Raaja sir & I

Annakili - a revised blog

2011-05-14T00:13:00.000-07:00

Actually, Raaja sir had composed songs for a movie called "Deepam", which was supposed to have the casting of Gemini Ganesan & Padmini, Script by Rammaiyya & Direction by Raghunath.

1st song's lyric was penned by Gangai amaran that was sung by TMS. The song was about Lord Shiva. Unfortunately, that project was called-off.

Later, a couple of similar movies were dropped off, for which Raaja sir was signed to take care of music department.

An Annakili started flying over the musical sky:

Exactly, the same date before 35 years, the movie - Annakili was released {14th May 1976}. Through which our Raaja sir was incarnated as an individual composer. Raaja sir not only got his métier by this movie, however, He has dedicated Himself & His life for music and became inspiration & almost as a demi-god for many music aspirants.

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 some coincidences are,

1) His first Oratoria {Thiruvasagam} also has 6 songs.

2) 14 - 05 – 1976…1+4 = 5, 05, 1+9+7+6 = 5.
His first symphony has 5 movements.
He has invented the ragam 'Pancha'mukhi.
His 500th movie was 'Anja'li...lol

3) His first cine song - Annakili unna theduthae and first song in Oratoria - Poovar Senni Mannan are based on the ragam - Sindhu Bhairavi & ¾ time signature.

While talking about its compositions, there is always a fuss that Raaja sir is the first composer who has introduced folk music in tamil cine music. Of course, not...However, He has musically fabricated the folk tunes with Carnatic and western idioms, which is an innovate factor, like usage of harmony {western idiom} in Machchanap paaththeengalaa or arpeggios in a lude of Annakili Unna theduthae & when Sivakumar reveals about his necessity of job & in other scene, Sivakumar talks about his marriage to Annam, arpeggios were played in ¾ timing. Classical guitar played vital role in the songs & re-recording & also, usage of Moog synthesizer/synthesizer in Adi raakaayi mookkaayi - suththa chamba pachcha nellu and many to be pointed out.

It was actually ace-musician Chandrasekar’s synthesizer was played in this movie, however, due to his absence; some other musician has played the synthesizer.

Title card begins with ethnic rhythm played in 6/8 time signature and when Raaja sir’s name appears melody of Machchanap paaththeengalaa will be played. Annakkili unnai theduthe is a herione introduction song, which is supposed to be a peppy song, however, this song has strong melancholic feel in the undercurrent based on the generic - Viraha. It gives bluish feel, not only because of the lines: Kanavodu silanal nanavodu silanal uravillai pirivillai thanimai palanal, but also with the orchestra arrangement.

Normally, after a main character dies in the movie by those period, a shehnai will be played as a re-recording to give more gloomy ambiance, however, in this movie, Shehnai in the re-recording stops after Annam dies, a percussion beat comes and a couple of lines from Annakkili unnai theduthae…

In one of the beginning scenes, when Srikanth speaks with Annam, in the background a rustic voice sings a folk song – Enthan usuru mattum vaaduthadi , which was actually by Raaja sir himself. Later the same melody was reformatted with the songs - Maate ante maaatenanta - April 1 Vidudala (telugu) & its tamil version is Poi sonnean poiyye sonnean from Sathiyavaan, Ilaiyaraaja's Music Journey: Live in Italy has a harvest melody part - Velli pidiyaruval dhakku mukku dhikku thaalam poodu...& Solai ilankuile from Annakku jey!

When the movie Annakili was remade in Telugu as Ramachilaka (1978), music was by Satyam who has reused the same tunes composed by Raaja sir as in Tamil.

However, Raaja sir has reused the tune of Sutha chamba pacha nellu {Adi raakkayee} for the song Pachi Pala from Varasudochadu {telugu}.

Days and time are running so fast, however, its songs are always standing beyond their time. It’s not only a music journey of Raaja sir, however, his fans are also travelling along with His music in their own style.

Recently, actor Sivakumar asked me with a surprise how come you remember the release date of my movies – Annakili, Palootti valartha kili (20 – 08 - 1976) & et al., I said… I am an Ilayairaaja sir’s fan…!!!

Bhantham raaga bhantham unthan
santham thantha sontham
oolaiyil vaerenna sethi ISAI thevanae
en uyir Un ISAIyin methi…!

always

~~Raaja rules ♪

Baila

2011-02-12T07:07:00.001-08:00

Baila is a native music of Srilanka. Baila in the contemporary Thamizh movies is getting mandatory, which are in wide range of original Baila texture to House genre mix. However, applications of Baila in Raaja sir’s compositions are either in the native form or with its generic rhythm pattern of Raaja sir’s characteristic melodic formation.

In my understanding, Baila songs are composed in 6/8 time signature with native drumming on mounted drums, drum kit or rhythm pad, guitaring, brass arrangement & accompaniment of electronic tones. Although its melodic line is in a linear format, it gets shaped out according to the diction of Sinhala or the pure accent of Thamizh.

The original Baila melody of “Suraangani suraangani” was featured in the movie - Avar enakke sontham. In Azhagae Unnai Aaratthikiraen, the foot tapping number “Hey Mastaana” has the application of Baila in the pallavi & 2nd saranam with 6/8 time signature whereas the other 2 respective saranangal are in ¾ time signature & their melodies are according to the stipulation of the script.

If the songs “Siragadikkira Kuruvi” from Rajasthaan & “Chorus Paadura” from Paathu Paadava are ideal contemporary Baila numbers in all the aspect then the songs “Kaamaatchi Meenaatchi “ from Mudhal Iravu, “Agayam Mele “ from Naan Vazha Vaippen, “Kanna Un Leela” from Nalladhoru Kudumbam, “Anne Anne Sippai Annae” from Kozhi Kuvuthu, “Enga Ooru Englandthu Raani” from Padicha Pulla & “Maamane Maamane” from Neruppukkul Eeram are traditional Baila tracks. The poppish Baila numbers “Happy New Year” from Oh Manea Manea, “Kalyana Tharakare” from Eeramana Rojave & “Enna Paaduvathu” from Keladi Kanmani with pleasant harmonic addition.

“Unnaale Thoongale Yemmaa” from Vetri Karangal & “Cheppana Unnapani” from Aswamedham are romantic duets with the contour of Baila orchestration.

