tag:blogger.com,1999:blog-25877640211691449432024-03-14T07:53:19.901-07:00Raaja sir & IThis blog is all about Raaja sir and His compositions in a layman's intuitiveness.New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.comBlogger59125tag:blogger.com,1999:blog-2587764021169144943.post-25133485442573085022014-08-29T13:06:00.002-07:002014-08-29T13:08:23.220-07:00Krishna Janmashtami special...<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBoKs2yj7g_LshnTBoEI5PJSdZYCdhciuGLUnfS_oFxQ-GxxKyJXrzEcwypoEwBxEdX0xBKzmJILXIJECkGBeHRiEvVs95puIsghks59sBC-hlz_mFw6h01VzN69GmnEG5ke1GZrkJPnBo/s1600/Krish.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBoKs2yj7g_LshnTBoEI5PJSdZYCdhciuGLUnfS_oFxQ-GxxKyJXrzEcwypoEwBxEdX0xBKzmJILXIJECkGBeHRiEvVs95puIsghks59sBC-hlz_mFw6h01VzN69GmnEG5ke1GZrkJPnBo/s1600/Krish.jpg" height="260" width="400" /></a><br />
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Krishna Janmashtami special - This is one of the orthodox Viraha songs
about Radha’s longing for Krishna. “Dekhan chahat kamal-dal-lochan,
sunan chahat mridu bani” means “She always intends to se<span class="text_exposed_show">e
only lotus oriented eyes of Krishna and listen to his sweet tone”.
Raaja sir has created a fabulous Viraha feel through this melody.
Although the song is based on common time signature of 4/4, Raaja sir
has arranged the eccentric & appealing rhythm pattern; whether the
tabla’s replication of miruthangam’s rhythm pattern on 1st interlude or
Rudram knocks on Chanda or backing rhythm for chittaswaram, the rhythm
arrangement is simple & well striking. Chitra amma’s rendition is
icing to the cake. When she sings the Akaaram initially or the line
“marundhaana neeyae nooiyaanadhenna” wherein she pretends to be Radha -
Viraha feel was well expressed… Raaja sir’s free flowing melody from His
musical soul melts us in Viraha feel. After all He is an Incarnation of
Music : )<br /> <br /> ~Raaja rules ♫</span></span></span></div>
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New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-82847041276089751102012-08-29T21:53:00.002-07:002012-08-29T21:55:31.283-07:00Raaja Blues<div dir="ltr" style="text-align: left;" trbidi="on">
~Yesterday Narayanan sir informed me that the song – Katrai konjam from Neethane En Ponvasantham is being played in Big FM (92.7) often. For more than a couple of hours, I was patiently listening to the screaming of RJs & ear-piercing ads. Sharankay anna sent an SMS as “Don’t worry ticket booked”. Right away, I called Anna with a mixed feeling of joyous & being deceived for not listening to the song.<br />
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Anna: (as usual) hmmm sollu<br />
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Me: Anna pattu kaettaella?<br />
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Anna: Nee kaettiya?<br />
<br />
Me: Illa Anna :-(<br />
<br />
Anna: Dai, pattak kaettu pesu, ennoda twitter accountla soundcloud link irukku paaru…<br />
<br />
Me: Thanks Anna, I shall call you back in 10 minutes…<br />
<br />
Somehow, managed to get the soundcloud link and played the song – Katrai Konjam…then after a sudden transition of musical fabrication in the interludes, stanza started…after a couple of lines –couldn’t control the tears rolling on my cheeks. After Thalattu kaekkathane from Nandalala, this song made me emotionally inclined at its 1st listening. The transition of melodic flow at “Thalli thalli paonaallum...” created so much of pain, couldn’t restrict myself stopping the song.<br />
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From nowadays, in the forums, fans would be posting like “This song has jazz elements or based on 7/8 timing or that line has this raaga or chord progression is wonderful or blab blab blab…” Well, in my personal opinion, this song should not be butchered with musical analysis. This song should be celebrated in a different dimension. So far Raaja sir has composed a plenty of blues composition, however, this is an important & unforgettable song for me by a different stand and so does, this music album :-)<br />
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always<br />
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~Raaja rules ♪</div>
New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-53660318925492719162012-07-26T00:58:00.002-07:002012-07-26T01:00:11.748-07:00Light music - an unknown private album<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: black;">Thookkam
vare illa unto early morning 5 o’clock…simply switched on fm radio in my mobbie.
