounds alike typical contemporary r&b song. You bet!
Well, talking about Kathal oviyum paadum song, congos/drum kit has been replaced by synth rhythm. Rim clicks or clave pattern was replaced byCastanets sound, however, it should have been produced through synth. Haunting choir at pallavi and pulchritudinous bass guitar at saranams steal the show.
I kind of remember, from early of this century, more or less, daily I am listenin to dis song. My days are beautiful coz of this song. Bharathirajashould be so innovative while shootin this song. He has portrayed sopoetically in such a way that Kathick n Radha as Adam n Eve respectively, first human beings (of course, Lilith is de 1st female in this world) inthis world. Location was like Garden of Eden {smile}. Rose petals covertheir shyness {wink}. If we luk into their eyes, we may feel that theyare free from this sin or wicked world. Both are in hands of pleasure, generous, caring, empathy n blab...Pair of sandals called religion had been removed at entry of their love garden.
Even in night, if we listen to slogam (00:01 to 0:16) in the prelude, it would change our atmosphere as if like morning. Melody is notonly pleasure, but also painful and best example is this song; especially,choirs by 00:17 - 0:35 n 01:52 to 2:02 n 02:53 to 03:08 (with bass guitar).Flute, string orchestra, veena, bass guitar and percussion by 01:22 -01:40 were amazing blend of two different regions {east and west} musicalelements. Speciality of this song: beats backing on this song were producedfrom keyboard/synthesizer, which was unusual on those days.
Yup, at 2nd interlude, veena & guitar interaction and also, canon rule was employed with choir and string orchestra.
~~Whenever I listen to this song, I feel like Veena (00:35 - 00:39) (03:08- 03:24) and string orchestra (01:55 to 2:02) (03:25 - 3:35), guitarbacking de song were played on my nerves and not on strings {smile}. Thefusion of Indian percussion and choir at 1:40 - 01:55 would show intermix oftheir (couples) souls {smile}. This is a point wherein fuse of two cult;religions were ruined and love blossoms.
Guitarist Prasanna had pointed out in an interview tat this song taught himbout the use of Major 7th chords.
I recognize that love could be so blissful, pleasure, delightful orindulged according to desire only after learnin the beauty of this song.Hence, I am lovin this song more than I could. This song is beyond the boredom as I've heard this song for more number of times certainty rather thanRaaja sir and Bharathiraja. I wish this song would exist as long as teenlove exists on this world.
always
~~Raaja rules!
Sunday, January 11, 2009
Cheeni zyada - A sweet nostalgic trip!
More or less, daily I would write some blog and will not finish it off. One such abstract would be this blog, which I penned on 01/11/2008. Just alike nostalgic trip; looking into old files, to trace out what I used to be upto with decipher of HIS compositions. It has been one-full year {smile}.
According to me there are two-types of music; namely, spiritual music and Materialistic/passion music. My 2 cents, spiritual music composer would not be able to compose overwhelming Materialistic/passion music and vice-versa. In my discovery, One COMPOSER who really stands out and broken al the norms in composing both kinda music and invented many idioms from already discovered music (gotcha???). HE has composed more or less equivalent ratio of spiritual music and Materialistic/passion music, which makes not only HIS fans but also critics and non-good music lovers leave in wonder/ponder and perplexes/mystery. Yup, I am talking about Raaja sir. A simple man with Majestic knowledge. So called critics who cannot understand/digest dis fact became panic and come out wid pessimistic review.
I really hate the ppl who refer themselves as critics and write in some futile work/criticism for the musical output, which they cannot understand, however, they would cheaply appreciate the foppish/garishin works, which tend according to their flexibility and their gaudy taste. Critic one who hide their nudity with one hand and whisper other hand to tease mere flaw in any musical work or else could not understand the necessity of that flaw. Why do they think themselves as incarnation of music?