Humorous numbers like “Vaikira Idathil” from Anney Anney, “Oru Pathu rooba” from Oru Vittu Oru Vanthu, “Kanda Kanda Pasanga” from Devan , “Policesu Mattum Enna” from Thedi Vantha Raasaa & “Saavari Kaaru” from Padikatha Panaiyaar have the tendency of Baila genre. The song “Arae Oranga Srilanga” from Singaravelan too a Baila oriented song has His own melodic manipulation with different rhythm pattern in ¾ & 6/8 timing. And this list is continuous...!

Raaja sir has covered the musical globe from west to east and with the applications of Baila, He has crossed the borderline of Cape Comorin as well.

always

~~Raaja rules ♪

Celtic

2010-12-10T21:08:00.000-08:00

Celtic music was originated from Greek & Roman and later, it was considered to be music of Indo-European region & reportedly, their folk music.

Normally, these compositions should have their native instruments alike Accordion/Concertina, Irish Flute, Bagpipes/Uilleann pipes, Banjo, Tin whistle & et al.,

* Raaja sir started its music cult from the Oorampo - Ponnu Oorukku Pudhusu days itself...

* 2nd interlude of Athadi kathadi from Meendum Oru Kathal Kathai has typical of Celtic melody

* Vanampadi from Thalayanai manthiram & Thamaraikodi tharaiyil from Aananda Kummi have tinge of Celtic elements say in the prelude itself...

* Karutha machan from Puthu nellu puthu naathu:

Well, it's prelude has southindian folk instrument called Urumi, resonance of two violins have Celtic nuances and this lude ends with popping of bass guitar and harmonica melody was replicated through synth

* Kaathal thiruda from Pickpocket is “A Polka” song with Celtic 2nd Interlude

* Iniya naal from Manasellam - 1st part has rich children's choir, 2nd movement has 3-part choir with vocal harmonies & Celtic fillers

* Oru naal oru kanavu from Kannukkul nilavu is a Celtic-folk song

* 2nd interlude of Thalattu from Paatukku Naan Adimai

* The trill on flute Konjam thira from Oru naal oru kanavu has tone of Celtic-Pop Capercaillie's "When You Return"

* Interludes of Adaganide cheppedi ela or Kaise kahan from Shiva 2006 or Solvatharukku sol from Udhayam...

* Prelude & 1st interlude of Dheemi dheemi or Manasa adagava from Shiva 2006 or Oru naal maalaiyil from Udhayam - 2006

* Kaattu vazhi - Adhu Oru Kanaa Kaalam & Meri paa from Paa are Celtic-folk numbers.

These compositions have intense melody of Celtic, which was well played with violin & so does the song - Pandathe naattinpuram from Ponmudi Puzhayorathu

* Prelude & 1st interlude of Andala Lokam from Gaayam 2

* Rangu Rangu from Prem Kahani is a typical of Celtic-pop & so does the Swalpa Soundu from Suryakaanthi (Kannada) & so on...!

A big thanks to Ravi Natarajan sir who has kindled me to showcase the nuances of Celtic in His musical gems...

always

~~Raaja rules ♪

Nadaibetham - Raajanadai II (நடைபேதம் - ராஜநடை II)

2010-09-17T00:09:00.000-07:00

Yelamala Malai from Nadodi Thendral:

This song is based on 3/4 time signature. At 03:26 a rhythm punch stops the song & after 3 count {1,2,3}, 2nd interlude starts with change of rhythm pattern & tempo; still it sustains in the same 3/4 time signature.

Oorellam un pattu from Oorellam Un Pattu:

In Raaja sir's version, there will be a thala jathi change at middle of the charanam --Aalam vizhuthukal polae TO Unatharul thedi-- Still, song will be in the same time signature of 3/4 only. There are a few 100 songs of Raaja sir has this sorta change in jathi.

Change in Thala jathi or syncopation is a common factor in Raaja sir's compositions. Especially, it occurs at the Saranangal {Stanzas}.

Aagaya vennilave tharai meethu from Arangetra Velai:

Although Raaja sir has composed the song in 4/4 common time, the ace lyricist - Vaali has penned the song with consideration of melody as 3/4 time signature. So, its vocal melody is based on ¾ and the rhythm accompaniment is based on 4/4. However, both of them would concord at 12th count.

This is an unique composition with poly-time signature.

However, there are some Raaja sir's songs wherein change of time signature {mixed} or Nadai {beat cycle}.

Nadai-betham:

Nadai-betham is a process of changing a particular beat cycle to another & may regain the original beat cycle. Just for example, 4/4 time to ¾ time signature & again back to 4/4 common time.

Jinjinnaara from Rajasthan is a fine example for the aforementioned account.

Basically, this song is an "Electro-mix" rhythm oriented song Or simply an "Electro-pop" song. It is based on common time of 4/4 common time.

However, the rhythm cycle changes to ¾ time signature at the timing of “02:06 - 02:22” {From Naan pidichathellam to Un aththa ponna sonnapadi kattikullappa by Arunmozhi} & again "04:10 - 04:26" {From Kathalikka beach yethukku by S.N. Surendar to Onne onnuthanae irukku by Arunmozhi} at each Saranam {Stanza}, wherein syncopated folk beats where made through rhythm pad. Syncopated beats are something alike Nadaiya vittu vaasikirathu. And the remaining song is based on 4/4 common time.

Malai karukkaiyile from Enga ooru kaavalkaaran:

Well, the prelude starts with 6/8 time signature & changes to 3/4 (2/4 + 4/4) gives lead for pallavi. Again, 1st interlude starts with 6/8 & keys run help to change the time signature into 3/4 without any fuss...!

Aagaya Thamarai - Nadodi Pattukaran:

Prelude is in the 6/8 time signature & song is based on 4/4 common time.

Ooru vittu ooru vandhu from Karagattakaran:

The western rhythm starts with 4/4 {count goes alike 12 12} common time & the folk rhythm at the prelude itself goes in 6/8 time signature.

Sooriyana kandavudan - Paarvathi Ennai Paaradi:

Its prelude has Hindustani accent tabla with lovely flute piece & bass work. Although, this prelude is based on 4/4 time, bass guitar played in 3/4 time signature & the song is also based on 3/4 time signature.

