A friend of mine was quizzing about the raga used in the song amudhae thamizhae. It is based on raga rasikaranjani. If anyone wanted me to pin point a song that truly reflects India's rich heritage in classical music or even better, thamizh isai, i will point to "amudhae thamizhae".. .
The parent (melakartha) of this raga is chakravagam. If you delete madhyamam (M1) from chakravagam it is 'malayamarudham' and if you further delete nishadham (N2) from malayamarudham, you land up with rasikaranjani.
The triple "M"s - Melancholy, Mountain Breeze and the Mystic
Chakravagam | S R1 G3 M1 P D2 N2 S | S N2 D2 P M1 G3 R1 S - melancholy
Malayamarutham | S R1 G3 P D2 N2 S | S N2 D2 P G3 R1 S - mountain breeze
Rasikaranjani | S R1 G3 P D2 S | S D2 P G3 R1 S - mystic
(A) Melancholy
First chakravagam! The raga evokes a sad/melancholic feel (old timers wont forget the "ullathil nalla ullam" from film karnan). I read somewhere that the chakravaga paravai (bird) got a curse from Lord Rama that the male and female pair should stay separated (at nights! ada paavamae!). Probably this is why the raga has this "heartbreaking" quality attached to it. But Raja breaks that rule too. He has used such a sad/melancholy based raga for songs like "chalakku chalakku selai", "vaanilae thenila" and "vanithamani" . I am reminded of what Raja said once," I do what comes to my mind, and have no inhibitions of breaking established rules, if that is what it takes."
See the list of Raaja numbers in chakravagam.
Chakravagam
| S R1 G3 M1 P D2 N2 S | S N2 D2 P M1 G3 R1 S
(its hindustani counterpart is Ahirbhairavi !)
Alli Sundaravalli
Kangalin Vaarthaigal ( jeez!!! what a gem)
Chalakku Chalakku
Chembaruthi
Keliside Prema Velaa
Gulabi (Kannada)
Kothara Pithaara Kokko
Detective Naarada (Telugu)
Halli Laavaniyali
Nammura Mandaara Hoove (Kannada)
Iniya Malargal Malarum
Poonthottam
Love Love
Sakkarai Thevan
Marandhen Pirandhen
ilaiyarajavin Geethanjali (a hypnotic tune)
Nee Paadhi Naan Paadhi
Keladi Kanmani (that stunning 20 seconds prelude )
Poongaatre
Friends
Vanile Thenila
Kaakhi Sattai
Vanithamani Vanamogini
Vikram (staggering strings work!!)
(B) Mountain Breeze
Now over to malayamarudham! Malayamarudham lierally means cool and fragrant mountain breeze. Remember the keeravani based "poo pookum maasam" from varusham 16? Therein there is a line where susheela sings,"mandhamaarud ham veesudhu, malayamaarudham paadudhu"... A blog that i happened to hit while digging for this raga definition was titled "definition- of-hacker" by kamaraju@gmail. com. His blog defined malayamarutham very neatly - QUOTE "Malayamarutham is a mellifluous raaga in carnatic music which will make one soft at heart. In telugu, malaya maarutham is a cool evening breeze which invigorates mind, body & heart." UNQUOTE.
It is believed that hilly regions have pure air that can heal your body. Many times i feel even Raja's music has the same healing effect. Raja has given some gripping & breezy malayamarudham based songs, including thendral ennai muthamittadhu, oomai nenjin sondham and the eternal 'kanmani nee vara kathirundhaen' ...Here is the list of Raja's numbers in malayamarudham,
Malayamarutham
| S R1 G3 P D2 N2 S | S N2 D2 P G3 R1 S
Malayamarutham
Aalolam Peelikavadi Theril
Aalolam (Malayalam)
Kanmani Nee Vara
Thendrale Ennai Thodu
Oomai Nenjin Sondham
Manidhanin Marupakkam
Poojaikaaga Vaadum Poovai
Kaadhal Oviyam
Thendral Ennai Muthamittathu
Oru Odai Nadiyagirathu
(C) Mystic
Raaja's rasikaranjani include
Rasikaranjani
| S R1 G3 P D2 S | S D2 P G3 R1 S
(Malayamarudham sans Ni2 !)
Rasikaranjani
Amuthae Thamizhae
Kovil Pura
Ethilum Ingu Iruppan
Bharathi
Nila Kuyilae Unnodu Naan
Magudi
I dont know how i associate this raga with something mystic. Somehow, when i listen to songs composed by our maestro in this raga, i kind of feel as if i am listening to the very first song created by a composer who has just woken up after several hundred years of meditation over the art of creating music. Like as if these songs (or is it the quality of the raga?) were kept incubated in the musical genious' mind over several hundred years, were worked and re-worked upon umpteen number of times and finally it has been given to us, with all love and grace of a spiritual master to his disciples. Such is the mystic quality and the wholeness of the songs composed by IR in this raga. Be it the haunting nature of the tunes amuthae thamizhae & neela kuyilae unnodu naan or be it the strong spiritual undercurrent in the bharathi song "ethilum ingu iruppan avan yaaro".
