A composition without instrumental/orchestra accompaniment is referred as "A cappella".
Raaja sir has performed this music genre either as a complete song or at a part of the song as follows:
Naan poranthu From Maayabazar 1995,
Polla vinayein from Thiruvasagam {Exactly the verse - Aakkam alavu},
Thenpandi cheymayile - Nayagan {Raaja sir's version},
Chembavala {kummi} part from Aracha Santhanam - Chinna thambi,
From 2:00 at Ich liebe Dich - Pudhu pattu
Overture of Vaanam thottu - Thevar magan does not have any orchestra until 40th sec, which was plaited with 5-6 part choir{?}, more alike a fugue {not technically, though},
Devan kovil - Naan paadum paadal: Prelude Alap of Janaki amma was accompained by choir alone to make mesmerizing harmonic zone unto 20 sec...et al.,
Talking about the complex texture of voice in the song - Naan poranthu From Maayabazar 1995: Well, polyphonic voice {parallel motion, oragum} was originated by medieval era itself.
To my interpertation, Raaja sir has either composed the orchestra arrangement for this song and later implemented with voices or intend to utilize the voice through which HE would have made the chords or melodies of instruments. {Perplexing, eh?}
Here, I go…At the overture or prelude, 3 part vocal {2 females and a male} imitate the tremolo chord till first 08 seconds. Later part, 2 part vocal imitate violin lead; say female voice {Contralto} and male voice {Castrato} imitate treble and bass respectively. 20th second’s punch voice imitates Timpani/bass drum beat.
During pallavi, the backing scat singing – ram bam pap imitates cello/violin notes. At 29th and 30th seconds “Chinchigguchin” is embellishment, either of santoor or guitar strum…! One may ask why not scat singing imitates any percussion? Actually, of late I found in re-recording session of Naan kadavul, Raaja sir dictates the notes for cello as scat singing “Tha ram pam”…! At 40th sec, the vocal backing imitates the violin movement {andante, eh?} and at 43rd and 44th sec are alike presto movement {quick movement} and next five seconds repeat the same pattern more alike strophic form. 49 – 58 seconds, running notes may be for guitar. Next 5 secs have call and response of “Beat measure”.
When Raaja sir sings ghost scaring mantra, backing vocal imitates Udukai sound (or anklet, eh?){01:09 – 01:17} and rhythm of Udukai from 01:18 – 01:25Backing vocal from 01:26 imitates piano chords and string orchestra joins at 01:31 to make pleasing harmonic structure.
Let me presume the backing vocal at saranam as percussion arrangement till 01:58 and percussion sounding continues, however, here syncopation had been attempted till 02:08From 02:09, two part vocal hums the melting melody, backing vocal imitates pizzicato through double bass {since it is male voice}. Finally, female voice more alike coda imitates snares and accomplish the 1st saranam.
When the 2nd interlude has rhythm succession, at 02: 53 trumpet sound was imitated, its call was responded by some reed instrument sounds decrescendo.
Eventually, giggle of males and females were call and response and overlap to make stretto structure…! {wink}
Performing the multi-layer vocal arrangement is not a big deal for Raaja sir.
* Re-recording of Olangal has 8 different choir compositions - one in Minor scale, one in Major scale and et al., which was supposed to be employed for the 1st time in indian cinema.
* 6 different voices overlapping/super imposing was also attempted by Raaja sir in the song - Vaa Vaa manjal malare from Raajathi raaja.
* Raaja raajathi raajan from Agni natchathiram has two different tones of Raaja sir {say bass and treble} overlap throughout the melody!
* 3 overlapping voices as vocal harmony in pallavi of Adi aathadi illam and vocal harmony in 1st interlude by Janaki amma for the song - Vikram Vikram.
* The song Vaanam thottu ponna from "Thevar Magan" is something alike Requiem version of Pottri paadadi ponne. It is kind of fugue format; successive progression of five or six choir parts sing the same melody with different tones.
* Ilavattam from My dear maarthandan has counter-tenor vocal harmony replicates {pseudo} the lead song's melody with pseudo-interval and does not make canonical subject...!
Wut not?
Ruler of Vocal arrangement!
always
~Raaja rules!
Friday, May 29, 2009
Saturday, February 28, 2009
Distortion Rose
"Eeramana rojavey" Sounds more alike "Skiffle" genre song as it has guitar dominance and rhythm sounds alike some utensil rather than conventional rhythm pattern.
Prelude has distortion sounding through pedals, bass guitar and lead guitar play their own melody and make counter-phase among themselves. 1st interlude has cello, which induces melancholic feel with embellishment of pizzicato through double bass.
Beautiful of this song: from 01:38 - 01:45, whistle sounds a spick and span melody and bass guitar plays some lead form contrapuntal zone, however, at 01:45 - 01:53, whistle's melody would be repeated by both the lead guitarand bass guitar concurrently.
Parallelly, at 02:55, electric guitar makes distortion sounding through pedals and bass guitar would play their own leads until 03:05. From, 03:05- 03:11, I personally feel, bass guitar insist to accompanies/play distortion sound to form new harmonic zone. Raaja sir intend to makedistortion sound for this melancholic song. Whenever, I listen to this piece, it takes me to Baroque era, which has tantamount of bach's organwork {say, toccata and fugue, I do not mean anything about inspiration; here, I refer to impact of interludes of Eeramana rojavey}.
Also, I have noted intense usage/dominance of distortion guitar in another melancholic composition of Him was at 2nd interlude of "Rasavey unnanambi" from Muthal mariyathai...I reckon, usage of distortion guitar on these songs enhance the bluish feel of the composition. A couple of ppl argued with me that 2nd interlude of "Rasavey unna nambi"does not have distortion guitar rather, however, it was through keyboard...I am so obstinate with my interpretation that how come a baby could not decipher his own mom's gesture?
always
~~Raaja rules!
Prelude has distortion sounding through pedals, bass guitar and lead guitar play their own melody and make counter-phase among themselves. 1st interlude has cello, which induces melancholic feel with embellishment of pizzicato through double bass.
Beautiful of this song: from 01:38 - 01:45, whistle sounds a spick and span melody and bass guitar plays some lead form contrapuntal zone, however, at 01:45 - 01:53, whistle's melody would be repeated by both the lead guitarand bass guitar concurrently.