Thoondamani vizhakku from Vazhga Valarga:

This song is based on 3/4 time signature, however, after the "A capella" kummi, {01:07-01:17} the folk rhythm was played in 6/8 time, again 1st saranam is based on 3/4 time signature.

Raakkumuthu raakku from Ejaman & Chola vazha naadu from Uliyin oosai end with 6/8 time signature, although these songs are based on 4/4 & 3/4 time signature respectively...!

Karava Maadu Moonu - Magalir Mattum:

http://www.youtube.com/watch?v=S61N5anF3CI

Well, it is a special & an experimental composition in many aspects. This song has different genres say,

* Prelude has resonance of Latino,
* Pallavi is in electro-pop pattern,
* 1st interlude & saranam is in western classical movement,
* 2nd interlude & saranam is in classical format & rhythm was through electronic rhythm kit,
* 3rd interlude & saranam is in folk & again rhythm was through electronic rhythm kit...

* Then, Janaki amma has rendered this song in 3 different slangs...

* 4 different pallavigal...

And talking about the time signature -

* Pallavi is in 4/4,
* 1st interlude & saranam in 2/4,
* 2nd interlude & saranam in 4/4,
* 3rd interlude & saranam in 3/4 &
* Again pallavi ends with 6/8 time signature...!

Finally, these are just executions of Nadai-betham in few of His compositions sorry, experimentations. (wink)

always

~Raaja rules ♪

Raajanadai - Raaja of Rhythm

2010-08-03T19:17:00.000-07:00

The above video is rehearsal of re-recording for the movie - Mayilu. It is an interesting video wherein Raaja sir instructs the drummer to play 5/8 beat cycle {Taka Takita or 12 123 - without any quarter notes}. He is so keen on rhythm cycle & points out an error that drummer has played 6/8 {Takita Takita} instead of 5/8 beat cycle...!

So, no compromise even with a single beat {wink}

Courtesy for Video: Akbarraaja

always

~~Raaja rules ♪

Pickpocket

2010-07-13T17:22:00.000-07:00

Of-late, I happened to listen to the songs from the movie - Pickpocket after a long time & was moved by the orchestration, which was so trendy & peppily.

The movie - Pickpocket, I believe it was directed by GM Kumar who is now a character artist in many Tamil movies.

Songs in this movie are in different genres:

Kaathal thiruda periya kaathal thiruda is “A Polka” song with Celtic 2nd Interlude. It is based on 2/4 time signature. At 1st interlude, western choir sings the “Mangalyam Tantunamena Mamajeevana”.

Manja kuruvi manja kuruvi konja paakkuthadi is a Latino number with Brazilian brass arrangement & stunning male choir at 2nd interlude.

Soodu romba soodu intha paalu sempu paalu is an erotica folk number with folk oriented western poly-rhythm. The prelude starts with bubble tones & raw funky wah-wah effect of electric lead guitar.

Velai velai ellorukkum undu starts with snooze, Raaja sir originates with morning raaga. If someone complaints that this song sounds more of Vishwanathan velai vendum then answer is yes. To my perception, Raaja sir is intend to compose this song with tinge of Vishwanathan velai vendum as both are same situational song. It is a Rock & roll song with boogie woogie piano fingering. 2nd interlude has different rhythms, for me lapping on Rhythm pad sounds like Namma ooru oththa adi {wink} & rock & roll elements of whistling, boogie woogie fingering & brass arrangement, however, with folk oriented rhythm.

always

~~Raaja rules!

Nothing But Ilaiyaraaja - A musical delight!

2010-06-07T08:39:00.000-07:00

Venue: The Music Academy - Chennai,

Date: June 5, 2010

Time: 7 PM – 10 PM

The music evening has been dedicated to Maestro.Ilayaraaja on His birthday occasion. It has been a new attempt of concert at this Chennai music hall. Certainly, it should be a new experience for all the musicians who have performed in this program. The 3 hours birthday musical tribute for Raaja sir should be one of the unforgettable moments not only for Him, but also for all His enthusiastic fans. In the 3 hours, almost 1-1/2 hours, audiences have witnessed the greatness of Orchestration for Raaja sir's non-film album - "Nothing But Wind" & a hand full of His Film songs.

In that particular 1-1/2 hours, the aforementioned south-indian music hall was filled with array of String orchestra with different parts of tremolo, melodies, accompaniments. Strokes on Double-bass, mind blowing melodies blown out from C flutes {sharp & bass}, D flute, Key-flute & et al., More of three-beat cycle drumming on acoustic drum kit with dense bass effect, fingering on major & minor keys with regularity, sportive chord progressions, chord punches, sudden key changes & high standard of some required melodies on both the Keyboards, chords played on Electric guitar with high electric effect & funky wah-wah through sustain Pedal, running bass chords in bassline & slaps not only through fingers, but also through elbow of the bass guitarist, which converted the show to a mere Rock concert at some places & last but not least vocal harmonies of 2 part choir.

After a few seconds of 7 o'clock, show has been started with His popular cine devotional song - Janani Janani, which was rendered by Bhavatharini. Raaja sir, Lyricist Vaali & north indian composer Uttam singh have lighted the Kuthuvilakku. After the brief narration all about the album "Nothing But Wind" by actress Rohini & accompaniment of Bhasky, the live concert was started.

Singing Self:

Following the four counts by the orchestra conductor & ace-violinist - Prabhakar, string orchestra started playing their notes with high perfection & after 45th sec with a mere silence, music conductor of this show - Prabhakar itself played the articulation part of solo violin, which is uncommon in any orchestra. Subsequent to the heavy strike on bass drum {originally on Timpani} Naveen's breathe on the flute, which came out as original melody of this piece with excellence. Nearly at 7th minute, the fusion of rock elements of high energetic drumming with dense bass by Geo, fingering of veteran Alaap Raju were well received among audience with huge applause. Raaja sir’s high excellence of this composition has influence of Vivaldi & Mozart’s melodic line.

Song of Soul:

Navneeth Sundar {ranjith} who himself an upcoming composer was on one of the keyboards, played uniquely on tip of his fingers {His un-usual style of playing}. Youngest musician of this troop, Leon played running chords other keyboard. Free fingering of Donnan on lead guitar brought the retro ambiance. Besides the skilled outcome of melody by Naveen, Alaap Raju’s bassline chord progression & arpeggios dominated rather than the Geo’s soft drumming of triple beat cycle. Haricharan’s replication of the lead melody was adding ice to the cake.