Monday, June 6, 2011
Sunday, June 5, 2011
Gems of Raja Under Various Genres of Music
All I can say is that music composed by
me cannot be categorized in a particular genre. You can call it a universal
genre....Maestro Ilaiyaraaja
After 1000 films and
over 5000 songs, many people still relate to Maestro ilaiyaraja as someone who
just integrated the folk, carnatic and western classic genres alone
predominantly. But there are 30 different music genres he has scored music
in.
Below is a
compilation list of musical gems of Raja classified under nearly 30 different
Musical Genres..
1) A Capella
a. Sembavala muthukkalae {kummi} part from Aracha Santhanam - Chinna thambi
b. Devan kovil - Naan paadum paadal: Prelude Alap of Janaki amma unto 20
sec...et al.,
c. Konji Konji alaigal, the last part of Children choir, from Veera is a
typical " A Capella"
d. Naan poranthu vandhadhu from Maya Bazaar
e. Oh vennilave vaa, the last part of the song, from Aananda kummi,
f. Polla vinayein, a part of the song from Thiruvasagam {Exactly the
verse - Aakkam alavu}
g. Vaanam thottu, Overture of the song, from Thevar magan does not have
any orchestra until 40th sec
2) Acoustic guitar-propelled Western folk
a. "Ponmane Theduthey" from the soundtrack of the film Oh Maane Maane (1984).
b. "Roja Ondru mutham" from Komberi mookkan
3) Afro-tribal
a. "Aasayil Kaatrula" from Johnny (1980).
b. Malai kOvil vAsalil from Veera
c. Meen kodi theRIL from Karumbu vil (best in this genre)
d. Tholin mele
e. ViLakku vaippOm from aathma
4) Bluegrass
a. Vaazhvennum Sorkkaththai, the prelude and 1st interlude of the song, from Aaluku Oru Aasai
5) Calypso/Reggae
a. Aadum Neram from Soorasamharam is close to Calypso/Reggae genre
though that song is a brilliant fusion of Tribe, Indian Classical. The pallavi
portion has strong Calypso nuances.
b. Mastaana Mastaana - Raasaiyya
c. Sollividu Vellinilave - Amaithi Padai (reggae pattern)
d. vanakuyile, kuyil tharum (Priyanka) - The reggae rythm pattern
6) Disco
a. Endrendrum Aanandhame from Kadal Meengal - The second interlude is heavenly...
b. Ilamai Idho Idho from sakalakalaavallavan
c. Netru Indha Neram strongly suggests Disco genre...Also some Funk
elements in form of synth usage and Phaser effects all over the song but the
rhythm is close to disco
7) Flamenco
a. the musical vignettes/interludes in the rock-lifting scenes in the film Muthal Mariyathai (1985).
b. Ludes of Nee Koduthatha from Maaveeran has live flamenco guitaring.
c. Engiruntho Ennai Azhaithadhenna from I Love India is a Flamenco
generic song. It has lovely Flamenco guitar progression, Latino rhythm and
castanets embellishment.
d. Muthamma from Azhagar maalai (2nd interlude)-- Flamenco guitar
progression with typical of Latin rhythm & brass arrangement --
e. Palli Araikkul Malligaiyai Alli Iraikka -- has hardcore Flamenco
elements.
8) Funk
a. Antha Naal Asaigal from Annae Annae
b. the comedic funks "Oru Nayagan Uthayamagiraan" from Dhavani
Kanavugal (1984),
c. "Ada Machamulla" from Chinna Veedu (1985).
d. Paadi Vaa Thendrale from Mudivilla Aarambam
9) Funk Rock:
a. Padipilla Zero from Ilamai Kaalangal - drenched with Funk elements like Phasers and Wah effects..The synth effects strongly suggest Funk...Raaja has brought about such a mystic and serious feel in the tune with Funk Rock elements.
b. Ennamma Kannu from Mr. Bharath
10) Heavy Metal:
a.Kalaignan kattu kaaval - Kalaignan
b. Pottu vaitha kathal thittam from Singaravelan is a hardcore heavy
metal rock with western classical string orchestra arrangement.