Light music from private albums, I was so interested in listening to those
deglamorise compositions. Surprisingly, the 1<sup>st</sup> song – Thyaga annai
by Janaki, penned by Thamizhanban was actually composed by Raaja sir. They
played a couple of songs from the same anonymous private album, Naadu athai
naadu sung by ML Shrikanth based on social issues in 6/8 timing and the other
song was Kullanari kootham penned by Muthukoothan and sang by Janaki amma &
Malaysia Vasudevan, which is actually like gypsies were singing about the
culture shock in the city based on 6/8 timing, a real “Dappankuthu”
song.</span></div>
<span style="color: black;">No idea of
this album & when could have been released, probably mid 70’s. Still, I am
so glad that I got an opportunity to listen to such a private album by Raaja
sir. Infact, listening to this album was like a Dream before the actual sleep
*wink*</span><br />
<br />
always
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<br />
~Raaja rules!</div>New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-24783651799020039732011-05-14T00:13:00.000-07:002011-05-17T11:28:06.741-07:00Annakili - a revised blog<span style=";font-family:georgia;font-size:100%;" ><span style="line-height: 115%;">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.</span></span><xml><w:worddocument><w:trackmoves><w:trackformatting><w:punctuationkerning><w:validateagainstschemas><w:donotpromoteqf><w:compatibility><w:breakwrappedtables><w:snaptogridincell><w:wraptextwithpunct><w:useasianbreakrules><w:dontgrowautofit><w:splitpgbreakandparamark><w:dontvertaligncellwithsp><w:dontbreakconstrainedforcedtables><w:dontvertalignintxbx><w:word11kerningpairs><m:mathpr><m:mathfont val="Cambria Math"><m:brkbin val="before"><m:brkbinsub 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</w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:lsdexception></w:latentstyles></xml></span><span style=";font-family:georgia;font-size:100%;" > <p class="MsoNormal"><span style="line-height: 115%;">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.<br /></span></p><br /><p class="MsoNormal"><span style="line-height: 115%;">Later, a couple of similar movies were dropped off, for which Raaja sir was signed to take care of music department. </span></p> <p class="MsoNormal" style="line-height: normal;"><b><span style=""><br /></span></b></p><p class="MsoNormal" style="line-height: normal;"><b><span style="">An Annakili started flying over the musical sky:</span></b></p><p class="MsoNormal" style="line-height: normal;"><b><span style=""><br /></span></b></p><p class="MsoNormal"><span style="line-height: 115%;">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.<br /><br />This movie has six songs as below:<br /><br />1. Adi raakaayi mookkaayi - Suththa chamba pachcha nellu - S.Janaki & Chorus<br />2. Annakkili unnai theduthe - S.Janaki<br />3. Annakkili unnai theduthu - T.M.Soundararajan<br />4. Machchanap paaththeengalaa - S.Janaki<br />5. Sonthamillai panthamillai - P.Susheela<br />6. Machchanap paaththeengalaa – Pathos<br /><br />And some coincidences are,<br /><br />1) His first Oratoria {Thiruvasagam} also has 6 songs.<br /><br />2) 14 - 05 – 1976…1+4 = 5, 05, 1+9+7+6 = 5.<br /><span style=""> </span>His first symphony has 5 movements.<br /><span style=""> </span>He has invented the ragam 'Pancha'mukhi.<br /><span style=""> </span>His 500th movie was 'Anja'li...lol<br /><br />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.</span></p><p class="MsoNormal"><span style="line-height: 115%;"><br /></span></p> <p class="MsoNormal"><span style="line-height: 115%;">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.</span></p><p class="MsoNormal"><span style="line-height: 115%;"><br /></span></p><p class="MsoNormal"><span style="line-height: 115%;">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.<br /></span></p><p class="MsoNormal"><span style="line-height: 115%;"><br /></span></p> <p class="MsoNormal"><span style="line-height: 115%;">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 <span style=""> </span>- 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.<br /></span></p><p class="MsoNormal"><span style="line-height: 115%;"><br /></span></p> <p class="MsoNormal"><span style="line-height: 115%;">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 <span style=""> </span>movie, Shehnai <span style=""> </span>in the re-recording stops after <span style=""> </span>Annam dies, a percussion beat comes and a couple of lines from Annakkili unnai theduthae…</span></p><p class="MsoNormal"><span style="line-height: 115%;"><br /></span></p> <p class="MsoNormal"><span style="line-height: 115%;">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 har<span class="textexposedshow">vest melody part - Velli pidiyaruval dhakku mukku dhikku thaalam poodu...& Solai ilankuile from Annakku jey!</span></span></p><p class="MsoNormal"><span style="line-height: 115%;"><span class="textexposedshow"><br /></span></span></p> <p class="MsoNormal"><span style="line-height: 115%;">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.<br /><br />However, Raaja sir has reused the tune of Sutha chamba pacha nellu {Adi raakkayee} for the song Pachi Pala from Varasudochadu {telugu}.</span></p> <p class="MsoNormal"><span style="line-height: 115%;">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.<br /></span></p><p class="MsoNormal"><span style="line-height: 115%;"><br /></span></p> <p class="MsoNormal"><span style="line-height: 115%;">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…!!!</span></p><p class="MsoNormal"><span style="line-height: 115%;"><br />Bhantham raaga bhantham unthan<br />santham thantha sontham<br />oolaiyil vaerenna sethi ISAI thevanae<br />en uyir Un ISAIyin methi…!</span></p><p class="MsoNormal"><span style="line-height: 115%;"><br /></span></p> <p class="MsoNormal"><span style="line-height: 115%;">always<br /><br />~~Raaja rules ♪</span></p></span></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:brkbinsub></m:brkbin></m:mathfont></m:mathpr></w:word11kerningpairs></w:dontvertalignintxbx></w:dontbreakconstrainedforcedtables></w:dontvertaligncellwithsp></w:splitpgbreakandparamark></w:dontgrowautofit></w:useasianbreakrules></w:wraptextwithpunct></w:snaptogridincell></w:breakwrappedtables></w:compatibility></w:donotpromoteqf></w:validateagainstschemas></w:punctuationkerning></w:trackformatting></w:trackmoves></w:worddocument></xml>New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com2tag:blogger.com,1999:blog-2587764021169144943.post-739415081089639312011-02-12T07:07:00.001-08:002011-02-12T09:35:19.383-08:00Baila<span style="font-family:trebuchet ms;"><span style="font-weight: bold;">Baila </span>is a native music of Srilanka. Baila in the contemporary </span><span style="font-family:trebuchet ms;">Thamizh </span><span style="font-family:trebuchet ms;">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.