Any critic/nitpicker would not/cannot be a good music lover and any good music lover will not critize any good/experimental work. Infact experimental works cannot be critized as there will not be any benchmark for it. I am wanting to be a good music lover so the below write-up :-)
Jaane do (Cheeni kum):
Do you wanna experiment really ecstasy? If yes, then listen to dis typical contemporary R&B song wid ballad nuance at interludes. Reincarnation of Jotheyali Jothe jotheyali - Geetha. Every decade this song make a smash appearance and leave a great impact within us. This is my Raaja sir and ONLY HE can give this sorta mind-blowin/bogglin and amazing composition. Yes, this kinda songs are simply resurrect my music TASTE from contemporary songs. It is a romantic song in all aspect and ever second :) Raaja sir should have been very romantic while composing this song, which is more than lust, love, romance n crush...If I say rhythmic succession of musical tone is so soulful then synth-rhythm is lub-dub of the song ;) Initial, piano piece is something like canon, which imitate the melody with different measure. Sheryal's cantabile, style of singing, which is characterized by the easy and flowing tone of the composition. Capriccio of string orchestra by 03:37 makes me to fly on musical sky until 03:52 of this song. Noteworthy, bass work {slapping} as bassline. Yup, I always say to this cute composition that Jaane do, however, it drags my attention towards its melody and not lettin to me to go, I have listened to it for n # of times, though. So is every Raaja sir's melody...
P.S: Assumption: For this song, in sheet music Raaja sir might have used 'P' and Energico :)
'P' - an instruction in sheet music to play softly (initial piano piece).
always
~~Raaja rules!
According to me there are two-types of music; namely, spiritual music and Materialistic/passion music. My 2 cents, spiritual music composer would not be able to compose overwhelming Materialistic/passion music and vice-versa. In my discovery, One COMPOSER who really stands out and broken al the norms in composing both kinda music and invented many idioms from already discovered music (gotcha???). HE has composed more or less equivalent ratio of spiritual music and Materialistic/passion music, which makes not only HIS fans but also critics and non-good music lovers leave in wonder/ponder and perplexes/mystery. Yup, I am talking about Raaja sir. A simple man with Majestic knowledge. So called critics who cannot understand/digest dis fact became panic and come out wid pessimistic review.
I really hate the ppl who refer themselves as critics and write in some futile work/criticism for the musical output, which they cannot understand, however, they would cheaply appreciate the foppish/garishin works, which tend according to their flexibility and their gaudy taste. Critic one who hide their nudity with one hand and whisper other hand to tease mere flaw in any musical work or else could not understand the necessity of that flaw. Why do they think themselves as incarnation of music?
Any critic/nitpicker would not/cannot be a good music lover and any good music lover will not critize any good/experimental work. Infact experimental works cannot be critized as there will not be any benchmark for it. I am wanting to be a good music lover so the below write-up :-)
Jaane do (Cheeni kum):
Do you wanna experiment really ecstasy? If yes, then listen to dis typical contemporary R&B song wid ballad nuance at interludes. Reincarnation of Jotheyali Jothe jotheyali - Geetha. Every decade this song make a smash appearance and leave a great impact within us. This is my Raaja sir and ONLY HE can give this sorta mind-blowin/bogglin and amazing composition. Yes, this kinda songs are simply resurrect my music TASTE from contemporary songs. It is a romantic song in all aspect and ever second :) Raaja sir should have been very romantic while composing this song, which is more than lust, love, romance n crush...If I say rhythmic succession of musical tone is so soulful then synth-rhythm is lub-dub of the song ;) Initial, piano piece is something like canon, which imitate the melody with different measure. Sheryal's cantabile, style of singing, which is characterized by the easy and flowing tone of the composition. Capriccio of string orchestra by 03:37 makes me to fly on musical sky until 03:52 of this song. Noteworthy, bass work {slapping} as bassline. Yup, I always say to this cute composition that Jaane do, however, it drags my attention towards its melody and not lettin to me to go, I have listened to it for n # of times, though. So is every Raaja sir's melody...
P.S: Assumption: For this song, in sheet music Raaja sir might have used 'P' and Energico :)
'P' - an instruction in sheet music to play softly (initial piano piece).
always
~~Raaja rules!
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