Nothing But Ilaiyaraaja - A musical delight!

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!

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!

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

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?

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

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 Prelude of Thankakinappongal from Friends (malayalam) 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!

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!

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

When Raaja sir has made His first trip to France {on 19-09-1983 through Airfrance} to meet the great french composer and arranger - Paul Mauriat, Raaja sir had specially composed a three piece record composition.

After hearing that composition, Paul Mauriat has appreciated the outcome and also, he proclaimed that it was the first such an attempt.

Actually, it was the same piece - Mad Mod Mood Fugue {2 minutes 03 seconds}. Later this composition has paved the way for the album - "How to name it?"

Fugue is a music concept, which supposed to be originated from the contrapuntal family, however, it differs from other contrapuntal idioms by: A main melody was played and it would be responded by counter-melody at different pitch. It is need not to be a factor of overlapping same melody with regular interval.

BTW, in chorale fugue, main melody will be replicated with two successive voices and fourth voice enters against the first/main melody.

This concept differs with instrumental fugue, I reckon. In canon, the complete main melody will be replicated by follower melody; however, it does not followed in Fugue.

May be a main melody was followed by its follower melody to some extent can called as "Fuga canonica".

Normally, at pre-baroque era, fugal work is performed with voices alone. Later, it had accompainment of instrument. However, Bach's Bourree in e-minor was written for lute.

Coming back to Mad Mod Mood Fugue:

Raaja sir's Mad Mod Mood Fugue is interwoven with three melodies. One violin plays the 15th melakartha raaga Mayamalavagowla and reportedly, 2nd violin plays the counter-melody of Bach's Bourree in e-minor and a bassguitar as bassline to form Trio structure.

Trio is a composition, which is written for three voices and instruments performed by three persons. Here, only 3 instruments play their own melodies.

I personally feel that this three piece orchestra movement is alike Allegretto {a moderately quick tempo} - Allegro {a quick, lively tempo} – Allegretto. {eh?}

At their initial stage, all the three instruments play their own melody without any botheration among themselves, after the 1st minute; there is a fuss among the two violins to consider about their melodies with each other. At 1:20, array of string instruments were more alike Allegro movement {a quick, lively tempo}, wherein western violin’s call was responded by Indian classical violin with bass accompaniment for main melody. Eventually, all the 3 instruments try to sustain their original melody. Subham!

always

~Raaja rules!

Melody of departed souls!

~~What happens when two different departed souls meet and recollect their nostalgic thoughts?

Well, the end product would be the immaculate song - Aayiram malargale malarungal from Neram Maaratha pookal!

Actually, its live rhythm sounds more of marching genre song; say the usage of bass drums and big cymbals. This song beings with spick and span aalap of Jency. Accelerando of string orchestra and her alluring voice drenched with melancholic feel, take us outta our place. Western guitar was played with tribal tinge and tremolo through oboe {eh?} {…remember the song – Thookanna kuruvi kudo thoongum machan marathile?}, xylophone and rhythm arrangement make so much of tribal ambience.

2nd part of 1st interlude has contrapuntal of two flutes with running acoustic guitar accompaniment makes sonata structure to some extent. String orchestra arrangement in the 2nd interlude obstinate and enhances the bluish feel and so does in the 3rd interlude.

In the last lude, there is actually, imitation of melody by string orchestra, which has been borrowed from the flute and later it sounds more like call and response. Eventually, electric lead guitar plays mystical melody with tambourine to wind up the lude before MV makes his special appearance. The lead vocal melody is drenched in Raajaish Suddha Dhanyasi.

This song is very special to me in many aspects!

Lyrics translated into English:

~~Thousand flowers, effloresce
Sing the honey song and dance
{Amutham means something special drink, which would be available in heaven. Lemme use honey here for amudha}
Epic of love god.
Yourself and myself, come closer and say...say

Saranam #1:
In the sky, moon may diminish {diminish} and grow {again}
However, would the poetic line within us change?
Raagas are hundred, feelings are hundred
My song and your song are same, aren't they? {smile}

Saranam #2:
Rain may come in summer season and {so} spring season may be changed
Would the written fate/destiny change?
God of period/time says it's last birth relation
Who you are? Who am I? who made us together?

Saranam #3:
On earth, clouds would go and play by luck
This time, Rathi would fly throughout the mountain
Unslanted small hill, unseen heart
Without singing lullaby, how could become {a} mother? {what a line?}

always

~~Raaja rules!