</span><br /><br /><span style="font-family:trebuchet ms;">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.</span><br /><br /><span style="font-family:trebuchet ms;">The original Baila melody of “<span style="font-weight: bold;">Suraangani suraangani</span>” was featured in the movie - <span style="font-weight: bold;">Avar enakke sontham</span>. In <span style="font-weight: bold;">Azhagae Unnai Aaratthikiraen</span>, the foot tapping number “<span style="font-weight: bold;">Hey Mastaana</span>” 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.</span><br /><br /><span style="font-family:trebuchet ms;">If the songs “<span style="font-weight: bold;">Siragadikkira Kuruvi</span>” from <span style="font-weight: bold;">Rajasthaan </span>& “<span style="font-weight: bold;">Chorus Paadura</span>” from <span style="font-weight: bold;">Paathu Paadava</span> are ideal contemporary Baila numbers in all the aspect then the songs “<span style="font-weight: bold;">Kaamaatchi Meenaatchi</span> “ from <span style="font-weight: bold;">Mudhal Iravu</span>, “<span style="font-weight: bold;">Agayam Mele</span> “ from <span style="font-weight: bold;">Naan Vazha Vaippen</span>, “<span style="font-weight: bold;">Kanna Un Leela</span>” from <span style="font-weight: bold;">Nalladhoru Kudumbam</span>, “<span style="font-weight: bold;">Anne Anne Sippai Annae</span>” from <span style="font-weight: bold;">Kozhi Kuvuthu</span>, “<span style="font-weight: bold;">Enga Ooru Englandthu Raani</span>” from<span style="font-weight: bold;"> Padicha Pulla</span> & “<span style="font-weight: bold;">Maamane Maamane</span>” from <span style="font-weight: bold;">Neruppukkul Eeram</span> are traditional Baila tracks. The poppish Baila numbers “<span style="font-weight: bold;">Happy New Year</span>” from <span style="font-weight: bold;">Oh Manea Manea</span>, “<span style="font-weight: bold;">Kalyana Tharakare</span>” from <span style="font-weight: bold;">Eeramana Rojave</span> & “<span style="font-weight: bold;">Enna Paaduvathu</span>” from <span style="font-weight: bold;">Keladi Kanmani</span> with pleasant harmonic addition.</span><br /><br /><span style="font-family:trebuchet ms;">“<span style="font-weight: bold;">Unnaale Thoongale Yemmaa</span>” from <span style="font-weight: bold;">Vetri Karangal</span> & “<span style="font-weight: bold;">Cheppana Unnapani</span>” from <span style="font-weight: bold;">Aswamedham</span> are romantic duets with the contour of Baila orchestration.</span><br /><br /><span style="font-family:trebuchet ms;">Humorous numbers like “<span style="font-weight: bold;">Vaikira Idathil</span>” from <span style="font-weight: bold;">Anney Anney</span>, “<span style="font-weight: bold;">Oru Pathu rooba</span>” from <span style="font-weight: bold;">Oru Vittu Oru Vanthu</span>, “<span style="font-weight: bold;">Kanda Kanda Pasanga</span>” from <span style="font-weight: bold;">Devan</span> , “<span style="font-weight: bold;">Policesu Mattum Enna</span>” from <span style="font-weight: bold;">Thedi Vantha Raasaa</span> & “<span style="font-weight: bold;">Saavari Kaaru</span>” from <span style="font-weight: bold;">Padikatha Panaiyaar</span> have the tendency of Baila genre. The song “<span style="font-weight: bold;">Arae Oranga Srilanga</span>” 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...!</span><br /><br /><span style="font-family:trebuchet ms;">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.</span><br /><br /><span style="font-family:trebuchet ms;">always</span><br /><br /><span style="font-family:trebuchet ms;">~~Raaja rules ♪</span>New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-77428179091221289802010-12-10T21:08:00.000-08:002012-10-07T11:58:32.634-07:00Celtic<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="color: black; font-family: times new roman;"><span style="font-family: trebuchet ms;">Celtic music was originated from Greek & Roman and later, it was considered to be music of Indo-European region & reportedly, their folk music.</span><br /><br /><span style="font-family: trebuchet ms;">Normally, these compositions should have their native instruments alike Accordion/Concertina, Irish Flute, Bagpipes/Uilleann pipes, Banjo, Tin whistle & et al.,<br /><br />* Raaja sir started its music cult from the Oorampo - Ponnu Oorukku Pudhusu days itself...<br /></span><br /><span style="font-family: trebuchet ms;">* 2nd interlude of Athadi kathadi from Meendum Oru Kathal Kathai has typical of Celtic melody<br /><br />* 2nd interlude of Poongaththu athu from Nilavae mugam kattu has Celtic fusion with tribal rhythm texture<br /><br />* Vanampadi from Thalayanai manthiram & Thamaraikodi tharaiyil from Aananda Kummi have tinge of Celtic elements say in the prelude itself...<br /><br />* Karutha machan from Puthu nellu puthu naathu:</span><br /><br /><span style="font-family: trebuchet ms;">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<br /><br />* Kaathal thiruda from Pickpocket is “A Polka” song with Celtic 2nd Interlude<br /><br />* Iniya naal from Manasellam - 1st part has rich children's choir, 2nd movement has 3-part choir with vocal harmonies & Celtic fillers<br /><br />* Oru naal oru kanavu from Kannukkul nilavu is a Celtic-folk song<br /><br />* 2nd interlude of Thalattu from Paatukku Naan Adimai </span><br /><br /><span style="font-family: trebuchet ms;">* The trill on flute Konjam thira from Oru naal oru kanavu has tone of Celtic-Pop Capercaillie's "When You Return"<br /><br />* Interludes of Adaganide cheppedi ela or Kaise kahan from Shiva 2006 or Solvatharukku sol from Udhayam...<br /><br />* Prelude & 1st interlude of Dheemi dheemi or Manasa adagava from Shiva 2006 or Oru naal maalaiyil from Udhayam - 2006<br /><br />* Kaattu vazhi - Adhu Oru Kanaa Kaalam & Meri paa from Paa are Celtic-folk numbers. </span><br /><br /><span style="font-family: trebuchet ms;">These compositions have intense melody of Celtic, which was well played with violin & so does the song - Pandathe naattinpuram from Ponmudi Puzhayorathu<br /><br />* Prelude & 1st interlude of Andala Lokam from Gaayam 2<br /><br />* Rangu Rangu from Prem Kahani is a typical of Celtic-pop & so does the Swalpa Soundu from Suryakaanthi (Kannada) & so on...!<br /><br />A big thanks to </span><a href="http://geniusraja.blogspot.com/"><span style="font-family: trebuchet ms;">Ravi Natarajan</span></a><span style="font-family: trebuchet ms;"> sir who has kindled me to showcase the nuances of Celtic in His musical gems...<br /><br />always<br /><br />~~Raaja rules ♪</span></span></div>