11) Jazz
a. NEPV album - Nee Thaane En Pon Vasantham - Progressive Jazz
b. the fusion-jazz/pop sound of "Vikram", from Vikram (1986). [the Vikram song is actually a carnatic jathi, masquerading as rap music]
b. the fusion-jazz/pop sound of "Vikram", from Vikram (1986). [the Vikram song is actually a carnatic jathi, masquerading as rap music]
c. Raaja Rani Jockey (Netrikkaan) .. The Jazz fills between the lines in
the pallavi...
d. Is it Fixed (How to Name it).. The Bandhuvarali piece.. the showdown
between drums, Bass and Trumphet is a pure jamming session leaving the listener
spell bound
e. Day By Day Enna Maatram (Honest Raj.)
f. Jinjillara (Raajasthan) Amazing jazz Piano in the prelude
g. Niram Pirithu Paarthane (Time)..
h. Poo Poothadhu and Kurangu Kaiyil Mala (Mumbai Xpress)
i. Sax Theme from Cheeni Kum
j. "Kaattile kambankaattile" from "Raajakumaaran
k. Virahamay from Man of the Match (1996)
l. Shivamalli Poove from Friends (1999)
m. Indha Ulagil from Madhu (2005)
n. Thangakili Kaiyil from Manadhil Urudhi Vendum (1999) - I call this
Rajazz.
o. En Iniya Pon Nilave from Moodupani (1980)
p. Enthan Kannil Ezhulagangal from Guru (1980)
q. Ilaya Nila from Payanangal Mudivathillai (1982)
s. Shwashathin thalam from Achuvinte Amma (2005)
12) March
a. “adadaa ahangaara" from pithamagan
b. "aruna kirana deepam"
c. Bharatha Samudhayam from Bharathi (2000)
d. "Raja Kaiya Vecha", Apoorva Sagodharargal (1989).
e. "manitha manitha" from Kan Sivanthal Mann Sivakkum
13) Latino / bossa nova / Samba
a. Latino / bossa nova - "Kadhal Oviyam" from Alaigal Oivathillai (1981).
b. "Mamaamuvukku Kuduma" (Punnagai Mannan)
c. "Sambonnu Solli" (December Pookal)
d. Yen jodi manchakuruvi is 'Bossa Nova'
14) Lounge Music
a. Day By Day Enna Maatram (Honest Raj.)
15) New Jack Swing/Hip-Hop/ R&B:
a. Nenachi Nenachi from Sethu is definitely Hip-Hop/ New Jack Swing(New Jack swing because of the synth rhythm samples)
b. Asai Adhigam Vechu from Marupadiyum has minor New Jack Swing elements
in terms of rhythm...
16) Polka, Polo Polka
a. Keladi En Pavaiye from Gopura Vasalile (1990) - A Polka” & experimented with odd time signature
b. Oho Laila from Chaitanya (1991) - Not sure, if this is truly Polka.
c. The 2nd interlude of Nanna Muddina from Nee Nanna Gellalare
d. Maina maina from Pagal nilavu
e. Kalyaanam kachcheari from sathiyavan (April 1st Vidudala in telugu)
17) Pop
a. e.g., "Antha Naal Nyaabagam" from Adhu Oru Kana Kaalam (2005);
b. "Videya Videya" from Sethu (1999);
c. "Vaan Engum" from Moondram Pirai (1983).
d. Unnai Thedi Thedi from Konji Pesalam (2003)
e. Darling Darling from Priya (1979)
f. Eduta neeve from Abhinandhana (1990)
g. Diana Diana from from Kadhal Kavidhai (1999)
h. Minmini Paarvaikal from Julie Ganapathy (2003)
i. Hey I love you from Unnai Naan Santhithaen (1984)
j. Ithu Oru Nila Kalam from Tik Tik Tik (1981)
k. Netru Indha Neram from Tik Tik Tik (1981)
l. Rajanodu from Sathi Leelavathi (1995)
m. Megam kotattum from Enakkul Oruvan (1984)
n. Rangu Rangu from Prem Kahani (2009)
o. Rojapoo from Agni Natchathiram (1989)
p. Uff Are Tu Nirch Hai from Chal Chalein (2009)
q. Vanam Enna keezhiruuku Vetri Vizha (1989)
18) Psychedelia
a. "Vaanam Keezhe Vandhal Enna" from Thoongadhey Thambi Thoongadhey (1983).
b. Kannirandil - Avadharam
c. kanavil midhakkum" - Eera Vizhi Kaaviyangal
d. manathil enna ninaivugalo"
e. "uravenum puthiya vaanil"
f. Darling I Love You from Aaradhanai
19) Psychedelic rock/Funk Rock
a. Ithu Rosapoovu from Oru Kaithiyin Diary has Psychedelia in rendition. Funk elements in prelude..
b. Kanni Ilam from Aayiram Nilave Vaa. - the psychedelic mood in
Janaki's rendition and heavy Flanging of the Guitars suggest this kinda
genre...The Bassline all over the song is simply STUNNING!