Mozart, I love You:

This music piece is considered to be Raaja sir’s experimentation of flute opus with waltz array of string orchestra & an Indian raga with different movements. It is not only treat for ears, but also the proficiency of string orchestra wherein musicians’ quick gesture of changing the score sheet & simultaneously glimpse on the conductor’s hand movements were more like treat for audience eyes.

Nothing But Wind:

The title track of this album has allotted less work for the Flutist who appears at the last 2 minutes only. Little Leon has taken care of the birds’ chirping, ducks quacks, frog ribbit, nature ambiance, sounds of train, flight & rocket under guidance of Navneeth who has played the lead melody, brass arrangement & an organ piece on his keyboard. Haricharan has sung the aalap & mystic vocal harmony. Naveen’s flute melody at the end of this piece was more like a cadenza. This piece comprises melodies, harmonies, sounds of nature & ends up with a solo flute piece refers that music is nothing but wind.

Composer's Breath:

It is considered to be an important music piece of this album, which was played for nearly 17 minutes. It contains heavy different movements & pattern of string orchestra with articulation through flute, running chords on keyboard, counter Pan-flute melody was made on keyboard by Navneeth while Naveen was kept on changing the C flutes {sharp & bass} to D flute & again back to the C flutes. Instead of triangle {in original piece}, Geo played cymbol & Aalap Raju’s bass guitar count was alike 1,2, 1, 2, 3, 4 makes 2/4 + 4/4, still shows the count of ¾ whereas melody goes in the measure of direct ¾ time. Interestingly, after 12th minute the fusion of Indian melody through flute & rock elements of slaps on bass guitar with soft drumming was well received among audience with heavy applause, which was a famous music piece used to play on Chennai fm {Priyavin priyamana neram} during ’93-94.

Ace violinist Prabhakar who has re-written the score of this album on listening to its cd, also conducted the orchestra with highly dignified manner. And musicians on the orchestra were par excellent who have made a highly profiled outcome of those valuable music pieces.

To be continued…!

always

~~Raaja rules!

Thiruvasagam in Oratoria - A Musical pilgrimage!

2010-06-06T00:43:00.000-07:00

Again, today is a special day in Raaja sir’s music career. Yes, before 6 years today {June 6th} is the day on which Raaja sir has started off composing the melodies & its oriented orchestra annotation for the album “Thiruvasagam in Oratoria”.

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.

always

~~Raaja rules!

Transcription of Anjali Theme Music!

2010-06-02T04:42:00.000-07:00

Ilayaraaja’s Music Carnival!

The video link of Maestro. Illayaraja’s 500th Film - Anjali's Theme BGM by the composer Prashan Jayatheepam. This is an Orchestration work done by him who is a Passionate fan of Raja Sir for his 67th Birthday. He has re-arranged the Raaja Sir's Orchestral Score of the Anjali Theme BGM.

During Baroque era, Johann Sebastian Bach was very much influenced by Antonio Vivaldi’s works & thus, transcriptions of Vivaldi’s works were performed/made it out by Bach.

In the contemporary Era, due to Mr.Prashan incredible love on music & Raaja sir’s melodies, “Transcription of Anjali Theme Music” has been made it out without descending the soul, liveliness & originality of this Theme Music.

From 00:50th sec, the multi-layer of melodic texture makes something like a contrapuntal pattern, which proves the huge impact of Bach within him. I got an opportunity to listen its audio on May 25th night, his lovely orchestration for the Raaja sir’s melody brings lot of serenity & peace within me & wiped off my fussy mood. I truly appreciate his effort & intention of this work. May the giver would shower all the blessings on him! My best wishes for his upcoming ventures!

Please do check his website & kindly leave your valued comments on the guest book @ www.prashanjayatheepam.com

Orchestrated & Produced by Prashan Jayatheepam

Mixed & Mastered by Saishiva & Deyo @ Saindeyo Productions.

Anjali BGM – Copyrights & License taken from Agi Music (www.agimusic.com)

always

~~Raaja rules ♪

Bassa nova rhythm texture

2010-03-21T12:00:00.000-07:00

Influenced by West coast jazz, in the 1950s composer Antonio Carlos Jobim helped to form Bossa Nova, a new music that blended together gentle Brazilian rhythms & melodies with cool-toned improvising.

As far as Bossa nova is concerned, Rhythm does not play vital role in it, however, it would have unique way of rhythm pattern. Rim clicks or clave pattern or son clave pattern rhythm brings the color/identity of Bossa nova rhythm. Normally, it would be based on 4/4 time signature.

Although, the song Kathal oviyam from Alaigal oivathillai has not have a perfect Bossa nova rhythmic structure, it's rhythm is closer to Bossa nova rhythm texture.

Well, talking about Kathal oviyum paadum song, congos/drum kit has been replaced by Synth rhythm. I reckon Clave pattern has been produced through rhythm pad. It is based on 4/4 time.

Malare malare un vaasam from Un Kannil Neer Vazhinthal:

It has rhythm texture closure to Bossa nova rhythm pattern. I am afraid that it is based on 2/4 time signature.

Its poly-pulse rhythm pattern goes alike: At pallavi & saranam, 4 off-beat through Synth. And 3 beats of Clava rhythm overlap on 1st two off-beat of Synth & the syncopation of 2 synth off-beat complete one beat measure.

At end of the Saranams, when Janaki sings something like - "Thaduthugu Thakathugu Thakathugu tha", which is final korvai of Theermanam. However, it does not have any rhythm accompaniment rather strings accompany the vocal melody. {smile}

Sollividu vennilave from Amaidhi Padai:

It has programmed rhythm texture. Who knows Congos & Rim clicks were made through VST drum machine.

Its Rhythm cycle goes alike: 2 off-beats of Congo, 1 Rim click beat, 3 off-beats of Congo & 1 Rim click beat complete a common time of 4/4. Again, rhythm of this song was intended for Latino rhythm, which is very closer to Bossa nova rhythm texture. 02:53 - 03:00 has poly-melody of two classical guitars.