Parallelly, at 02:55, electric guitar makes distortion sounding through pedals and bass guitar would play their own leads until 03:05. From, 03:05- 03:11, I personally feel, bass guitar insist to accompanies/play distortion sound to form new harmonic zone. Raaja sir intend to makedistortion sound for this melancholic song. Whenever, I listen to this piece, it takes me to Baroque era, which has tantamount of bach's organwork {say, toccata and fugue, I do not mean anything about inspiration; here, I refer to impact of interludes of Eeramana rojavey}.
Also, I have noted intense usage/dominance of distortion guitar in another melancholic composition of Him was at 2nd interlude of "Rasavey unnanambi" from Muthal mariyathai...I reckon, usage of distortion guitar on these songs enhance the bluish feel of the composition. A couple of ppl argued with me that 2nd interlude of "Rasavey unna nambi"does not have distortion guitar rather, however, it was through keyboard...I am so obstinate with my interpretation that how come a baby could not decipher his own mom's gesture?
always
~~Raaja rules!
Saturday, February 14, 2009
Festival for Love
~~Well, today is festival for love. So many true love story would have been effloresced and also, wound up by today. A special song on this special day.
Kathal oviyum from Alaigal oivathillai:
{Originally penned on 06/07/2007}
~~Kathal is oviyam, yup - love is an art. Especially, teenage crush -unforgettable memories. Raaja sir's music is an astounding art and is myonly love, always.
It is such a cute duet in this world, sorry out of world. {chuckle}
It does sound alike R&B with very indianmusical elements. However, as per musicologist P. Greene, it is Bossa novakinda song. It is true!!! Bossa nova songs will have unique usage ofclassical guitar, which would be played with fingers rather than with aguitar pick. Running or flowing guitar would not be incorporated withvocal melody. Piano takes 2nd priority. Rhythm does not play vital role init, however, it would have unique way of rhythm pattern. Rim clicks orclave pattern or son clave pattern rhythm brings de color/identity ofBossa nova songs.
However, Meri zindagi from Aur Ek Prem Kahani is Janya of kathal oviyum,which sounds alike typical contemporary r&b song. You bet!
Well, talking about Kathal oviyum paadum song, congos/drum kit has been replaced by synth rhythm. Rim clicks or clave pattern was replaced byCastanets sound, however, it should have been produced through synth. Haunting choir at pallavi and pulchritudinous bass guitar at saranams steal the show.
I kind of remember, from early of this century, more or less, daily I am listenin to dis song. My days are beautiful coz of this song. Bharathirajashould be so innovative while shootin this song. He has portrayed sopoetically in such a way that Kathick n Radha as Adam n Eve respectively, first human beings (of course, Lilith is de 1st female in this world) inthis world. Location was like Garden of Eden {smile}. Rose petals covertheir shyness {wink}. If we luk into their eyes, we may feel that theyare free from this sin or wicked world. Both are in hands of pleasure, generous, caring, empathy n blab...Pair of sandals called religion had been removed at entry of their love garden.
Even in night, if we listen to slogam (00:01 to 0:16) in the prelude, it would change our atmosphere as if like morning. Melody is notonly pleasure, but also painful and best example is this song; especially,choirs by 00:17 - 0:35 n 01:52 to 2:02 n 02:53 to 03:08 (with bass guitar).Flute, string orchestra, veena, bass guitar and percussion by 01:22 -01:40 were amazing blend of two different regions {east and west} musicalelements. Speciality of this song: beats backing on this song were producedfrom keyboard/synthesizer, which was unusual on those days.
Yup, at 2nd interlude, veena & guitar interaction and also, canon rule was employed with choir and string orchestra.
~~Whenever I listen to this song, I feel like Veena (00:35 - 00:39) (03:08- 03:24) and string orchestra (01:55 to 2:02) (03:25 - 3:35), guitarbacking de song were played on my nerves and not on strings {smile}. Thefusion of Indian percussion and choir at 1:40 - 01:55 would show intermix oftheir (couples) souls {smile}. This is a point wherein fuse of two cult;religions were ruined and love blossoms.
Guitarist Prasanna had pointed out in an interview tat this song taught himbout the use of Major 7th chords.
I recognize that love could be so blissful, pleasure, delightful orindulged according to desire only after learnin the beauty of this song.Hence, I am lovin this song more than I could. This song is beyond the boredom as I've heard this song for more number of times certainty rather thanRaaja sir and Bharathiraja. I wish this song would exist as long as teenlove exists on this world.
always
~~Raaja rules!
Kathal oviyum from Alaigal oivathillai:
{Originally penned on 06/07/2007}
~~Kathal is oviyam, yup - love is an art. Especially, teenage crush -unforgettable memories. Raaja sir's music is an astounding art and is myonly love, always.
It is such a cute duet in this world, sorry out of world. {chuckle}
It does sound alike R&B with very indianmusical elements. However, as per musicologist P. Greene, it is Bossa novakinda song. It is true!!! Bossa nova songs will have unique usage ofclassical guitar, which would be played with fingers rather than with aguitar pick. Running or flowing guitar would not be incorporated withvocal melody. Piano takes 2nd priority. Rhythm does not play vital role init, however, it would have unique way of rhythm pattern. Rim clicks orclave pattern or son clave pattern rhythm brings de color/identity ofBossa nova songs.
However, Meri zindagi from Aur Ek Prem Kahani is Janya of kathal oviyum,which sounds alike typical contemporary r&b song. You bet!
Well, talking about Kathal oviyum paadum song, congos/drum kit has been replaced by synth rhythm. Rim clicks or clave pattern was replaced byCastanets sound, however, it should have been produced through synth. Haunting choir at pallavi and pulchritudinous bass guitar at saranams steal the show.
I kind of remember, from early of this century, more or less, daily I am listenin to dis song. My days are beautiful coz of this song. Bharathirajashould be so innovative while shootin this song. He has portrayed sopoetically in such a way that Kathick n Radha as Adam n Eve respectively, first human beings (of course, Lilith is de 1st female in this world) inthis world. Location was like Garden of Eden {smile}. Rose petals covertheir shyness {wink}. If we luk into their eyes, we may feel that theyare free from this sin or wicked world. Both are in hands of pleasure, generous, caring, empathy n blab...Pair of sandals called religion had been removed at entry of their love garden.
Even in night, if we listen to slogam (00:01 to 0:16) in the prelude, it would change our atmosphere as if like morning. Melody is notonly pleasure, but also painful and best example is this song; especially,choirs by 00:17 - 0:35 n 01:52 to 2:02 n 02:53 to 03:08 (with bass guitar).Flute, string orchestra, veena, bass guitar and percussion by 01:22 -01:40 were amazing blend of two different regions {east and west} musicalelements. Speciality of this song: beats backing on this song were producedfrom keyboard/synthesizer, which was unusual on those days.