New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com2tag:blogger.com,1999:blog-2587764021169144943.post-16614831181436291852010-09-17T00:09:00.000-07:002010-12-19T18:59:59.907-08:00Nadaibetham - Raajanadai II (நடைபேதம் - ராஜநடை II)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjF1g8_lzyg1vYsuKY6wkd8uJRwV08Sq9i-EJBMNdjC0ch2xhvc0ExS_UJmbs9xQll3ri6vPzWXh63jHOWiVA_XObB_fTi0P8hFJYKA5TegK_VjE5Fe_dEXv6FjJu-CDn63xvcrVqSoX4C/s1600/Raaja+sir+walks.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 206px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjF1g8_lzyg1vYsuKY6wkd8uJRwV08Sq9i-EJBMNdjC0ch2xhvc0ExS_UJmbs9xQll3ri6vPzWXh63jHOWiVA_XObB_fTi0P8hFJYKA5TegK_VjE5Fe_dEXv6FjJu-CDn63xvcrVqSoX4C/s320/Raaja+sir+walks.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5552593828305402802" /></a><br /><span style="font-family:trebuchet ms;"><strong>Yelamala Malai from Nadodi Thendral: </strong><br /><br />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.<br /><br /><strong>Oorellam un pattu from Oorellam Un Pattu:<br /></strong><br />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.<br /><br />Change in Thala jathi or syncopation is a common factor in Raaja sir's compositions. Especially, it occurs at the Saranangal {Stanzas}.<br /><br /><strong>Aagaya vennilave tharai meethu from Arangetra Velai:<br /></strong><br />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.<br /><br />This is an unique composition with poly-time signature.<br /><br />However, there are some Raaja sir's songs wherein change of time signature {mixed} or Nadai {beat cycle}.<br /><br /><strong>Nadai-betham: </strong><br /><br />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.<br /><br /><strong>Jinjinnaara from Rajasthan</strong> is a fine example for the aforementioned account.<br /><br />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.<br /><br />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.<br /><br /><strong>Malai karukkaiyile from Enga ooru kaavalkaaran:<br /></strong><br />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...!<br /><br /><strong>Aagaya Thamarai - Nadodi Pattukaran: </strong><br /><br />Prelude is in the 6/8 time signature & song is based on 4/4 common time.<br /><br /><strong>Ooru vittu ooru vandhu from Karagattakaran:<br /></strong><br />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.<br /><br /><strong>Sooriyana kandavudan - Paarvathi Ennai Paaradi: </strong><br /><br />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.<br /><br /><strong>Thoondamani vizhakku from Vazhga Valarga:<br /></strong><br />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.<br /><br /><strong>Raakkumuthu raakku from Ejaman & Chola vazha naadu from Uliyin oosai</strong> end with 6/8 time signature, although these songs are based on 4/4 & 3/4 time signature respectively...!<br /><br /><strong>Karava Maadu Moonu - Magalir Mattum:<br /></strong><br />http://www.youtube.com/watch?v=S61N5anF3CI<br /><br />Well, it is a special & an experimental composition in many aspects. This song has different genres say,<br /><br />* Prelude has resonance of Latino,<br />* Pallavi is in electro-pop pattern,<br />* 1st interlude & saranam is in western classical movement,<br />* 2nd interlude & saranam is in classical format & rhythm was through electronic rhythm kit,<br />* 3rd interlude & saranam is in folk & again rhythm was through electronic rhythm kit...<br /><br />* Then, Janaki amma has rendered this song in 3 different slangs...<br /><br />* 4 different pallavigal...<br /><br />And talking about the time signature -<br /><br />* Pallavi is in 4/4,<br />* 1st interlude & saranam in 2/4,<br />* 2nd interlude & saranam in 4/4,<br />* 3rd interlude & saranam in 3/4 &<br />* Again pallavi ends with 6/8 time signature...!<br /><br />Finally, these are just executions of Nadai-betham in few of His compositions sorry, experimentations. (wink)<br /><br />always<br /><br />~Raaja rules ♪</span>New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com2tag:blogger.com,1999:blog-2587764021169144943.post-89997364102672076672010-08-03T19:17:00.000-07:002010-08-03T19:35:54.739-07:00Raajanadai - Raaja of Rhythm<object width="500" height="405"><param name="movie" value="http://www.youtube.com/v/jaeTPEK8Q5Q&hl=en_US&fs=1?rel=0&border=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/jaeTPEK8Q5Q&hl=en_US&fs=1?rel=0&border=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="500" height="405"></embed></object><br /><br />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...!<br /><br />So, no compromise even with a single beat {wink}<br /><br />Courtesy for Video: Akbarraaja<br /><br />always<br /><br />~~Raaja rules ♪New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-91560753434125173772010-07-13T17:22:00.000-07:002010-09-22T02:28:31.863-07:00PickpocketOf-late, I happened to listen to the songs from the movie - <strong>Pickpocket </strong>after a long time & was moved by the orchestration, which was so trendy & peppily.<br /><br />The movie - <strong>Pickpocket</strong>, I believe it was directed by GM Kumar who is now a character artist in many Tamil movies.<br /><br />Songs in this movie are in different genres:<br /><br /><strong>Kaathal thiruda periya kaathal thiruda</strong> is “<strong>A Polka</strong>” song with Celtic 2nd Interlude. It is based on 2/4 time signature. At 1st interlude, western choir sings the “<strong>Mangalyam Tantunamena Mamajeevana</strong>”.<br /><br /><strong>Manja kuruvi manja kuruvi konja paakkuthadi</strong> is a <strong>Latino</strong> number with Brazilian brass arrangement & stunning male choir at 2nd interlude.<br /><br /><strong>Soodu romba soodu intha paalu sempu paalu</strong> 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.<br /><br /><strong>Velai velai ellorukkum undu</strong> 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 <strong>Rock & roll </strong>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.<br /><br />always<br /><br />~~Raaja rules!New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-12486226227075252372010-06-07T08:39:00.000-07:002010-06-07T18:40:28.061-07:00Nothing But Ilaiyaraaja - A musical delight!