20) Rock/Hard Rock
a. "Antha Naal Nyaabagam" from Adhu Oru Kana Kaalam (2005);
b. "Videya Videya" from Sethu (1999);
c. "Vaan Engum" from Moondram Pirai (1983) - sounds close to
Rock(Psychedelic) for the INTENSE Bass works...
d. Megam Kottattum is 100% Rock/Heavy Metal for the Bass...there is a
nice tribe post-lude in this one...
e. Oru Oorile from Maayabaazar 1995 has hard rock rhythm texture,
however, it is a classical cross-over composition in Opera Style. Broadway kind
of work.
f. Oru murai ketale from Inimey naangathan is a lively rock song.
g. Vaazha Vaikkum Kaadhalukku from Aboorva Sagotharargal is close to
Rock for the incredible Bass guitars(Bass leads and Bassline)... But the rhythm
could suggest another genre...
h. Vaa NaaLukku - Oru Iravu Oru Paravai
i.Pottu vaitha kadhal thittam - Singaravelan -- hard rock with WCM
movements !
j.Vanam namakku from Anjali is a lovely Rock, it's concept reminds the
classic Rock "Another brick on the wall".
k.Palli Paadama from Meera - has some interesting mix of folk rhythms
(ROLAND R8, Kawai samplers) in the 2nd bgm for 18 bars (in 4/4). But the main
groove that comes through the song is rock style.
21) Rock and roll, dance music (e.g., disco)
a. e.g., "Solla Solla Enna Perumai" from Ellam Inba Mayam (1981);
b. "Ilamai Itho" from Sakalakalavallavan (1982);
c. "Paatu Enggey" from Poovizhi Vasalile (1987).
d. Ela intha dooram from Jamadagni (1988)
e. Ellorukkum Nalla from Marupadiyum (1995)
f. Enakkuthaan from Velaikaran (1987)
g. Muthaduthe from Nalavanukku Nallavan (1984)
h. Kalalo Choosinadi from Shambu (2007)
i. Aanando Brahma from Shiva (1989)
j. Oru Naal Antha Oru Naal from Devathai (1998)
k. Oru Thottavadi from Pachakuthira (2006)
l. Pazhaiya Vilangu from Meera (1992)
m. Poo Maalai Oru Paavai anatho from Thanga Magan (1983)
n. Pudhu maapillaiki - Aboorva Sahodharargal -- a typical Rock-n-Roll
based groove and has more shades of Blues
n. Rum Bum Bum from MMKR (1991)
o. Senorita from Johny (1979)
p. Thamaraikodi from Ananda Kummi (1982)
q. ThathOm ThalAngu ThathOm from Vetri Vizha (1989)
r. Varavelkumo from Pachakuthira (2006)
s. Venniyello from Shiva (1989)
t. Yeh Unnai Thaane from Kadhal Parisu (1987)
22) Rythm & Blues
a. Appappa Thithikkum undhan mutham from Japanil Kalyanaraman (jazz elements too)
b. Va va pakkam va from thanga magan
23) Soft metal rock
a. Paattellam from Sooriyan {Malayalam}
b. Ennai thaalatta varuvala from Kathalukku mariyathai
c. Oh baby baby from Kathalukku mariyathai (alternative metal rock.)
d. Thavikirein Thavikirein from Time
e. Thendral varum from Friends is a soft rock.
24) Theaterical / Opera / Broadway Music
a. Edaya Baagilu from Suryakanthi
b. Alaigale va avarudan from Kavidhai malar
c. Chandhirarum Sooriyarum from Avatharam
d. Oru Oorile from Maayabaazar 1995 has hard rock rhythm texture,
however, it is a classical cross-over composition in Opera Style. Broadway kind
of work.
25) Waltz
a. Poovae Sempoovae,
b. Engengu Nee sendra Podhum etc.,
c. Vandhal Vandhal from from oru oorile oru raajakumari (1995)
d. Pootukkal Potaalum from Chatriyan (1990)
e. Twinkle Twinkle Little Star title track
26) Jazz Waltz / Swing Waltz
a. "Devan Kovil Deepam Ondru" - Nan Padum Padal
b. "Dil Dil Dil Manadhil - mella thiranthathu kathavu..." (the
only indian song probably with tabla used for jazz waltz rythm
c. Gaanam then kaatrodu - kannukoru vannakili
d. Geetham Sangeetham"
e. Ingeyum Angeyum ore mugam - Sathya
f. Kannanai Kanbaya - Manithanin Marupakkam
f. Nagu Endide Manjina Bindu | Pallavi Anupallavi
g. Navodayam - Kokila (telugu)
h. Sorgathin vasappadi - Unnai solli kutramillai
i. Un Paarvayil oraayiram - Amman Kovil
Kizhakale
j. Ye Thendrale - Nenjathai killathe
27) Symphonic Rock
a.oru naal antha oru naal from devadhai
b.aruna kirana from guru
c.suttum sudervizhi from siraichalai
d.chandirarum sooriyarum from avatharam
e.magalir mattum from magalir mattum
f.vanam thottu pona requiem choir in the beginning
g.palli padama from meera
h.Pazhaya vilangu from meera
i.panivizhum malai from meera
28) Techno
a. Akki Thokki from Vinodha Yatra (2007)
b. Chelathathee from Manasinakkare (2003)
29) Western Classical Movements Songs
a. Therke veesum thendral from Kolangal is basically a guitar-propelled song with western classical movements.