Yup, at 2nd interlude, veena & guitar interaction and also, canon rule was employed with choir and string orchestra.
~~Whenever I listen to this song, I feel like Veena (00:35 - 00:39) (03:08- 03:24) and string orchestra (01:55 to 2:02) (03:25 - 3:35), guitarbacking de song were played on my nerves and not on strings {smile}. Thefusion of Indian percussion and choir at 1:40 - 01:55 would show intermix oftheir (couples) souls {smile}. This is a point wherein fuse of two cult;religions were ruined and love blossoms.
Guitarist Prasanna had pointed out in an interview tat this song taught himbout the use of Major 7th chords.
I recognize that love could be so blissful, pleasure, delightful orindulged according to desire only after learnin the beauty of this song.Hence, I am lovin this song more than I could. This song is beyond the boredom as I've heard this song for more number of times certainty rather thanRaaja sir and Bharathiraja. I wish this song would exist as long as teenlove exists on this world.
always
~~Raaja rules!
Sunday, January 11, 2009
Cheeni zyada - A sweet nostalgic trip!
More or less, daily I would write some blog and will not finish it off. One such abstract would be this blog, which I penned on 01/11/2008. Just alike nostalgic trip; looking into old files, to trace out what I used to be upto with decipher of HIS compositions. It has been one-full year {smile}.
According to me there are two-types of music; namely, spiritual music and Materialistic/passion music. My 2 cents, spiritual music composer would not be able to compose overwhelming Materialistic/passion music and vice-versa. In my discovery, One COMPOSER who really stands out and broken al the norms in composing both kinda music and invented many idioms from already discovered music (gotcha???). HE has composed more or less equivalent ratio of spiritual music and Materialistic/passion music, which makes not only HIS fans but also critics and non-good music lovers leave in wonder/ponder and perplexes/mystery. Yup, I am talking about Raaja sir. A simple man with Majestic knowledge. So called critics who cannot understand/digest dis fact became panic and come out wid pessimistic review.
I really hate the ppl who refer themselves as critics and write in some futile work/criticism for the musical output, which they cannot understand, however, they would cheaply appreciate the foppish/garishin works, which tend according to their flexibility and their gaudy taste. Critic one who hide their nudity with one hand and whisper other hand to tease mere flaw in any musical work or else could not understand the necessity of that flaw. Why do they think themselves as incarnation of music?
Any critic/nitpicker would not/cannot be a good music lover and any good music lover will not critize any good/experimental work. Infact experimental works cannot be critized as there will not be any benchmark for it. I am wanting to be a good music lover so the below write-up :-)
Jaane do (Cheeni kum):
Do you wanna experiment really ecstasy? If yes, then listen to dis typical contemporary R&B song wid ballad nuance at interludes. Reincarnation of Jotheyali Jothe jotheyali - Geetha. Every decade this song make a smash appearance and leave a great impact within us. This is my Raaja sir and ONLY HE can give this sorta mind-blowin/bogglin and amazing composition. Yes, this kinda songs are simply resurrect my music TASTE from contemporary songs. It is a romantic song in all aspect and ever second :) Raaja sir should have been very romantic while composing this song, which is more than lust, love, romance n crush...If I say rhythmic succession of musical tone is so soulful then synth-rhythm is lub-dub of the song ;) Initial, piano piece is something like canon, which imitate the melody with different measure. Sheryal's cantabile, style of singing, which is characterized by the easy and flowing tone of the composition. Capriccio of string orchestra by 03:37 makes me to fly on musical sky until 03:52 of this song. Noteworthy, bass work {slapping} as bassline. Yup, I always say to this cute composition that Jaane do, however, it drags my attention towards its melody and not lettin to me to go, I have listened to it for n # of times, though. So is every Raaja sir's melody...
P.S: Assumption: For this song, in sheet music Raaja sir might have used 'P' and Energico :)
'P' - an instruction in sheet music to play softly (initial piano piece).
always
~~Raaja rules!
According to me there are two-types of music; namely, spiritual music and Materialistic/passion music. My 2 cents, spiritual music composer would not be able to compose overwhelming Materialistic/passion music and vice-versa. In my discovery, One COMPOSER who really stands out and broken al the norms in composing both kinda music and invented many idioms from already discovered music (gotcha???). HE has composed more or less equivalent ratio of spiritual music and Materialistic/passion music, which makes not only HIS fans but also critics and non-good music lovers leave in wonder/ponder and perplexes/mystery. Yup, I am talking about Raaja sir. A simple man with Majestic knowledge. So called critics who cannot understand/digest dis fact became panic and come out wid pessimistic review.
I really hate the ppl who refer themselves as critics and write in some futile work/criticism for the musical output, which they cannot understand, however, they would cheaply appreciate the foppish/garishin works, which tend according to their flexibility and their gaudy taste. Critic one who hide their nudity with one hand and whisper other hand to tease mere flaw in any musical work or else could not understand the necessity of that flaw. Why do they think themselves as incarnation of music?
Any critic/nitpicker would not/cannot be a good music lover and any good music lover will not critize any good/experimental work. Infact experimental works cannot be critized as there will not be any benchmark for it. I am wanting to be a good music lover so the below write-up :-)
Jaane do (Cheeni kum):
Do you wanna experiment really ecstasy? If yes, then listen to dis typical contemporary R&B song wid ballad nuance at interludes. Reincarnation of Jotheyali Jothe jotheyali - Geetha. Every decade this song make a smash appearance and leave a great impact within us. This is my Raaja sir and ONLY HE can give this sorta mind-blowin/bogglin and amazing composition. Yes, this kinda songs are simply resurrect my music TASTE from contemporary songs. It is a romantic song in all aspect and ever second :) Raaja sir should have been very romantic while composing this song, which is more than lust, love, romance n crush...If I say rhythmic succession of musical tone is so soulful then synth-rhythm is lub-dub of the song ;) Initial, piano piece is something like canon, which imitate the melody with different measure. Sheryal's cantabile, style of singing, which is characterized by the easy and flowing tone of the composition. Capriccio of string orchestra by 03:37 makes me to fly on musical sky until 03:52 of this song. Noteworthy, bass work {slapping} as bassline. Yup, I always say to this cute composition that Jaane do, however, it drags my attention towards its melody and not lettin to me to go, I have listened to it for n # of times, though. So is every Raaja sir's melody...