Not only Bassa nova, however, Raaja sir has used Lambada style of rhythm in his composition. Lambada is a Brazilian dance. It's style of rhythm is adopted from Samba, Cumbia, Mambo, Tango, Salsa & et al.,

One fine example of Lambada rhythm in His composition is "Chinna manikkaga" from Senthooram...The song - Chinna Poo Chinna Poo from Japanil kalyanaraman has tinge of Tango rhythm pattern.

The songs - Thai Ariyatha - Arangetra Velai, Maamukku maylapore than from Velaikaran, Aan Pillai Enraal from En Jeevan Paduthu and et al., have Latino pattern rhythm.

Similarly, the songs - Maamarathila oonjal from Karisakaattu poove & Iravu paagalai theda from Kannukkul Nilavu have programmed Latino pattern rhythm.

So does many more rhythm pattern were textured within the bound of Raajaish way out.

always

~~Raaja rules!

Overture or prelude, eh?

2010-03-07T04:45:00.000-08:00

Overture:

An instrumental composition purposely as an induction to an extended work, such as an opera or oratorio. Rarely, in cine compositions we have such an introduction musical piece. However, the introduction music before any cine song is referred as 1st BGM or prelude. Below reference of 9 Genres from 10 preludes of Raaja sir's compositions that define his mathematical innate ability, making a huge impact as if an overture for the prelude of a mere ratio of time.

Putham puthu kaalai - Alaigal Oyvathillai:

It’s prelude originates with trill of Oboe; accent of bass guitar with maraca & later joins synth make Reggae structure. Novelty of dawn was pronounced by Janaki amma, which makes so iciness ambiance…especially for this season. {wink}

Oru murai kettale - Inime Naangathan:

Basically, it is an Alternative Rock number. Prelude of Oru murai kettale has live whamming on electric guitar through vibrato arm & heavy metal drumming. Simply Rocking prelude, which would raise the temperature at your end. {wink}

Vaanile thenila from Kaakhi Chattai:

This song has tinge of big band Jazz fusion. It is a lovely piece, which has something alike arpeggios on keys. It's dark lovely melody through reed & heavy string orchestra could make huge seduction on their musical texture.

Oru Kaaviyum from Aruvadai naal:

Its prelude has Ghazal accent rhythm through tabla with running Synth. Tabla plays Kavali, an 8 beat rhythmic structure. Song is based on 4/4 time. The emotional appeal in the Choir imitates the melody of Saranams' last line.

Madai Thirandhu from Nizhalgal:

Basically, this song is a Rhythm & blues number with heavy string orchestra arrangement! It has an avant-garde prelude with intermingle of different guitars sounding. Polyphonic guitar texture with distortion resonance through electric lead guitar overlapped on running bass guitar with snares accompaniment.

Vaanam thottu ponna from Thevar Magan:

The song Vaanam thottu ponna is 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.

Dhoori dhoori - Thendral Sudum:

It originates with lively string orchestra, lead electric guitar & swing rhythm on snares with ¾ time signature make candidly Waltz structures onto which a brass plays a floating melody.

Dingu dongurappo - Valli:

This song is based on Flamenco genre. The prelude wherein, technique of golpe is played on guitar.

Vaa vaa kanmani from Innisai Mazhai:

It is a heavy Rock prelude. Infact, it is a melancholic version of a sweet romantic duet. It's prelude originates with foot-tapping rhythm arrangement through live drum-kit & after 1st minute rolling on octobans is more like punch to stop its solo performance. Later, joins distortion effect through electric lead guitar with heavy drumming & programmed clapping of hands make a live Rock concert ambiance. It has been set in 4/4 beat.

Manitha Manitha from Kan sivanthal man sivakkum:

It is March genre song! It's prelude originates with something alike staccato through violin & its lead melody was imitated by heavy string orchestra; this shows the clear evidence of Raaja sir's mathematical innate ability as it is more like a mini violin concerto. Later, heavy brass arrangement with snares make french revolution music resonance! The timing of 0.39 - 0.41 reveals that Raaja sir is so diplomatic...as apparently, heavy string arrangement had nuances of beethoven's 5th symphony - 1st movement, however, he did not give room for nitpickers as it is just negligible inspiration for those seconds may be, it should be overture for marching movement composition.

So, there are n number of preludes set in different permutations and combination of orchestra & may follow a particular genre to some extent, which gives the hint for color of the song.

always

~~Raaja rules!

Garage UK - UKG

2010-01-11T13:20:00.000-08:00

Well, there are two types of Garage music. One is UK Garage & other one is US Garage; both these genres are very much differed by each other as like the instruments - French horn & English horn.

Infact, UK Garage is a plastic genre & it's compositions have unique rhythm pattern produced from Sampler or Synth or Drum machine or Sequencer.

Well, contemporary Garage music is depending on loops {ahead of sampler} or discs.

Talking about this genre in Raaja sir's composition, infact, He did not employ this rhythm in His compositions as main rhythm or throughout a song. Instead, He has used Garage Rhythm for the interludes of Oh baby baby {2nd interlude} - Kaathalukku mariyaathai & Naan thanga rojaa {2nd Interlude} - Time {through synth, eh?}.

Naan thanga rojaa {2nd Interlude}: This Garage Rhythm has been used with indian music elements like miruthangam {artificial sound produced through synth} & 2 classical violins overlap to form counter-melody.

Hichki Hichki from Paa & Saranam of Pachaimeni from Kanukkulle have UK-garage rhythm.

I am afraid that He should be the first composer from south-india to use Garage rhythm in cine-songs. Any other insight?

always

~~Raaja rules!

Pazhassi Raaja - Rhythm of Raaja!

2009-11-25T21:22:00.000-08:00

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!

All the world's a stage!

2009-11-25T01:46:00.000-08:00

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!

Mad Mod Mood Fugue

2009-07-26T07:17:00.000-07:00

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 marriot, Raaja sir had specially composed a three piece record composition.

After hearing that composition, Paul marriot 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!

2009-07-12T17:32:00.000-07:00

~~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!

Giri Pradakshina/Valam - Counter thought

2009-06-18T22:37:00.000-07:00

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!

Giri Pradakshina/Valam - 1st Kilometer

2009-06-17T23:54:00.000-07:00

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

2009-06-17T23:23:00.000-07:00

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 ...

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.