<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheC4vT_tkyuT6EYl8yJ0k341RZoNufC6uIk3ixT5OK0RcXjJPSiIaweuT1xLqQbXRU_huqXPeJH8YHtOoVZwgCuZZY5hoCo2Ur3ucmRE37-IHC4aTzrkL-JFqYsN51skWMdhlE5QpsBTea/s1600/Raaja+sir.jpg"><img id="BLOGGER_PHOTO_ID_5480057636001134594" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: pointer; HEIGHT: 313px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheC4vT_tkyuT6EYl8yJ0k341RZoNufC6uIk3ixT5OK0RcXjJPSiIaweuT1xLqQbXRU_huqXPeJH8YHtOoVZwgCuZZY5hoCo2Ur3ucmRE37-IHC4aTzrkL-JFqYsN51skWMdhlE5QpsBTea/s320/Raaja+sir.jpg" border="0" /></a><br /><span style="font-family:georgia;">Venue: <span style="FONT-WEIGHT: bold">The Music Academy - Chennai, </span></span><br /><br /><span style="font-family:georgia;">Date: <span style="FONT-WEIGHT: bold">June 5, 2010</span></span><br /><br /><span style="font-family:georgia;">Time: <span style="FONT-WEIGHT: bold">7 PM – 10 PM </span></span><br /><span style="font-family:georgia;"></span><br /><span style="font-family:georgia;">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. </span><br /><span style="font-family:georgia;"></span><br /><span style="font-family:georgia;">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.</span><br /><span style="font-family:georgia;"></span><br /><span style="font-family:georgia;">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. </span><br /><span style="font-family:georgia;"></span><br /><span style="FONT-WEIGHT: bold;font-family:georgia;" >Singing Self:</span><br /><span style="font-family:georgia;"></span><br /><span style="font-family:georgia;">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. </span><br /><br /><span style="FONT-WEIGHT: bold;font-family:georgia;" >Song of Soul:</span><br /><br /><span style="font-family:georgia;">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. </span><br /><br /><span style="FONT-WEIGHT: bold;font-family:georgia;" >Mozart, I love You:</span><br /><br /><span style="font-family:georgia;">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. </span><br /><br /><span style="FONT-WEIGHT: bold;font-family:georgia;" >Nothing But Wind:</span><br /><br /><span style="font-family:georgia;">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. </span><br /><br /><span style="FONT-WEIGHT: bold;font-family:georgia;" >Composer's Breath:</span><br /><br /><span style="font-family:georgia;">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. </span><br /><br /><span style="font-family:georgia;">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. </span><br /><br /><span style="font-family:georgia;">To be continued…! </span><br /><br />always<br /><br />~~Raaja rules!New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com4tag:blogger.com,1999:blog-2587764021169144943.post-48481912459590765632010-06-06T00:43:00.000-07:002010-06-09T00:49:53.295-07:00Thiruvasagam in Oratoria - A Musical pilgrimage!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 “<a href="http://raajarulez.blogspot.com/2009/06/thiruvasagam-in-oratoria-musical.html">Thiruvasagam in Oratoria</a>”.<br /><br />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.<br /><br />always<br /><br />~~Raaja rules!New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-33668956360633450462010-06-02T04:42:00.000-07:002010-08-06T16:43:54.630-07:00Transcription of Anjali Theme Music!<h3 class="smller">Ilayaraaja’s Music Carnival!</h3><br /><br /><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/hWI2tyA4gVo&hl=en_US&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/hWI2tyA4gVo&hl=en_US&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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!<br /><br />Please do check his website & kindly leave your valued comments on the guest book @ www.prashanjayatheepam.com<br /><br />Orchestrated & Produced by Prashan Jayatheepam<br /><br />Mixed & Mastered by Saishiva & Deyo @ Saindeyo Productions.<br /><br />Anjali BGM – Copyrights & License taken from Agi Music (www.agimusic.com)<br /><br />always<br /><br />~~Raaja rules ♪New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-34968426867561714832010-03-21T12:00:00.000-07:002011-02-12T09:29:46.779-08:00Bassa nova rhythm texture<em>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.</em><br /><br />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.<br /><br />Although, the song <strong>Kathal oviyam</strong> from <strong>Alaigal oivathillai</strong> has not have a perfect Bossa nova rhythmic structure, it's rhythm is closer to Bossa nova rhythm texture.<br /><br />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.<br /><br /><strong>Malare malare un vaasam</strong> from <strong>Un Kannil Neer Vazhinthal</strong>:<br /><br />It has rhythm texture closure to Bossa nova rhythm pattern. I am afraid that it is based on 2/4 time signature.<br /><br />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.<br /><br />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}<br /><br /><strong>Sollividu vennilave</strong> from <strong>Amaidhi Padai: </strong><br /><br />It has programmed rhythm texture. Who knows Congos & Rim clicks were made through VST drum machine.<br /><br />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.<br /><br />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.,<br /><br />One fine example of Lambada rhythm in His composition is "<strong>Chinna manikkaga</strong>" from <strong>Senthooram</strong>...The song - <strong>Chinna Poo Chinna Poo</strong> from <strong>Japanil kalyanaraman</strong> has tinge of Tango rhythm pattern.<br /><br />The songs - <strong>Thai Ariyatha</strong> - <strong>Arangetra Velai</strong>, <strong>Maamukku maylapore</strong> than from <strong>Velaikaran</strong>, <strong>Aan Pillai Enraal</strong> from <strong>En Jeevan Paduthu</strong> and et al., have Latino pattern rhythm.<br /><br />Similarly, the songs - <strong>Maamarathila oonjal</strong> from <strong>Karisakaattu poove</strong> & <strong>Iravu paagalai</strong> <strong>theda</strong> from <strong>Kannukkul Nilavu</strong> have programmed Latino pattern rhythm.<br /><br />So does many more rhythm pattern were textured within the bound of Raajaish way out.<br /><br />always<br /><br />~~Raaja rules!New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-85407602541320492922010-03-07T04:45:00.000-08:002010-03-25T06:21:22.329-07:00Overture or prelude, eh?<span style="color: rgb(0, 0, 0);font-family:trebuchet ms;" ><strong><br />Overture:<br /><br /></strong>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.