P.S: Assumption: For this song, in sheet music Raaja sir might have used 'P' and Energico :)
'P' - an instruction in sheet music to play softly (initial piano piece).
always
~~Raaja rules!
Friday, November 7, 2008
Nagmaa Nagmaa Nagmaa - Pooncholai
~~Talking about this movie, it was completed by mid of '97 itself, however, it was not released yet for some internal issues. Apparently, they are planning to release it now. Infact, film maker had attempted to release it by end of last century with a new name "Oruvan Oruvan muthalali", however, it gone futile.
It was directed by Gangai amaren.
*ing: Venkatprabhu, Sangeetha and et, al., It has some interesting numbers.
This music album has an induction by Gangai amaren who flatters Raaja sir and complaints about contemporary music style {I mean by that time - mid of '97}.
Nagmaa Nagmaa Nagmaa Intha by Mano {I kinda remember that all the songs were penned by Gangai amaren itself and not by Vaali sir, correct me if I am incorrect}.
What happens when Jimi Hendrix & Larry Graham meet Jazzy B?
I am afraid their combination may lead to an avant-grade fusion of Punjabi grovvy bhangra rhythm with funky guitar work, which we may coin as "Punjabi rock".
Apparently, this song starts with Solkattu {vocal beat measure} by Mano with some flattering comments with castrato. Then, this lude get into a new stage for dancing with electrified distortion guitar, synth rhythm, tabla loop {eh? or track tabla was enhanced with double the speed} with funky pops onto bass guitar strings.
First 2 lines of Pallavi lead have filler of rocking distortion guitar chords, which raise the temperature of my vicinity {wink}. As soon as pallavi starts tabla's rhythm had been borrowed by programmed percussion with funky slapping onto bass guitar as bassline. Jazzy piano as bassline steals my soul during this vocal part.
1st interlude, again, is it spick & span arpeggio on synth or chords played on guitar with pedal? Anyway, it was well-played and was accompanied with synth flute and pleasing bass guitar, all gather to take us to a new harmonious zone. 2nd part of this interlude has an interesting string instrument, which sounds alike Middle Eastern string instrument and simultaneously, makes me to perplex whether rhythm guitar sounds with off-beat with mere measure of bass guitar slaps.
Saranam has cogent poly-rhythm - programmed percussion is accompanied with tabla and correspondingly, change of vocal pitch at the last part of this stanza was accompanied with distortion guitar, which makes new synonym of fusion music.
2nd interlude, distortion guitar’s call was responded or comically imitated with Middle Easternish alap and later, both intermingle with each other with panicky synth sound {in lighter vein}, however, distortion guitar would not play dischord progression, which we would need to make a note of it. Last part of 1st interlude was repeated again and this lude ends with vocal beat measure and its appropriate rhythm through tabla.
Again, last 2 lines of Saranam, steal the melody {at least for me}. You bet!
Postlude: It is an attention-grabbing lude. Dhol was replaced with bass drum and was accompanied by Chimta to paint bhangra color for this lude. Energetic scat singing of mano with falsetto, imitates as cart-driver is hilarious.
It is such a cadenced number, which enhances my pulse.
always
~~Raaja rules!
It was directed by Gangai amaren.
*ing: Venkatprabhu, Sangeetha and et, al., It has some interesting numbers.
This music album has an induction by Gangai amaren who flatters Raaja sir and complaints about contemporary music style {I mean by that time - mid of '97}.
Nagmaa Nagmaa Nagmaa Intha by Mano {I kinda remember that all the songs were penned by Gangai amaren itself and not by Vaali sir, correct me if I am incorrect}.
What happens when Jimi Hendrix & Larry Graham meet Jazzy B?
I am afraid their combination may lead to an avant-grade fusion of Punjabi grovvy bhangra rhythm with funky guitar work, which we may coin as "Punjabi rock".
Apparently, this song starts with Solkattu {vocal beat measure} by Mano with some flattering comments with castrato. Then, this lude get into a new stage for dancing with electrified distortion guitar, synth rhythm, tabla loop {eh? or track tabla was enhanced with double the speed} with funky pops onto bass guitar strings.
First 2 lines of Pallavi lead have filler of rocking distortion guitar chords, which raise the temperature of my vicinity {wink}. As soon as pallavi starts tabla's rhythm had been borrowed by programmed percussion with funky slapping onto bass guitar as bassline. Jazzy piano as bassline steals my soul during this vocal part.
1st interlude, again, is it spick & span arpeggio on synth or chords played on guitar with pedal? Anyway, it was well-played and was accompanied with synth flute and pleasing bass guitar, all gather to take us to a new harmonious zone. 2nd part of this interlude has an interesting string instrument, which sounds alike Middle Eastern string instrument and simultaneously, makes me to perplex whether rhythm guitar sounds with off-beat with mere measure of bass guitar slaps.
Saranam has cogent poly-rhythm - programmed percussion is accompanied with tabla and correspondingly, change of vocal pitch at the last part of this stanza was accompanied with distortion guitar, which makes new synonym of fusion music.
2nd interlude, distortion guitar’s call was responded or comically imitated with Middle Easternish alap and later, both intermingle with each other with panicky synth sound {in lighter vein}, however, distortion guitar would not play dischord progression, which we would need to make a note of it. Last part of 1st interlude was repeated again and this lude ends with vocal beat measure and its appropriate rhythm through tabla.
Again, last 2 lines of Saranam, steal the melody {at least for me}. You bet!
Postlude: It is an attention-grabbing lude. Dhol was replaced with bass drum and was accompanied by Chimta to paint bhangra color for this lude. Energetic scat singing of mano with falsetto, imitates as cart-driver is hilarious.
It is such a cadenced number, which enhances my pulse.
always
~~Raaja rules!
Tuesday, October 28, 2008
Semi-Ghazal
~~The word ghazal is an Arabic word that literally means a "discourse" or more correctly a "talk to women". Initially, Ghazal is of poetic form rather than musical, however, nowadays, it is more sung alike thumri {Meera oriented songs}. Those days, the ghazal never exceeds 12 couplets {they call it "shers"} and nowadays, it has been minimal, say about 7 couplets in average. Last word of the couplets should have same sound or rhyme, which we call it as "Monai" {they call it as "Radif" or "Qaafiyaa"} or it could be same word itself. Sometimes "Radif" is more like meter or "Alavukhol". From Thiruvasagam, Thiruk koththumpi song has Chenrudhay koththumbi at end of every verses. Well, it is supposed to be Vengkalipa rather than couplets. "Koththumbi" in Thiruk koththumpi song is supposed to be Qaafiyaa.