b. Arigaratha poosi kolla from Avatharam - lively WCM movements
performed in folk song
c. Amman koil ellam from Rajavin Parvaiyile - - lively WCM movements
performed in folk song
Courtesy: I need to thank a lot of friends out there for helping me compile this list - Kamal (New Kenny), Violin Vicky, Eddie, Ravi Natarajan, Krish, Kumar Subramani, Kiru, Ananth, CRajkumar_be, Saran, Rajiv Shankar, and Navin Ramdoss.
Saturday, June 4, 2011
Musings on Brindhavana Saranaga and Madhyamavathi
Musings on Brindhavana Saranaga and Madhyamavathi
I trust the first two chapters on Kapi and sindhubhairavi were of some use to you all. In this chapter we will see two closely related ragas namely brindhavan saranga and madhyamavathi.
Recently there was this friend of mine who wanted to know the raga for the song “poongaatre theendaadhe” from kunguma chimizh…the song is a lovely brindhavana saranga based number. Talking of brindhavana saranga, old timers will say "ponnonru kandaen pennangu illai", which too is a very good reference...You can easily see the parallel between "ennendru naan sollalaaguma" with "kallukulle anbin eeram enna"...the similarity in the glide is so much perceptible...Or if the slightly faster tempo of the latter confuses you, you can compare with the slower number 'muthamma muthu muthu" from thandhuvittaen ennai.
Raja's brindhavana sarangas are very simple to figure out, and it does not require musical expertise. That is because raja has this god given ability dilue ragas without losing their native merit. He only enhances the raga beauty.
Some select songs in brindhavana saranga...
Indha Jilla Muzhuka Nalla Theriyum - Priyanka
Kannukullae Anbin Eeram Enna - Unakaagave
Konjum Kuyil Paattu - Kanna Unai Thedugiren
Kovil Mani Kaetene- Kanna Unai Thedugiren
Muthamma Muthu Muthu - Thanthuvitten Ennai
Dheivangal Kan Paarthadhu - Pudhiya Ragam
However, amongst IR's compositions, the best two i would say, for a beginner, would be the Priyanka song and the 'Unakaagave vaazhgiraen" song...Both have the full flavour of the ragam.
The charanams of "Indha jilla muzhukka " song display the core essence of the raga the first four lines...Especially the lines "pasikku udhavaama pannuriyae perum paade" continued with "naalu ennadi naalu, sattunnu sammadham podu"...
And the first line of the charanam of the song "kallukulle anbin eeram" and the first line of the charanam in "jilla muzhukka" show a similar pattern. You are now begining to get a hang right :-)
You shouldnt miss "dheivangal kan paarthadhu" in Pudhiya ragam. One of the nice numbers from Mano. The pallavi by itself gives a good taste of brindhavana saranga.Other orthodox numbers would be "Konjum Kuyil Paattu" and "Kovil Mani Kaetene" - (I think both are from Kanna Unai Thedugiren).
You now have some fair idea of brindhavana saranga, I am sure. See, it is as simple as this. Who wants to know all those detailed grammar? ;-) …What say you? Anyways, just lets get some quick basics here. As said earlier, grammatically, there is a close relative to brindhavana saranga, which is Madhyamavathi.