<br /><br /><strong>Putham puthu kaalai - Alaigal Oyvathillai:</strong><br /><br />It’s prelude originates with trill of Oboe; accent of bass guitar with maraca & later joins synth make <span style="font-weight: bold;">Reggae </span>structure. Novelty of dawn was pronounced by Janaki amma, which makes so iciness ambiance…especially for this season. {wink}<br /><br /><strong>Oru murai kettale - Inime Naangathan:</strong><br /><br />Basically, it is an <span style="font-weight: bold;">Alternative Rock number</span>. 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}<br /><br /><strong>Vaanile thenila from Kaakhi Chattai:</strong><br /><br />This song has tinge of <span style="font-weight: bold;">big band Jazz fusion</span>. 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.<br /><br /><strong>Oru Kaaviyum from Aruvadai naal:<br /></strong><br />Its prelude has <strong>Ghazal </strong>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.<br /><br /><strong>Madai Thirandhu from Nizhalgal:</strong><br /><br />Basically, this song is a <span style="font-weight: bold;">Rhythm & blues</span> 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.<br /><br /><strong>Vaanam thottu ponna from Thevar Magan:</strong><br /><br />The song Vaanam thottu ponna is <span style="font-weight: bold;">Requiem </span>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.<br /><br /></span><span style="color: rgb(0, 0, 0);font-family:trebuchet ms;" ><strong>Dhoori dhoori - Thendral Sudum:</strong></span><br /><br /><span style="color: rgb(0, 0, 0);font-family:trebuchet ms;" >It originates with lively string orchestra, lead electric guitar & swing rhythm on snares with ¾ time signature make candidly <span style="font-weight: bold;">Waltz </span>structures onto which a brass plays a floating melody.</span><br /><span style="color: rgb(0, 0, 0);font-family:trebuchet ms;" ><br /><strong>Dingu dongurappo - Valli:</strong><br /><br />This song is based on Flamenco genre. The prelude wherein, technique of golpe is played on guitar.</span><span style="font-size:100%;"> </span><div class="para" style="color: rgb(0, 0, 0);"><br /></div><span style="color: rgb(0, 0, 0);font-family:trebuchet ms;" ><strong>Vaa vaa kanmani from Innisai Mazhai:</strong><br /><br />It is a heavy <span style="font-weight: bold;">Rock </span>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.<br /><br /><strong>Manitha Manitha from Kan sivanthal man sivakkum:</strong><br /><br />It is <span style="font-weight: bold;">March </span>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.<br /><br />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.<br /><br />always<br /><br />~~Raaja rules!</span>New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com2tag:blogger.com,1999:blog-2587764021169144943.post-47610885353155527512010-01-11T13:20:00.000-08:002012-02-12T09:49:09.443-08:00Garage UK - UKGWell, there are two types of Garage music. One is <strong>UK Garage</strong> & other one is <strong>US Garage</strong>; both these genres are very much differed by each other as like the instruments - French horn & English horn.<br /><br />Infact, UK Garage is a plastic genre & it's compositions have unique rhythm pattern produced from Sampler or Synth or Drum machine or Sequencer.<br /><br />Well, contemporary Garage music is depending on loops {ahead of sampler} or discs.<br /><br />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 Prelude of <span style="font-weight: bold;">Thankakinappongal </span>from <span style="font-weight: bold;">Friends</span> (malayalam) interludes of <strong>Oh baby baby</strong> {2nd interlude} - <strong>Kaathalukku mariyaathai</strong> & <strong>Naan thanga rojaa </strong>{2nd Interlude} - <strong>Time </strong>{through synth, eh?}.<br /><br /><strong>Naan thanga rojaa</strong> {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.<br /><br /><strong>Hichki Hichki</strong> from <strong>Paa </strong>& Saranam of <strong>Pachaimeni </strong>from <strong>Kanukkulle </strong>have UK-garage rhythm.<br /><br />I am afraid that He should be the first composer from south-india to use Garage rhythm in cine-songs. Any other insight?<br /><br />always<br /><br />~~Raaja rules!New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-6054312159806366552009-11-25T21:22:00.000-08:002010-03-22T11:55:07.324-07:00Pazhassi Raaja - Rhythm of Raaja!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.<br /><br /><strong>Kunnathe Konnaykum</strong> {in tamil - <strong>Kundrathu</strong>} 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.<br /><br /><strong>Aadiushassandhya Poothathivide</strong> {<strong>Aadhi mudhal</strong>} 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.<br /><br /><strong>Ambum Kombum Komban Kattum</strong> {<strong>Ambum Kobum</strong>} 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.<br /><br /><strong>Odathandil Thalam Kottum Kattil</strong> {<strong>Moongil Thannil thaalam</strong>} 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.<br /><br />Such a haunting album with lively Ryhthm arrangement! <br /><br />always<br /><br />~~Raaja rules!New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-2878066330047635942009-11-25T01:46:00.000-08:002009-11-25T01:53:23.191-08:00All the world's a stage!<strong>Ithu yeppadi irukku - 1978</strong><br /><br />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.<br /><br />*ing: Jaishankar, Sridevi, Y.Vijaya, Y.G.Mahendran, Sarathbabu and et al.,<br /><br />Story goes alike this: Y.G.Mahendran and his lady love happened to see the cadaver of Y.Vijaya’s husband.<br /><br />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.<br />The executioner and the reason for execution were revealed at climax.<br /><br />Talking about the BGM and songs, Raaja sir’s fear-provoking reverberation with heavy orchestra has enhanced the eeriness to the script.<br /><br />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.<br /><br /><strong>Dhinam Dhinam:<br /></strong><br />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.<br /><br />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.<br /><br />Nevertheless, it is being offered me a whimsical experience of its every listening!<br /><br />always<br /><br />~~Raaja rules!New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-83177941017851291712009-07-26T07:17:00.001-07:002012-03-03T07:11:48.197-08:00Mad Mod Mood Fugue<span style="font-family:trebuchet ms;">When Raaja sir has made His first trip to France {on 19-09-1983 through Airfrance} to meet the great french composer and arranger - Paul Mauriat, Raaja sir had specially composed a three piece record composition.<br /><br />After hearing that composition, Paul Mauriat </span><span style="font-family:trebuchet ms;">has appreciated the outcome and also, he proclaimed that it was the first such an attempt.