If we combine two lines {1 + 2 and 3 + 4} of each verses {of Thiruk koththumpi} then we would arrive couplets, otherwise, Thiruk koththumpi could be called as Guzzanelle {in lighter vein}. Guzzanelle is very amicable to Ballad. In that manner, Thiruk koththumpi in Raaja sir's Thiruvasagam in Oratoria is reportedly "Ballad" or "Devotional Ballad" {I did coin this term - (smile)}. So does, painfully Muthu Natraamam from thirup Porchchunnam {Here, "idiththun^ame" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "....chunnam idiththun^ame"} and Putrilval aravum from achchappaththu {"Mare" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "...thavaraik kannai amman^am anychu mare"} and umbargatkarache ozivaran^irain^dha of Pidiththa paththu {Here, "thiniye" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "...chikkenap pidiththen en^gezun^ tharuluva thiniye"}.
All the songs, which has couplets cannot be Ghazal compositions. It should also have usage of ethnic music instruments like Harmonium, Tabla {frame drum}, Rabab {Oudh or Gambus, eh?} or Guitar {especially Jagjit singh's Ghazal} Sarangi, Riq {Ganjira}, kamancheh {eh?}, Santoor and Sitar, to create the middle eastern musical flavour.
There is an excuse for cine compositions wherein we normally follow the rule of Pallavi, Anupallavi {sometimes}, 2 - 3 {4, eh?} Charanams for a song. To my knowledge, Vairamuthu's lyrics for "En uyire En uyire" from Uyire has Ghazal's couplets form and its first two lines are supposed to be "Matla", overall form and mood of the entire ghazal. It has 1 "Matla" + 7 more couplets, which is contemporary Ghazal's format. However, orchestra arrangement of this song forsaken the color of Ghazal's contour. Painfully, the lyrics of Gangai Amaran's Indha Maan Undhan Sondha Maan could be added lattermost to this list.
Well, theme of Ghazal is all about origin of love to lonesome in poetry form and sometimes, {nowadays} religious and political awarness as well. Since botheration of poetic format, most of the time Ghazal compositions have been contaminated with usage of pure raaga. In other words, application of pure {hindustani} raagas are not amicable with Ghazal compositions as it needs to sustain the allure of poems rather than experimentation of swaras. Off-late, in a Ghazal concert, an indian Ghazal singer intended to use raagas like Puriya Dhanasree and Pahadi for Ghazal compositions which has drained the originality of Ghazal.
On other hand, bastardization of the contemporary Ghazal lyrics format descends the quality and originality of Ghazal, however, some of cine songs have ethnic orchestra, which creates a grey color of Ghazal, for instance last part of Konji Konji from Veera wherein only Tabla and harmonium were played and makes the grey color of Ghazal in it, Raaja sir did not intend to made it out with Ghazal's nuances {At least in my perception (wink)}. However, the song - Poongathre - Friends has dense nuances of Ghazal, in many aspects. It is not a pure Ghazal composition, though.
So considering these factors, we do not have any typical or very Ghazal compositions in Raaja sir's musical products {mabbie, would be there without my knowledge - (smile)}. However, rather than lamenting, we could console ourselves by considering some parallel or corresponding Raaja sir's compositions, which has nuances of Ghazal, if not in typical lyrical aspect, but with usage of orchestra and melody. Sometimes lyrical format especially Charanam endorse to some extend to make Ghazal nuances, however, it's last line stands alone without pair sentence and does not make a couplet and thus, lessening one of the features of Ghazal. So, with lotta obligation or condone, below songs may fall into contemporary cine Ghazal songs, which we could call it as "Semi Ghazal". You bet!
P.S: Well, I have gone through around 1500 songs, randomly and so, there is a possibility that HE would have attempted for pure Ghazal in the remaining 2000 + songs. Also, there should not be any complaints on HIM as Ghazal songs are required according to the situation of the movie or directors' requirement/choice only. So, Raaja sir is {always} an immaculate soul {smile}.
I have just had a glimpse on few of HIS compositions and end up with this list, however, during my leisture time, I would need to sit down to consolidate Ghazal oriented songs in HIS compositions. {wink} Otherwise, I am good!
Maniyosai - Payanangal Mudivathillai {First two lines inspired from Ghulam's composition}
Oru Kaviyum from Aruvadai naal
Hamhai Akailae - Nando {I am afraid that it would be Marathi lavani genre, nevertheless, charanam, take the credit of Ghazal}
Prema Entha - Abhinandan {Telugu}
Unnai Naan - Ilaiya Ragam {Pathos}
Achaani - Maadha Un Koyilil
Vazhkai Odam sella - Aval appadithan
Anupallavi of Othadi Othadi Orama - Dharmathin thalavin {eh?}
Yendha yenmam - Ezhumalaiyan Mahimai
Poongathre - Friends
Oh Priya - Idayathaithirudathe {charanam}
Naan paadum mouna raagam - Idhaya Kovil {especially Charanam}
Mangai Nee Maangani - Innisai Mazhai
Kattril yenthan - Johnny - {Charanam}
Unn Kannil - Kanne Kalai Maane
Naatham en jeevane - Kadhal oviyam {Awesome usage of Bass guitar}
Kavikuyil - Kathal Oviyam
Kanna varuvaya - manadhil urudhi vandum
Ananda thein - Manipoor maamiyaar
Chukalle Tochave - Nireekshana {Telugu}
Mayanginen - Nanae Raja Nanae Mandiri
Thena thenpandi - Udhaya geetham - {Charanam}
Devan Thantha Veenai from Unnai Naan Santhithen {Charanam}
Konjam Sangeetham - Veetila veesenga {Charanam}
Enn Manamae - Vishwa Thulasi
Nirpathuve Nadappathuve - Bharathi...