Brindhavana Saranga is | S R2 M1 P N3 S | S N2 P M1 R2 S
Madhyamavathi is | S R2 M1 P N2 S | S N2 P M1 R2 S
Ilaiyaraaja’s use of Madhyamavathi thus can be summarized as “Thalaatu”…Yes, madhyamavathi usages by IR are (90%) hypnotic lullabies. So why not start off with Thaalattu Pillai Ennai from Achchaani. The entire pallavi is a neat usage of madhyamavathi. See how raja has stressed on the raga flavour right at the start by the way SPB sings “thalaattu”…..Just do this mini exercise…after you sing for yourself the pallavi of the song thalattu, dive to “thunbam endrum aanukkalla” charanam from “thulli thulli”…You would have no problems shifting to back “thalaatu” once you finish “thulli thulli charanams”… another good example would be “Thazham Poovae Vaasam from Kai Kodukum Kai”
There are innumerable madhaymavathis in IR’s isai pattarai (music workshop). The vintage hits include Aagaya Gangai - Dharma Yudham , Anandham Then Sindhum - Mann Vasanai , Kuyile Kuyile - Aan Paavam (see madhyamavathi bubbling with enthusiasm), Adi Pennae Ponoonjal Aadum - Mullum Malarum , Ammamma - Thalaattu Padava, Vanamellam Senbagapoo - Naadodi Pattukaaran, Vennilavu Kodhipadhenna - Chinna Mapillai , Eeramana Rojave - Ilamaikalangal, Ariro Araro - Indiran Chandhiran, Poo Arumbuthu - Kutti, Sembaruthi Penoruthi - Raman Abdulla, Ejamaan Kaaladi Manneduthu - Ejaman, Kumbam Karai Sertha Thangayya - Kumbakarai Thangaiyya, Damakku Damakku Damm - Azagki, Kavithai Paadu Kuyilae - Thendralae Ennai Thodu, Sevanthi Pookalil Seidha Veedu - Mella Pesungal
Madhyamavathi, as said earlier, is S R2 M1 P N2 S and same backwards…. I had mentioned that you can keep remembering the word “lullaby or “thalaattu” while trying to decipher a madhyamavathi based song…If you want to also see some songs that are hardcore madhyamavathis, take En Kalyana Vaibhogam - Azhaghe Unnai Aaradhikiren. One of those rare combination of raja and vani jayaram. Don’t you get a feeling as if vani jayaram was sitting in a oonjal (swing) while she sang it…or even better, don’t you feel that you are yourself are being put in a musical swing (oonjal or thooli). The same swing effect can be seen in the first few lines of Nee Thane Enthan - Ninaivellam Nithya .
The song “thulli thulli nee padamma” starts with a humming and mini alapanai session between SPB and S.Janaki. That vocal prelude bit is the best crash course you will ever get on madhyamavathi in the shortest of all times (roughly 1 and a half minutes). You might do well to listen to that initial humming alone n number of times, until you start to understand madhyamavathi…Because, that’s all you need to know to recognize a madhyamavathi based song. Solaikuyile kaalai kadhire from ponnu Oorukku Pudhusu is another vintage composition, wherein just the pallavi is enough to teach you madhyamavathi. See the how the pallavi lands down to a sweet musical swing (as if you were in a thooli) in the lines, “thullum ragame, thullum raagame”…Ange thullum ragam madhayamavathi thaan….Avvalave dhaan :)
If you asked my personal choice amongst all madhyamavathis, I would say it is Thanga Nilavukkul Nilavondru from Rickshaw Maama. It just does not get better than this. Raja in a thaalaatum mood and his best partner SPB to carry the tune forward. Who wants the heavens, it is here and now, right in your room. Just plug in to raja’s music :)
Lend your ears, I will tell you a simple trick that works 90% of the times in deciphering madhyamavathi in IR’s songs. There would invariably be a scintillating usage of the instrument Shenai. You wont find many madhayamavathi based songs from IR which didn’t have the shenai, used in a mesmerizing fashion.
Madhyamavathi belongs to the same sruthibedham family as mohanam, sudhadhanyasi, sudhasaveri. Shall we take up sudhadhanyasi next then?
For the time being though, are you are now ready for the madhyamavathi lullabies?
JUST SIT BACK AND ENJOY !!
I trust the first two chapters on Kapi and sindhubhairavi were of some use to you all. In this chapter we will see two closely related ragas namely brindhavan saranga and madhyamavathi.
Recently there was this friend of mine who wanted to know the raga for the song “poongaatre theendaadhe” from kunguma chimizh…the song is a lovely brindhavana saranga based number. Talking of brindhavana saranga, old timers will say "ponnonru kandaen pennangu illai", which too is a very good reference...You can easily see the parallel between "ennendru naan sollalaaguma" with "kallukulle anbin eeram enna"...the similarity in the glide is so much perceptible...Or if the slightly faster tempo of the latter confuses you, you can compare with the slower number 'muthamma muthu muthu" from thandhuvittaen ennai.
Raja's brindhavana sarangas are very simple to figure out, and it does not require musical expertise. That is because raja has this god given ability dilue ragas without losing their native merit. He only enhances the raga beauty.
Some select songs in brindhavana saranga...