Limca book of records‎

History - 2001

The 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

#3:

Limca Books Of Records 2000‎

1905

Page 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!

Thiruvasagam in Oratoria - A Musical pilgrimage!

2009-06-06T02:52:00.000-07:00

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!

Rare photo

2009-06-03T18:32:00.000-07:00

Courtesy: Mr. Jacob Jesupatham

http://jacobjesupatham.blogspot.com/2009/01/blog-post_28.html

always

~~Raaja rules!

Mystical experience

2009-06-03T18:03:00.000-07:00

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!

A cappella!

2009-05-29T05:59:00.000-07:00

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,
SalangaiSatham - Puthu nellu puthu naaththu,
Oh vennilave vaa from Aananda kummi,
Appothu nallathaga, Aduppai mezhuki and NerunjiPoo from Vaazhga valarga,
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.,

Naan poranthu From Maayabazar 1995:

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!

Distortion Rose

2009-02-28T18:37:00.000-08:00

"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!

Festival for Love

2009-02-14T15:52:00.000-08:00

~~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!

Cheeni zyada - A sweet nostalgic trip!

2009-01-11T15:11:00.000-08:00

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!

Nagmaa Nagmaa Nagmaa - Pooncholai

2008-11-07T12:42:00.000-08:00

~~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!

Semi-Ghazal

2008-10-28T23:08:00.000-07:00

~~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

Poovae semboovae

2008-10-20T17:43:00.000-07:00

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!

Raajaish Pop-rock

2008-09-24T09:48:00.000-07:00

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!

Counterpoint or canon?

2008-09-22T04:49:00.001-07:00

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!

Raaja sir in Guiness Book - II

2008-09-05T12:44:00.000-07:00

OMG! Jesus!!! Now, 2nd proof {wink}. And dis time, it's from "The Cultural Study of Music: A Critical Introduction" - Page 293 by Martin Clayton, Trevor Herbert, Richard Middleton. Keeping my fingures crossed for any official notification...{smile}

always

~~Raaja rules!

Maalai Ilam Manathil - Aval Oru Pachai Kulanthai

2008-08-22T09:01:00.000-07:00

~~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 am not attached to titles: Raaja sir

2008-08-19T23:54:00.000-07:00

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!

Raaja sir in Guiness Book

2008-08-18T00:08:00.001-07:00

~~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!

Funky Wah-Wah effect

2008-08-13T12:27:00.000-07:00

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!

Dhanam - Music review

2008-07-31T08:11:00.000-07:00

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!

Vishwanathan Anand: Mind over matter.

2008-07-23T21:57:00.000-07:00

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!

Meaning for my tears :' (

2008-07-20T23:41:00.000-07:00

rajasaranam wrote: என் அவா சிக்கிரம் அவர் கடலாய் சமுத்திரமாய் மாற வேண்டும் என்பதே. ஒரு பத்து பதினைந்து 'சிம்பொனி'களாவது அமைக்க வேண்டும், என் வாழ்வு தீர்வதற்க்குள் கடலாட வேண்டும்.

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

2008-07-20T04:58:00.000-07:00

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!

Source: Behindwoods...

~~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!

Uliyin osai - Re-recording - A layman's view

2008-07-08T16:50:00.000-07:00

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!

Raaja sir Vs MJ

2008-07-04T16:39:00.000-07:00

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!

Oru Kaithiyin Dairy - Ithu Rosa Poovu

2008-06-15T23:30:00.000-07:00

~~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!

Genres in Raaja sir's composition

2008-06-05T12:36:00.000-07:00

This is still under construction {wink}:

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

Annakili was released on 14th May 1976 {smile}

2008-05-14T16:43:00.000-07:00

~~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!

1st time Baroque music and Indian classical...eh?

2008-05-09T14:45:00.000-07:00

~~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!

Ethilum Ingu from Bharathi

2008-02-05T16:27:00.000-08:00

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

Aasai raja aareero from Moodupani

2007-12-23T14:50:00.000-08:00

I should say it is a simple, short (1:03 minutes) high-profile melancholic lullaby by Raaja sir.

Dis song had been aptly Placed in de movie or composed at re-recording :-/
It has nuance of Blue genre of music as dis song has adagio (Musical term - A tempo having slow movement)...

If ain't wrong, Organ has been used as bassline and synth/keyboard in betwixt de vocal part. Only 2 instruments??? Or both de sounds were created through synth/keyboard...?

Contralto (Musical term - Lowest female singing voice) of Uma ramanan is damn gud.

Sound of synth/keyboard is more like acceptin wutever Uma ramanan sings, I have a feel like it...

Raaja sir is one of de best Organ players in India before He has incarnated as a composer.
always

~~Raaja rules!

Vizhi oraththu - Raajapaarvai...

2007-12-23T02:54:00.000-08:00

~~Yet another mind-blowin melancholic duet song wid Castrato of Kamalhassan and Contralto of sasirekha.

It is a typical tamil movie's situational song wid modern effect (widout declinin de beauty of blues) when nature departs protoganist from his patner...

A solo (blue) violin at initial 10 seconds gives us a warm welcome for gloomy world...
Wait!!! few seconds break for bluish feel by 01:05 - 01: 23: an awesome capriccio Retro - piece, which seduces us to lap :)

Call n response of solo violin + organ (01: 24 - 01:36) with synth (01:37 - 01:43) is damn unconventional factor. Meltin violin piece (01:44 - 01:52) adds more feel to de song...

My very favorite part of dis song: Alap/cal n response betwixt de couples at 01:53 - 02:30 is mind-blowin, which reminds me a vairamuthu's poetic line: Indru neeyum naanum santhikavittal, intha iravu oru pagalai santhikamale poividum...{smile}

Due to my untaught music knowledege, am not sure whether it is organ or synth in bassline during vocal part, which is amazin and adds more gloom to de song...

DO NOT JUST LISTEN TO DIS SONG INSTEAD FEEL DE MELODY/BLUE OF DIS SONG THROUGH YER HEART, IT HAS MORE VALUE AND WE MAY NOT UNDERSTAND IT, SOMETIMES...

We misinterpret tat we should listen to sad songs when we are depressed like we go to temple :)

Infact depression/sadness gives de complete meaning/feeling of Happiness/blissfulness...

always
~~Raaja rules!

