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!

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!