P.S: MSV sir has composed a Ghazal album by late 90's and all the songs were penned by Kamakodiyan {who also wrote the song - Malliga mottu mansa thottu for Raaja sir}.
always
~~Raaja rules
If we combine two lines {1 + 2 and 3 + 4} of each verses {of Thiruk koththumpi} then we would arrive couplets, otherwise, Thiruk koththumpi could be called as Guzzanelle {in lighter vein}. Guzzanelle is very amicable to Ballad. In that manner, Thiruk koththumpi in Raaja sir's Thiruvasagam in Oratoria is reportedly "Ballad" or "Devotional Ballad" {I did coin this term - (smile)}. So does, painfully Muthu Natraamam from thirup Porchchunnam {Here, "idiththun^ame" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "....chunnam idiththun^ame"} and Putrilval aravum from achchappaththu {"Mare" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "...thavaraik kannai amman^am anychu mare"} and umbargatkarache ozivaran^irain^dha of Pidiththa paththu {Here, "thiniye" is Qaafiyaa or Ham-radif and repetitive phrase at end of verses is "...chikkenap pidiththen en^gezun^ tharuluva thiniye"}.
All the songs, which has couplets cannot be Ghazal compositions. It should also have usage of ethnic music instruments like Harmonium, Tabla {frame drum}, Rabab {Oudh or Gambus, eh?} or Guitar {especially Jagjit singh's Ghazal} Sarangi, Riq {Ganjira}, kamancheh {eh?}, Santoor and Sitar, to create the middle eastern musical flavour.
There is an excuse for cine compositions wherein we normally follow the rule of Pallavi, Anupallavi {sometimes}, 2 - 3 {4, eh?} Charanams for a song. To my knowledge, Vairamuthu's lyrics for "En uyire En uyire" from Uyire has Ghazal's couplets form and its first two lines are supposed to be "Matla", overall form and mood of the entire ghazal. It has 1 "Matla" + 7 more couplets, which is contemporary Ghazal's format. However, orchestra arrangement of this song forsaken the color of Ghazal's contour. Painfully, the lyrics of Gangai Amaran's Indha Maan Undhan Sondha Maan could be added lattermost to this list.
Well, theme of Ghazal is all about origin of love to lonesome in poetry form and sometimes, {nowadays} religious and political awarness as well. Since botheration of poetic format, most of the time Ghazal compositions have been contaminated with usage of pure raaga. In other words, application of pure {hindustani} raagas are not amicable with Ghazal compositions as it needs to sustain the allure of poems rather than experimentation of swaras. Off-late, in a Ghazal concert, an indian Ghazal singer intended to use raagas like Puriya Dhanasree and Pahadi for Ghazal compositions which has drained the originality of Ghazal.
On other hand, bastardization of the contemporary Ghazal lyrics format descends the quality and originality of Ghazal, however, some of cine songs have ethnic orchestra, which creates a grey color of Ghazal, for instance last part of Konji Konji from Veera wherein only Tabla and harmonium were played and makes the grey color of Ghazal in it, Raaja sir did not intend to made it out with Ghazal's nuances {At least in my perception (wink)}. However, the song - Poongathre - Friends has dense nuances of Ghazal, in many aspects. It is not a pure Ghazal composition, though.
So considering these factors, we do not have any typical or very Ghazal compositions in Raaja sir's musical products {mabbie, would be there without my knowledge - (smile)}. However, rather than lamenting, we could console ourselves by considering some parallel or corresponding Raaja sir's compositions, which has nuances of Ghazal, if not in typical lyrical aspect, but with usage of orchestra and melody. Sometimes lyrical format especially Charanam endorse to some extend to make Ghazal nuances, however, it's last line stands alone without pair sentence and does not make a couplet and thus, lessening one of the features of Ghazal. So, with lotta obligation or condone, below songs may fall into contemporary cine Ghazal songs, which we could call it as "Semi Ghazal". You bet!
P.S: Well, I have gone through around 1500 songs, randomly and so, there is a possibility that HE would have attempted for pure Ghazal in the remaining 2000 + songs. Also, there should not be any complaints on HIM as Ghazal songs are required according to the situation of the movie or directors' requirement/choice only. So, Raaja sir is {always} an immaculate soul {smile}.
I have just had a glimpse on few of HIS compositions and end up with this list, however, during my leisture time, I would need to sit down to consolidate Ghazal oriented songs in HIS compositions. {wink} Otherwise, I am good!
Maniyosai - Payanangal Mudivathillai {First two lines inspired from Ghulam's composition}
Oru Kaviyum from Aruvadai naal
Hamhai Akailae - Nando {I am afraid that it would be Marathi lavani genre, nevertheless, charanam, take the credit of Ghazal}
Prema Entha - Abhinandan {Telugu}
Unnai Naan - Ilaiya Ragam {Pathos}
Achaani - Maadha Un Koyilil
Vazhkai Odam sella - Aval appadithan
Anupallavi of Othadi Othadi Orama - Dharmathin thalavin {eh?}
Yendha yenmam - Ezhumalaiyan Mahimai
Poongathre - Friends
Oh Priya - Idayathaithirudathe {charanam}
Naan paadum mouna raagam - Idhaya Kovil {especially Charanam}
Mangai Nee Maangani - Innisai Mazhai
Kattril yenthan - Johnny - {Charanam}
Unn Kannil - Kanne Kalai Maane
Naatham en jeevane - Kadhal oviyam {Awesome usage of Bass guitar}
Kavikuyil - Kathal Oviyam
Kanna varuvaya - manadhil urudhi vandum
Ananda thein - Manipoor maamiyaar
Chukalle Tochave - Nireekshana {Telugu}
Mayanginen - Nanae Raja Nanae Mandiri
Thena thenpandi - Udhaya geetham - {Charanam}
Devan Thantha Veenai from Unnai Naan Santhithen {Charanam}
Konjam Sangeetham - Veetila veesenga {Charanam}
Enn Manamae - Vishwa Thulasi
Nirpathuve Nadappathuve - Bharathi...
P.S: MSV sir has composed a Ghazal album by late 90's and all the songs were penned by Kamakodiyan {who also wrote the song - Malliga mottu mansa thottu for Raaja sir}.
always
~~Raaja rules
Monday, October 20, 2008
Poovae semboovae
A gentleman called Jercy malencheck from Yugoslavia made it onto India to Appa's office. He wanted to meet us {Myself and my brother}. We had a great time with him throughout the day. I was doing my 7th standard by that time {chuckle}. We went to Higginbotham's {a biggest bookstore in chennai} and American book house in chennai. At one of the shops, we bought few cassettes and he has gifted us a couple of cassettes in our choices. One is Aranmanai kili and other one is Hits of Yesudoss. And the cassette "Hits of Yesudoss" has this song - Poovae semboovae un vaasam varum. Nostalgic thoughts
Well, talking about this immaculate composition, its core melody and lyrical theme of this song could be imposed on a cute lullaby, protoganist {of this song} would sing for his spouse, though. So, in such a way, it is a corresponding song for "Enthan vazhkkaikku artham solla" from Chinna Kannamma.