Raaja sir and Akon :-/

2007-12-07T10:11:00.000-08:00

Akon's lonely I am so Lonely...

Yeah i woke up in the middle of the night and i notice my
Girl wasn't by my side could of sworn i was dreamin for
Real i was feanin so i had to take a little ride back tracking
On these few years try to figure out what i do to make it go bad
Cause ever since my girl left me my whole lifes been crashin and

Before tat Raaja sir has penned de lyrics for de song - kaattu vazhi kaal pora thambi - Athu oru kana kaalam:

Kanavinile oruthi anga vanthala
Nalla kanivodu oru peichi sonnala
Kaallam ellam thunai irupen endrala
Ada kanmozhicha kai vilagi ponala
Ninaiyum kanavaga engu nijama nadathiduma?
Thinamum antha ninaipil un vazhum thorthiduma
Vazhkai kanvila ninaivila unmaiyada :)

(sorry for mah pathetic tamil words in english)

Does Akon listen to Raaja sir's songs???

~~Raaja rules

राजा सर न अकों's

2007-12-07T10:00:00.000-08:00

इट्स कुइते इन्तेरेस्तीं'

अकों'एस लोनेली इ ऍम सो लोनेली...

येः इ वोके उप इन थे मिद्दले ऑफ़ थे निघत ऎंड इ नोटिस म्य्गिर्ल वसन'टी बी माय साइड कोउल्ड ऑफ़ स्वोर्ण इ वास द्रेअमिन फोर्रेअल इ वास फेअनिं सो इ हद तो टेक अ लिटिल रीड बेक त्रच्किंगों ठेस फेव येअर्स तरी तो फिगुरे आउट वहत इ दो तो मके आईटी गो बाद कुस एवर सीन्स माय गर्ल लेफ्ट मी माय व्होले लिफेस बीन क्रेस्हीं ऎंड

बेफोरे तट राजा सिर हस पेंनेद दे ल्य्रिच्स फॉर दे सोंग - कात्तु वजही काल पोर थम्बी - अत्हू ओरु काना कालम:

कनाविनिले ओरुथी अंगा वन्थाला नाल्ला कनिवोदु ओरु पिची सोंनालाकाल्लम एल्लम ठुने इरुपें एन्द्रलादा कन्मोज्हिचा कई विलागी पोनालानिनैयुम कनावागा एन्गु निजाम नादाथिदुमा?थिनामुम अन्ता निनैपिल उन वज्हुम थोर्थिदुमावाज्ह्कई कन्विला निनैविला उन्मैयादा :)

(सॉरी फॉर माह पठेटिक तमिल वोर्ड्स इन इंग्लिश)

दोएस अकों लिस्तें तो राजा सिर'एस सोंग्स???

~~राजा रूल्स

Indiaglitz n I...lol

2007-11-17T00:55:00.000-08:00

Normally, other composers copy from Raaja sir's compositions and modify it and release it under their name to sell de album, however, in dis case copyin' de write-up (mine is not music review, though...jus an interpretation of HIS Music) of poor fan/devotee of Raaja sir :)

http://www.indiaglitz.com/channels/malayalam/musicreview/9267.html

IndiaGlitz [Monday, August 06, 2007]

http://itwofs.com/milliblog/2007/07/17/sooryan-malayalam-ilayaraja/

ohreally (yeah, its me...) — July 21, 2007 @ 10:21 am (Infact, I did same write up a days before at Orkut under Forum - Sooriyan)...

http://www.orkut.com/CommMsgs.aspx?cmm=34613&tid=2544556181302797121&kw=%7E%7ERaaja+rules

Ambe Vaani:

Indiaglitz: the song is a complete carnatic treat from the soul stealers, the musician and the singer of international acclaim. Yesudas with his magnetic voice always gives his extreme best in these types of songs.

Me: Anbe Vaani - a complete carnatic treat by both de soul stealers. Overwhelmin, Yesudas wid his magnetic voice...

Ishtakkari

Indiaglitz: lovely tune with rhythmic bass percussions

Me: lovely tune wid Raaja sir’s contemporary style as backin orchestra. Wow, charamans starts wid bass percussion (Bass percussion, its a wrong term, though...lol)

Manase Manase:

Indiaglitz: The song and its percussion's have a touch of Rajasab’s Oliyilae Therivadhu song.

Me: programmed percussion sounds like Oliyilae therivadhu song (Maybe he/she has felt de same as wut I did

Paattellaam :

Indiaglitz: The classical violin in first interlude of the song and electric guitar & classical violin in the second interlude are highpoint of the song, (ditto)

Me: Solo classical violin in 1st interlude of dis song and electric guitar & classical violin in 2nd interlude are rockin’ n highpoint.

Conclusion:

Indiaglitz: But the album may be real musical feast in this noisy musical era, to the lovers of classical and serious listeners of music

ME: A real musical feast in dis noisy musical era…Overall, I feel peacock feathers were been fluttering on mah ears.

Funny fact: Copyright 2007 IndiaGlitz. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed. lol

always

~~Raaja rules

New start :)

2007-10-31T21:48:00.000-07:00

So...dis is may 1st post here onto mah new blog :)

A couple of days before, we happend to reinstall our system (C drive alone) and n I've lost al my collections of rare songs, articles bout Raaja sir n His compositions, pixels, MBA module (websites), up to 100 songs from which rahman has copied...al of a sudden, everythin were vanished....De person who has installed my system has advised me to keep those information at some separate e-mail account.

However, I ended up here...

Henceforth, I would be postin al de information wutever, I've come across...especially al bout Raaja sir...

Ellorukkum Nalla Kaalam Undu neram Undu Vaazhvile

Illaarukkum Nalla Maatramundu yetramundu Ulagile....

~~Raaja rules

Iru Paravaigal from Niram Maratha Pookal

2007-08-16T15:04:00.000-07:00

~~Rite from my babyhood, my mom used to hum a song (especially de 1st charanam) and it is Iru Paravaigal from Niram Maratha Pookal. I used to play dis song as soon as I made it home from school/college. Whenever, I come across any guitar or its tone anywhere at once dis song would comes in mah mind.