Indha Jilla Muzhuka Nalla Theriyum - Priyanka
Kannukullae Anbin Eeram Enna - Unakaagave
Konjum Kuyil Paattu - Kanna Unai Thedugiren
Kovil Mani Kaetene- Kanna Unai Thedugiren
Muthamma Muthu Muthu - Thanthuvitten Ennai
Dheivangal Kan Paarthadhu - Pudhiya Ragam
However, amongst IR's compositions, the best two i would say, for a beginner, would be the Priyanka song and the 'Unakaagave vaazhgiraen" song...Both have the full flavour of the ragam.
The charanams of "Indha jilla muzhukka " song display the core essence of the raga the first four lines...Especially the lines "pasikku udhavaama pannuriyae perum paade" continued with "naalu ennadi naalu, sattunnu sammadham podu"...
And the first line of the charanam of the song "kallukulle anbin eeram" and the first line of the charanam in "jilla muzhukka" show a similar pattern. You are now begining to get a hang right :-)
You shouldnt miss "dheivangal kan paarthadhu" in Pudhiya ragam. One of the nice numbers from Mano. The pallavi by itself gives a good taste of brindhavana saranga.Other orthodox numbers would be "Konjum Kuyil Paattu" and "Kovil Mani Kaetene" - (I think both are from Kanna Unai Thedugiren).
You now have some fair idea of brindhavana saranga, I am sure. See, it is as simple as this. Who wants to know all those detailed grammar? ;-) …What say you? Anyways, just lets get some quick basics here. As said earlier, grammatically, there is a close relative to brindhavana saranga, which is Madhyamavathi.
Brindhavana Saranga is | S R2 M1 P N3 S | S N2 P M1 R2 S
Madhyamavathi is | S R2 M1 P N2 S | S N2 P M1 R2 S
Ilaiyaraaja’s use of Madhyamavathi thus can be summarized as “Thalaatu”…Yes, madhyamavathi usages by IR are (90%) hypnotic lullabies. So why not start off with Thaalattu Pillai Ennai from Achchaani. The entire pallavi is a neat usage of madhyamavathi. See how raja has stressed on the raga flavour right at the start by the way SPB sings “thalaattu”…..Just do this mini exercise…after you sing for yourself the pallavi of the song thalattu, dive to “thunbam endrum aanukkalla” charanam from “thulli thulli”…You would have no problems shifting to back “thalaatu” once you finish “thulli thulli charanams”… another good example would be “Thazham Poovae Vaasam from Kai Kodukum Kai”
There are innumerable madhaymavathis in IR’s isai pattarai (music workshop). The vintage hits include Aagaya Gangai - Dharma Yudham , Anandham Then Sindhum - Mann Vasanai , Kuyile Kuyile - Aan Paavam (see madhyamavathi bubbling with enthusiasm), Adi Pennae Ponoonjal Aadum - Mullum Malarum , Ammamma - Thalaattu Padava, Vanamellam Senbagapoo - Naadodi Pattukaaran, Vennilavu Kodhipadhenna - Chinna Mapillai , Eeramana Rojave - Ilamaikalangal, Ariro Araro - Indiran Chandhiran, Poo Arumbuthu - Kutti, Sembaruthi Penoruthi - Raman Abdulla, Ejamaan Kaaladi Manneduthu - Ejaman, Kumbam Karai Sertha Thangayya - Kumbakarai Thangaiyya, Damakku Damakku Damm - Azagki, Kavithai Paadu Kuyilae - Thendralae Ennai Thodu, Sevanthi Pookalil Seidha Veedu - Mella Pesungal
Madhyamavathi, as said earlier, is S R2 M1 P N2 S and same backwards…. I had mentioned that you can keep remembering the word “lullaby or “thalaattu” while trying to decipher a madhyamavathi based song…If you want to also see some songs that are hardcore madhyamavathis, take En Kalyana Vaibhogam - Azhaghe Unnai Aaradhikiren. One of those rare combination of raja and vani jayaram. Don’t you get a feeling as if vani jayaram was sitting in a oonjal (swing) while she sang it…or even better, don’t you feel that you are yourself are being put in a musical swing (oonjal or thooli). The same swing effect can be seen in the first few lines of Nee Thane Enthan - Ninaivellam Nithya .
The song “thulli thulli nee padamma” starts with a humming and mini alapanai session between SPB and S.Janaki. That vocal prelude bit is the best crash course you will ever get on madhyamavathi in the shortest of all times (roughly 1 and a half minutes). You might do well to listen to that initial humming alone n number of times, until you start to understand madhyamavathi…Because, that’s all you need to know to recognize a madhyamavathi based song. Solaikuyile kaalai kadhire from ponnu Oorukku Pudhusu is another vintage composition, wherein just the pallavi is enough to teach you madhyamavathi. See the how the pallavi lands down to a sweet musical swing (as if you were in a thooli) in the lines, “thullum ragame, thullum raagame”…Ange thullum ragam madhayamavathi thaan….Avvalave dhaan :)
If you asked my personal choice amongst all madhyamavathis, I would say it is Thanga Nilavukkul Nilavondru from Rickshaw Maama. It just does not get better than this. Raja in a thaalaatum mood and his best partner SPB to carry the tune forward. Who wants the heavens, it is here and now, right in your room. Just plug in to raja’s music :)
Lend your ears, I will tell you a simple trick that works 90% of the times in deciphering madhyamavathi in IR’s songs. There would invariably be a scintillating usage of the instrument Shenai. You wont find many madhayamavathi based songs from IR which didn’t have the shenai, used in a mesmerizing fashion.