<br /><br />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?"<br /><br /><strong>Fugue</strong> 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.<br /><br />BTW, in chorale fugue, main melody will be replicated with two successive voices and fourth voice enters against the first/main melody.<br /><br />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.<br /><br />May be a main melody was followed by its follower melody to some extent can called as "Fuga canonica".<br /><br />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.<br /><br />Coming back to Mad Mod Mood Fugue:<br /><br />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.<br /><br />Trio is a composition, which is written for three voices and instruments performed by three persons. Here, only 3 instruments play their own melodies.<br /><br />I personally feel that this three piece orchestra movement is alike Allegretto {a moderately quick tempo} - Allegro {a quick, lively tempo} – Allegretto. {eh?}<br /><br />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!<br /><br />always<br /><br />~Raaja rules!</span>New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-63045360144187350322009-07-12T17:32:00.000-07:002009-10-10T19:45:09.945-07:00Melody of departed souls!<span style="font-family:trebuchet ms;">~~What happens when two different departed souls meet and recollect their nostalgic thoughts?<br /><br />Well, the end product would be the immaculate song - Aayiram malargale malarungal from Neram Maaratha pookal!<br /><br />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.<br /><br />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. </span><br /><span style="font-family:trebuchet ms;"></span><br /><span style="font-family:trebuchet ms;">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.<br /><br />This song is very special to me in many aspects!<br /><br />Lyrics translated into English:<br /><br />~~Thousand flowers, effloresce<br />Sing the honey song and dance<br />{Amutham means something special drink, which would be available in heaven. Lemme use honey here for amudha}<br />Epic of love god.<br />Yourself and myself, come closer and say...say<br /><br />Saranam #1:<br />In the sky, moon may diminish {diminish} and grow {again}<br />However, would the poetic line within us change?<br />Raagas are hundred, feelings are hundred<br />My song and your song are same, aren't they? {smile}<br /><br />Saranam #2:<br />Rain may come in summer season and {so} spring season may be changed<br />Would the written fate/destiny change?<br />God of period/time says it's last birth relation<br />Who you are? Who am I? who made us together?<br /><br />Saranam #3:<br />On earth, clouds would go and play by luck<br />This time, Rathi would fly throughout the mountain<br />Unslanted small hill, unseen heart<br />Without singing lullaby, how could become {a} mother? {what a line?}<br /><br />always<br /><br />~~Raaja rules!</span>New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com2tag:blogger.com,1999:blog-2587764021169144943.post-38720861409004078622009-06-18T22:37:00.000-07:002009-07-11T01:36:34.122-07:00Giri Pradakshina/Valam - Counter thought<div><p class="MsoNormal"></p><p class="MsoNormal">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.</p><p class="MsoNormal">I discovered that attaining spiritual grade is not an ease chore when I wanted to make it out truly and deeply!</p><p class="MsoNormal">P.S: Need to travel 17 Kms of Giri Pradakshina/Valam.</p><p class="MsoNormal">always</p><p class="MsoNormal">~~Raaja rules!</p><p></p></div>New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-91387332885648996612009-06-17T23:54:00.000-07:002009-06-18T22:36:23.969-07:00Giri Pradakshina/Valam - 1st Kilometer<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4lGqMShlYyxp94LB7tLcqUqx8nccCuMnitCkGvuaYL4D4h8MCS6aNulds4mgZxVDgZEzYAiYEyBO5m4eTLn0DXGJILEFqmB2aoLoSfrlmc76xEyS9cAuepTNCHq5MF1CcES0_81lFCaaD/s1600-h/Thiruvasagam.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 181px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4lGqMShlYyxp94LB7tLcqUqx8nccCuMnitCkGvuaYL4D4h8MCS6aNulds4mgZxVDgZEzYAiYEyBO5m4eTLn0DXGJILEFqmB2aoLoSfrlmc76xEyS9cAuepTNCHq5MF1CcES0_81lFCaaD/s320/Thiruvasagam.jpg" alt="" id="BLOGGER_PHOTO_ID_5348562859918017682" border="0" /></a><br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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}.<br /><br />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<br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />By that time, I was reminded to Swami Vivekananda's lines {from his personal letter about his trip to Europe from Madras}<br /><br />"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!!!".<div><br /></div><div>P.S: So far travelled Giri Pradakshina/Valam is 1 Kilometer.</div><div><br />To be continued shortly...!<br /><br />always<br /><br />~~Raaja rules!</div>New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-37671737450141117262009-06-17T23:23:00.000-07:002009-06-17T23:53:31.910-07:00Limca book of records<p>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:<br /></p> <h2 style="color: rgb(0, 0, 0);" class="resbdy"><a rel="nofollow" target="_blank" href="http://books.google.co.in/books?id=sm5uAAAAMAAJ&dq=ilayaraaja&lr="><span style="color: rgb(128, 0, 128);"><span dir="ltr">Limca book of records</span></span></a></h2> <p><span style=""><span><span class="ln2"><a style="color: rgb(0, 0, 0);" rel="nofollow" class="link_aux" target="_blank" href="http://books.google.co.in/books?q=+subject:%22History%22&lr="><span style="color: rgb(0, 0, 255);">History</span></a> - 1998</span><br /></span></span></p> <div class="snippet sa" dir="ltr"><span style="">Page 93</span></div> <div class="snippet sa" dir="ltr"><span style=""><b>Ilayaraaja</b> has composed over 3500 songs for about 700 films. Society of Indian<br />Record Collectors The Society of Indian Record Collectors, established in <b>...<br /><br /></b></span><h3>More details:</h3><div class="bookinfo_sectionwrap"><div class="bookinfo_section_line book_title_line">Limca book of records</div><div class="bookinfo_section_line">Published by Bisleri Beverages Ltd., 1998</div><div class="bookinfo_section_line">Original from the University of Michigan</div><div class="bookinfo_section_line">Digitized 4 Sep 2008.<br /><br /># 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.