This song is based on 3-beat cycle, pallavi has nuances of waltz swing. I am afraid this song is not based on a single raaga. Alike, it is such a fusion number with different genres, good enough integrated/incorporated without bothering the beauty/allure of the melody. Interestingly, the prelude and postlude are tantamount piece with stream like running guitar and discontinuous/rambling puff on blow hole of flute, which are guarantee for descend of stress. Another factor is, string instruments were played with more than normal pace, say string orchestra arrangement, bass guitar, sitar, acoustic guitar, solo violin so does both the interludes.
Manirathnam says Raaja sir is a point wherein east meets west. At 1st interlude, strange call and response betwixt indian string instrument - Sitar and western string instrument - string orchestra. Classical violin's easily seductive distortion accompained by hindustani ethnic rhythm - tabla and ghunghroo and moves onto western zone with string orchestra and oboe play the melody, which can be imposed to akaaram {aaaa} after 1st line of 1st Charanam, in lighter vein or is it my misinterpretation? Avant-garde {2nd} interlude has stunning slapping through bass guitar and cymbols interwoven with tabla and ghunghroo. Ethnic violin's 2 calls was responded by bass guitar and also, lead for prestissimo kinda string orchestra movement with tabla and ghunghroo concomitant.
Yennaalum sangeetham sandhoshamey!
always
~~Raaja rules!
Well, talking about this immaculate composition, its core melody and lyrical theme of this song could be imposed on a cute lullaby, protoganist {of this song} would sing for his spouse, though. So, in such a way, it is a corresponding song for "Enthan vazhkkaikku artham solla" from Chinna Kannamma.
This song is based on 3-beat cycle, pallavi has nuances of waltz swing. I am afraid this song is not based on a single raaga. Alike, it is such a fusion number with different genres, good enough integrated/incorporated without bothering the beauty/allure of the melody. Interestingly, the prelude and postlude are tantamount piece with stream like running guitar and discontinuous/rambling puff on blow hole of flute, which are guarantee for descend of stress. Another factor is, string instruments were played with more than normal pace, say string orchestra arrangement, bass guitar, sitar, acoustic guitar, solo violin so does both the interludes.
Manirathnam says Raaja sir is a point wherein east meets west. At 1st interlude, strange call and response betwixt indian string instrument - Sitar and western string instrument - string orchestra. Classical violin's easily seductive distortion accompained by hindustani ethnic rhythm - tabla and ghunghroo and moves onto western zone with string orchestra and oboe play the melody, which can be imposed to akaaram {aaaa} after 1st line of 1st Charanam, in lighter vein or is it my misinterpretation? Avant-garde {2nd} interlude has stunning slapping through bass guitar and cymbols interwoven with tabla and ghunghroo. Ethnic violin's 2 calls was responded by bass guitar and also, lead for prestissimo kinda string orchestra movement with tabla and ghunghroo concomitant.
Yennaalum sangeetham sandhoshamey!
always
~~Raaja rules!
Wednesday, September 24, 2008
Raajaish Pop-rock
Song: Netru indha neram...
Movie: Tik Tik Tik
Singer: Latha Rajinikanth.
Genre: Pop rock.
~~Pop-rock is a subgenre of rock music that uses "catchy" pop style, with light lyrics over top of "guitar-based" songs.
Until 0:30 there was no melody. Prelude was just constructed with solo synth rhythm, stupendous running bass guitar and pleasing tines of synth. Exactly, 00:26th second has lead for string orchestra & tines of synth at 0:33 for next 5 seconds only. Still, so pleasing. You bet! Spick and span la la la by Latha with accompainment of synth rhythm and thrumming of acoustic guitar give de lead for Pallavi...Again, avant-garde of canon rule employed when pallavi ends with ".....Kolangaleyyy" by Latha, which is supposed to be leader melody that was imitated by choir take de role of follower.
At Pallavi, lead Cabaret singer recollect wut happened by yesterday at de same time, how breeze was frolic with herself and her Spouse.
1st Interlude has stunning orchestra arrangement: Presto kinda string orchestra originates this interlude with wah guitar, which continues to accompaines jazzy piano. I am afraid harmonic progression of rhythm guitar and bass guitar maintains jazz nuances and drum kit as bassline or is it arppegiator through synth? Again, Raajaish idiom of string orchestra {largo movement, eh?} + bass guitar and synth for pop song is more like evening drizzle at seashore. You bet!
Accelerando in charanam's melody is very much integrated with it's pallavi's flow.
Raaja sir has used solo violin at ludes for Pop, disco/funk and psychedelic compositions like Ilamai itho itho, Endrendum Aananthamey, Mella mella ennai, Vaanam keley vanathal, et al., It is typical Raajaish idiom of lude. This song is no exceptional, at 2nd interlude, Ethnic solo violin and congos bring tribal ambience. I am afraid that now running bass guitar accompanied by synth chord replicates de same melody played through Ethnic solo violin, eh? Choir, string orchestra with strumming of bass guitar were interlocked to have unique chord progression unto....? how come Raaja sir 80's pop song without scat singin'..? Yup, scat singing - Papupa Papupa pa Papupa Papupa pa is more like coda to ends this interlude. Again, synth string orchestra chords as bassline during scat singing was sung follows "Imitation" rule rather than canon as there is very micro seconds difference betwixt scat singing and synth string orchestra chords, correctta?
At 2nd charanam, lead Cabaret singer reveals her "Viraga" desire, which came in her dream at a fullmoon night!
Again, same pallavi repeated at de end with piano to complete this peppily peppily Pop. Such an amazing song! You bet!
always
~~Raaja rules!
Movie: Tik Tik Tik
Singer: Latha Rajinikanth.
Genre: Pop rock.
~~Pop-rock is a subgenre of rock music that uses "catchy" pop style, with light lyrics over top of "guitar-based" songs.
Until 0:30 there was no melody. Prelude was just constructed with solo synth rhythm, stupendous running bass guitar and pleasing tines of synth. Exactly, 00:26th second has lead for string orchestra & tines of synth at 0:33 for next 5 seconds only. Still, so pleasing. You bet! Spick and span la la la by Latha with accompainment of synth rhythm and thrumming of acoustic guitar give de lead for Pallavi...Again, avant-garde of canon rule employed when pallavi ends with ".....Kolangaleyyy" by Latha, which is supposed to be leader melody that was imitated by choir take de role of follower.