Choir in de prelude, 1st & 2nd interlude are more like children's frolic in de garden widout disturbance of parents... Professional string orchetra at de prelude welcome warmly. Congos or bangos made dis song so peppy widout disturbin de beeauty of de melody. Snare drums, (mah fav percussion) as usual used in perfect manner.

Solo folky violin and string orchestra played widout bow at 1:10 - 1:25 - exactly yer heart is not owned by yerself ;)

Rhythm of train at 1:25 to 1:40 - is nothin but yer trip to out of world...
Mah very fav minutes of dis song is 1:40 - 1:55, bass guitar wid flute were excellence of artistry, more blissful, most beautiful feel than poets' lies or femme fatale fake seduce...lol
Saaral thoovum muhilgalum...means drizzle by clouds; Jency's voice is exactly musical drizzle from Raaja sir's tune...

Tabla at 2:59 - 3:08 and santoor in betwixt vocal add hindustani flavor. Is it spouse's first word or flute after 2nd line in charanams???

Demi-god Kannadasan - 2nd stanza bout beauty of nature n 3rd stanza bout her overwhelming relationship wid HIM... hidden poetic concept wid simple words...

Do listen to dis song to vanish yer solemn thoughts...

Lyrics:~~Iru paravaigal malai muzhuvadhum inge.. Inge parandhana.. Ilai maraivinil iru kanigalum ange Ange kanindhana... Idhu kangal sollum rahasiyam Nee dheivam thandha adhisayam..( iru paravaigal) Nee - dis song n dheivam - Raaja sir {smile}.

Laa....lallalaaaa....
Saaral thoovum muhilgalum...
Sandham paadum malarhalum...(saaral)
Aanandha pudhu vella neerottamum [Don't ya feel tat as if ya're walkin alone into forest runnin stream]
Aa(d)haaya pooppandhu therottamum Aaroda kaalai maanaada...
Paarththana rasiththana oraayirame...(iru paravaigal)

Poovil pongum nirangale...
Pookkal aadum vanangale...
Yengengum avar pola naan kaangiren
Angangu yenai pola avar kaangiraar
Neeyendrum ini naanendrum Azhikkavum pirikkavum mudiyaadhammaa...(iru paravaigal)
Yup, HIS music n me cannot be departed...

always
~~Raaja rules!

Poove Ithu Poojai Kaalam - Gramathu Athiyayam

2007-08-16T15:02:00.000-07:00

This song has a prefect blend of pleasure and pain...I guess, while composing dis song, Raaja sir was keen to create so much pain widin us wid de help of Indian flute, western classical string orchestra :) frame drum, tabla and gorgeous folk tune...B.S. Sasirekha has rendered her voice for dis song, which is admirable.

Kinda simile: If ya'll intensely listen to de movement of string orchestra througout de song, will be more like moon irregularly hides herself behind or widin de grey clouds due to shyness {wink}.

Magical Flute - in de prelude and first interlude gives feel of reachin heaven's garden and also, last good-bye to yer classmates at 12th farewell party (tat's why I've mentioned as prefect blend of pleasure and pain...gotcha)

Ektara - given pulse rhythm to dis song.

Usage of Frame drum and tabla stimulate to fingers strike...

Eventually, Sasirekha accomplish de song wid de word - Poove, am listenin dis song for more than 10 years and still it has its own aroma and freshness.

always

~~Raaja rules!

Meen kodi theril - Karumbu vil

2007-08-01T15:12:00.000-07:00

This song is very closer to my heart as Yesudass sir rendered his magnetic voice for de fantastic tune (also, jency wid honey voice in second version). It starts wid Gong (a Japanese percussion) and proceeds wid miraculous tribal ethnic duo-vocal wid percussion (Djembes)(also in 1st n 2nd interlude). Exactly from 31st second shenai sounds more like musical spill from late afternoon sky. Is it santoor or banjo? for next five seconds give energetic feel.

At 1st interlude, pleasing piano, fresh flute breeze by 01:53 – 02:02 n later santoor are phenomenal. Also, bubbly shenai (02:50 – 03:02) and successive inconsistent puff of air into flute till 03:12 turn our mood to dreamy.

Overall feel is exactly a few minutes trip to dense junglee : )

Meen kodi theril manmadha raajan oorvalam pogindraan(2)
RadhiyO VithiyiN PiriviL MadhanO RadhiyiN NinaiviL (...lol)
Uravin sugame irave tharume Kaadalar dhevanin poojaiyil naalinil
Meen kodi theril Ora ora oravo ora ora oravo ora ora orraaaaaa..

Pournami raavil ilam kanniyar meni
Kaadhal raagam paadiye
Aadavar naadum antha paarvaiyil thaano
Kaaman yevum baanamo..
Naane unadhaanen naalum subha velai thaane..

Meen kodi theril
Ooooo ora ora ora ora oraoo....

Kaalaiyil thozhi naga kolamum thedi
Kaana naanam kooduthe Mangala melam sugha sangama geetham
Kaaman kovil poojaiyil
Naane unadhaanen naalum subha velai thaane..
Meen kodi theril

Special dedication to Jazzy Ram n Rakhi :)

always
~~Raaja rules

Pollatha Madana baanam - Hey Raam - Postlude

2007-05-24T16:46:00.000-07:00

De song Pollatha Madana baanam is basically a marathi lavani song and exactly from 02:35 the rhythm would change, which is not only more Ilayarajaish, but also damn peppy and awesome. My God, as far as I am concerned for de 1st time, a marathi lavani song ends wid western classical elements. Yup, listen to dis song from 03:10, which has kinda royal symphony score {not like concerto}, kinda gustav malher work. You know wut? Infact kamalji requested Raaja sir to have something like Wagner's work at end of dis song.

"Yaanai varum pinney, mani osai varum munney", alike vibraslap at 02:47 and 02:53 would let heed us that some orchestra work gonna come in a few minutes as vibraslap is being used in orchestra works as well.

However, Raaja sir went one step ahead and made de score wid symphony elements and also indian Tabla tarang. Initially, (3:10) it has harp {eh?} then choir, violin n cello orchestra join wid triangle, Tabla tarang, piano (or harpichord?) and exactly by 4:01 de flute would steal al de hearts. Finally, oboe, trumpet, tuba, french Horn and cymbols would accompained and finish de song, which never happened in Indian film music before. You bet!

always

~~Raaja rules!