<br /><h2 style="color: rgb(51, 51, 51);" class="resbdy"><a href="http://books.google.co.in/books?id=Y-JtAAAAMAAJ&q=ilayaraja+Limca&dq=ilayaraja+Limca&lr="><span dir="ltr"><b>Limca</b> book of records</span></a></h2><span style=""><span style="line-height: 1.2em;"><span class="ln2"><a style="color: rgb(51, 51, 51);" href="http://books.google.co.in/books?q=+subject:%22History%22&lr=" class="link_aux">History</a><span style="color: rgb(51, 51, 51);"> </span>- 2001<br /></span><br /><div class="snippet sa" dir="ltr">The original lyrics of Sameer composed by L.Subramanyam were replaced with new tunes by <b>Ilayaraja</b>. This was done after the songs were picturised by the <b>...</b></div></span></span><br /><h3>More details</h3><div class="bookinfo_sectionwrap"><div class="bookinfo_section_line book_title_line">Limca book of records</div><div class="bookinfo_section_line">Published by Bisleri Beverages Ltd., 2001</div><div class="bookinfo_section_line">Original from the University of Michigan</div><div class="bookinfo_section_line">Digitized 28 Aug 2008</div></div><br /></div></div>#3:<br /><h2 class="resbdy"><a href="http://books.google.co.in/books?id=n_1tAAAAMAAJ&dq=illayaraaja"><span dir="ltr">Limca Books Of Records 2000</span></a></h2><span style=""><span style="line-height: 1.2em;"><span class="ln2">1905<br /><br /></span><div class="snippet sa" dir="ltr">Page 147<br /><br /></div><div class="snippet sa" dir="ltr"><b>...</b> Independence era, bagged seven of the Kerala State Film Awards, 1996, including one for lead actor Mohanlal and another for <b>Illayaraaja</b> for his music</div></span></span><br /><h3>More details</h3><div class="bookinfo_sectionwrap"><div class="bookinfo_section_line book_title_line">Limca Books Of Records 2000</div><div class="bookinfo_section_line">Published by Limca Book of Records, 1905</div><div class="bookinfo_section_line">Original from the University of Michigan</div><div class="bookinfo_section_line">Digitized 29 Aug 2008</div><div class="bookinfo_section_line">ISBN 8190114808, 9788190114806</div></div><br /></div><br />always <p>~~Raaja rules!</p>New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-40155983086430800472009-06-06T02:52:00.000-07:002009-06-06T03:05:42.419-07:00Thiruvasagam in Oratoria - A Musical pilgrimage!Today is a special day in Raaja sir’s music career. Yes, before 5 years today {June 6th} is the day on which Raaja sir has started off composing the melodies and its oriented orchestra annotation for the album “Thiruvasagam in Oratoria”. He has chosen some selected verses from the below:<br /><br />Polla vinayen from Sivapuranam {Namashivaya vazhga},<br />Puttril vazh Aravum Anjen from Acchap paththu,<br />Pooverukonum Purantharanum from Thirukoth-thumbi {Shivanodu ikkiyum - Incorporating with Lord Shiva},<br />Umbarkatkarasaey from Pidiththa paththu {Muththik-kalap-puraiththal},<br />Muthu Natramam from Acchop pathikam {Anupava-vazhi ariyaamai},<br />Poovaar Senni Mannan from Yaaththirai paththu {Anubhava Athiitham uraiththal}.<br /><br />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.<br /><br />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!<br /><br />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.<br /><br />Basically, Oratorio is a work type. Considering the western factors, each compositions from this album fall into different genre.<br /><br />Poovaar Senni Mannan is Marching genre,<br />Polla vinayen is Choral music genre {verse - Aakkam alavu is alone “A cappella”},<br />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},<br />Umbarkatkarasaey – Choral music genre,<br />Muthu Natramam – Ballet Genre {in lighter vein},<br />Puttril vazh Aravum Anjen – Classical genre {Initially, it has mere opera elements of dialect}.<br /><br />"சொல்லிய பாட்டின் பொருள் உணர்ந்து சொல்லுவார்<br />செல்வர் சிவபுரத்தின் உள்ளார் சிவன் அடிக்கீழ்ப்...<br /><br />"Cholliya pattin porul unar{i}ndhu cholluvar<br />selvar Shivaburaththin ullar Shivan adikkizhp..."<br /><br />The above lines are from last verse of Shivapuram {93rd and 94th lines}.<br /><br />As Rev.G.U.Pope: 'NEATH THY SACRED FEET<br />THEY LEARN THE MEANING OF THEIR SONG.The blessed ones<br />In Civan's town who dwell, - full many a one, - beneath...'<br /><br />If someone understand this song {shivapuranam} and explain/narrate about this song then he/she would go to Lord shiva's place...!<br /><br />Through this album Raaja sir has rewritten the norms of Oratorio. After all He is an incarnation of Music!<br /><br />always<br /><br />~~Raaja rules!New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-34556968037392824842009-06-03T18:32:00.000-07:002009-06-03T18:36:44.042-07:00Rare photo<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvd8Pc59QeMwDepdyCiZlo850ND1vJWTxAiQRW33mCoMkYnEWM1TaYafiG5dhY_z66uUGP59LHrOI6hprIuPSt4o4zc2GKI1nzbSTWVutGC2Mtn4Fkj171B5Ai844mkIfKhV6IuIZJ3Xsg/s1600-h/A+visit+to+Starlight+Orchestra+Vellore+by+Ilayaraja-+as+a+Chief+Guest[1]"><img id="BLOGGER_PHOTO_ID_5343279882532474354" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 241px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvd8Pc59QeMwDepdyCiZlo850ND1vJWTxAiQRW33mCoMkYnEWM1TaYafiG5dhY_z66uUGP59LHrOI6hprIuPSt4o4zc2GKI1nzbSTWVutGC2Mtn4Fkj171B5Ai844mkIfKhV6IuIZJ3Xsg/s320/A+visit+to+Starlight+Orchestra+Vellore+by+Ilayaraja-+as+a+Chief+Guest%5B1%5D" border="0" /></a><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRaLurnDYXmpFT3jfEcZ8qv7zAaDPh8gPY0IAkq2VrIfxoqeyH_oSyjsx6PWrjj4w1MdbwEFDp94wsEPtMYRHhjSCXBc2U2IB4qsbx4SMokJ7z29mEMFnuW5EzWvsBETmNRYvRjTAXKlOh/s1600-h/A+visit+to+Starlight+Orchestra+Vellore+by+Ilayaraja-+as+a+Chief+Guest[1]"></a><br /><div>Courtesy: Mr. Jacob Jesupatham</div><div> </div><div></div><div><a href="http://jacobjesupatham.blogspot.com/2009/01/blog-post_28.html">http://jacobjesupatham.blogspot.com/2009/01/blog-post_28.html</a></div><div> </div><div></div><div>always<br /><br />~~Raaja rules!</div></div>New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0tag:blogger.com,1999:blog-2587764021169144943.post-65204217224192334782009-06-03T18:03:00.000-07:002009-06-03T18:29:25.457-07:00Mystical experienceInduction:<br /><br />In my mobile phone, I have the <a href="http://thiraipaadal.com/albums/ALBIRR00208.html">3 notes composition {Instrumental}</a> composed for <a href="http://thiraipaadal.com/albums/ALBIRR00208.html">Italy concert</a> as ringtone. My sister has the same ring tone for her hubby's call.<br /><br />Mystical and whimsical experience:<br /><br />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}<br /><br />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}<br /><br />always<br /><br />~~Raaja rules!New kamal on the block ;)http://www.blogger.com/profile/16965853412745735973noreply@blogger.com0