At Pallavi, lead Cabaret singer recollect wut happened by yesterday at de same time, how breeze was frolic with herself and her Spouse.
1st Interlude has stunning orchestra arrangement: Presto kinda string orchestra originates this interlude with wah guitar, which continues to accompaines jazzy piano. I am afraid harmonic progression of rhythm guitar and bass guitar maintains jazz nuances and drum kit as bassline or is it arppegiator through synth? Again, Raajaish idiom of string orchestra {largo movement, eh?} + bass guitar and synth for pop song is more like evening drizzle at seashore. You bet!
Accelerando in charanam's melody is very much integrated with it's pallavi's flow.
Raaja sir has used solo violin at ludes for Pop, disco/funk and psychedelic compositions like Ilamai itho itho, Endrendum Aananthamey, Mella mella ennai, Vaanam keley vanathal, et al., It is typical Raajaish idiom of lude. This song is no exceptional, at 2nd interlude, Ethnic solo violin and congos bring tribal ambience. I am afraid that now running bass guitar accompanied by synth chord replicates de same melody played through Ethnic solo violin, eh? Choir, string orchestra with strumming of bass guitar were interlocked to have unique chord progression unto....? how come Raaja sir 80's pop song without scat singin'..? Yup, scat singing - Papupa Papupa pa Papupa Papupa pa is more like coda to ends this interlude. Again, synth string orchestra chords as bassline during scat singing was sung follows "Imitation" rule rather than canon as there is very micro seconds difference betwixt scat singing and synth string orchestra chords, correctta?
At 2nd charanam, lead Cabaret singer reveals her "Viraga" desire, which came in her dream at a fullmoon night!
Again, same pallavi repeated at de end with piano to complete this peppily peppily Pop. Such an amazing song! You bet!
always
~~Raaja rules!
Monday, September 22, 2008
Counterpoint or canon?
I always wonder how come most of de ppl say En kanmani un kathali from Chittukuruvi has counterpoint. I go with wut other say. However, still there is a digression, when almost everyone says En kanmani follows Counter-point rule or as per Sathish it is delayed counter-point then why should a layman {yeah, it's me}, says it does follow Canon rule?
Kindly have a glimpse on below chart, wherein I've tried to make it's melody structure overlapping:
Un kaadhalii
Ila maanganii
unaip paarththadummm,
Would you accept de point all these three sentences/lines sung in same melody???
Sirikkinradheyyy & Sirikkinradhey, again both are same melody, first sirikkinradheyyy with lil improvisation, though.
Naanamoa and moa - overlapping of melody on it's improvisation alone unlike above lines.
So, in this song, wut happened was overlapping of improvisation and de lead melody {it is a word, though}.
Canon: Melody/song with one or more imitations of de melody played after a given duration {e.g. quarter rest, one measure, etc}
If it is okay that leader melody should be discontinued in short duration (quarter rest) as soon as de follower melody is joined then wut I said is correct w.r.to En kanmani song.
Quarter rest or quarter note or crotchet: A rest/note having one-fourth de time value of a whole rest/not or double de value of an eighth-note/rest, or quaver.
Now, wut is quaver?
Trill on an instrument or with the voice, which is supposed to be improvisation {Gamakam in Indian music}.
Now, replace improvisation with quaver for this song/ on above explaination.
Does this make any sense?
If yes then my argument is somewhat okay {smile}.
Talking about counter-point, an orchestra piece/song, which should have a main melody in one-pitch and counter melody is in another/same pitch, however, with different melody/tune/theme. It may have two or more counter tune/melody.
Now, talking about counter-point in this song: To my untaught knowledge, counter-point could not be made with same melody or overlapping with improvisation. So, this song does not have counter-point. Most probably, it should be canon, theoretically {at least}.
Also, there is a thought that En Kanmani is de first counter-point attempt by Raaja sir. However, postlude of Naan pesa vanthein sollathan oru vaarthai from Paalootti vartha kili {Raaja sir's 2nd Tamil movie, directed by Devaraj-Mohan and produced by P.Madhavan} has vocal counterpoint by SPB and S.Janaki, which is supposed to be Raaja sir's first attempt for counterpoint.
always
~~Raaja rules!
Kindly have a glimpse on below chart, wherein I've tried to make it's melody structure overlapping:
Un kaadhalii
Ila maanganii
unaip paarththadummm,
Would you accept de point all these three sentences/lines sung in same melody???
Sirikkinradheyyy & Sirikkinradhey, again both are same melody, first sirikkinradheyyy with lil improvisation, though.
Naanamoa and moa - overlapping of melody on it's improvisation alone unlike above lines.
So, in this song, wut happened was overlapping of improvisation and de lead melody {it is a word, though}.
Canon: Melody/song with one or more imitations of de melody played after a given duration {e.g. quarter rest, one measure, etc}
If it is okay that leader melody should be discontinued in short duration (quarter rest) as soon as de follower melody is joined then wut I said is correct w.r.to En kanmani song.
Quarter rest or quarter note or crotchet: A rest/note having one-fourth de time value of a whole rest/not or double de value of an eighth-note/rest, or quaver.
Now, wut is quaver?
Trill on an instrument or with the voice, which is supposed to be improvisation {Gamakam in Indian music}.
Now, replace improvisation with quaver for this song/ on above explaination.
Does this make any sense?
If yes then my argument is somewhat okay {smile}.
Talking about counter-point, an orchestra piece/song, which should have a main melody in one-pitch and counter melody is in another/same pitch, however, with different melody/tune/theme. It may have two or more counter tune/melody.
Now, talking about counter-point in this song: To my untaught knowledge, counter-point could not be made with same melody or overlapping with improvisation. So, this song does not have counter-point. Most probably, it should be canon, theoretically {at least}.
Also, there is a thought that En Kanmani is de first counter-point attempt by Raaja sir. However, postlude of Naan pesa vanthein sollathan oru vaarthai from Paalootti vartha kili {Raaja sir's 2nd Tamil movie, directed by Devaraj-Mohan and produced by P.Madhavan} has vocal counterpoint by SPB and S.Janaki, which is supposed to be Raaja sir's first attempt for counterpoint.
always
~~Raaja rules!
Friday, September 5, 2008
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