Madhyamavathi belongs to the same sruthibedham family as mohanam, sudhadhanyasi, sudhasaveri. Shall we take up sudhadhanyasi next then?
For the time being though, are you are now ready for the madhyamavathi lullabies?
JUST SIT BACK AND ENJOY !!
A Simple Introduction to IR's Sindhu Bhairavis
A Simple Introduction to IR's Sindhu Bhairavis
Remember the DD television song “Milae sur mera thumhaara” (where various artists including Balamurali Krishna, kamal hassan, cricketer Hirwani, lata mangeshkar, Big B Amitabh etc appeared?) long time back? ..the entire song is sindhu bhairavi ragam. You may read on with that song in mind for theoretical reference. Another excellent reference could be “unakenna melay nindrai” from simla special…that is full loaded with sindhu bhairavi flavour. OK, over to Maestro now.
First shall we roughly define how sindhu bhairavi feels? It evokes a karuna rasam (empathy) as well as a very light tinge of melancholy at times. To my knowledge, there are around 50 raja songs in sindhu bhairavi. [Raga Arohanam| S R2 G2 M1 G2 P D1 N2 S | Raga Avarohanam = N2 D1 P M1 G2 R1 S N2 S
But as usual of raja, it is not just limited to karuna rasam or melancholy, but many different emotions and colours. Once you finish reading this, you should have a very fair knowledge of sindhu bhairavi….
I think I would start with one of my all time favourites in this raga….It is “Muthu mani maala” from Chinna kounder. A meditative quality overwhelms the listeners throughout the song…ippadi oru closely knit (intricately woven) song is possible only by raja…in the charanams, the ending line SPB sings,“lesa degam soodera”…that “soodera” is excellent touch of sindhubhairavi (correlate this with “tho sur bane humaara” of the DD song mentioned earlier)
Ok, now to some very hardcore sindhu bhairavis…..listen to the following song before you go to any other sindhu bhairavi based compositions… Mani Osai Kettu from payanangal mudivadhillai…Raja, in this song, poses as a personal classical music teacher for you, highlighting the soul of sindhu bhairavi in such a riveting fashion, that too in 5 minutes flat … Another riveting tune is it is Madha Un Kovilile from Achchaani …and If you know these two songs, you already know sindhu bhairavi raga.
Take Kalyana Maalai Kondaadum Penne from Pudhu Pudhu Arthangal – What can you say about this song? Unimaginable that one can power-pack & load up a 5 minute song with so much punch, and still keep it to look very simple. …In pallavi see “sudhiyodum layam polave” and in charanams watch,”azhagaana manaivi…amaindhaalae perinbame”…
“Nilave mugam kaatu”…from Ejamaan….therein watch the line in charanams,“ unai serndhadhu kodi mullaiyae, ini endha kuraiyum illayae..dhinam theerum theerum thollaiye”….u can compare the sympathy evoked in these lines to that is “ennai yaarendru enni enni nee paarkirai”, a olden days classic set in same raga)…“Nilave mugam kaatu” song is an amazing composition, with or without sindhu bhairavi…
In the same film there is another sindhu bhairavi number …“oru naalum unai maravaadha” from Ejamaan…oh, another gem this. The entire song is soaked with the essence of the raga. You would want to notice the little nuances of sindhu bhairavi elaborated by SPB and SJ right in the pallavi (watch in “vizhiyodu imai polae”… see the thoivu evoking sympathy…)
Shenbagame Shenbagame - Enga Ooru Paatukkaran - seems Asha bhonsle wept after listening to the tune…very powerful tune in sindhu bhairavi…in the pallavi, each time “shenbagame / thenpodhigai” words are sung, different Asha (also Mano in his version) brings out various characteristic curves / flavours of the raga.
Valaiyosai Kala - Sathya – Entire song will help, but especially the first line of pallavi “thendral kaatrum veesudhu” and in charanam first line “unnai kaanaadhirukkum nodi neram…..varudam ena maarum”
The following lines in the following songs would highlight the flavour of the raga very clearly…
Aatama Sadhiratama - Captain Prabhakaran – yaarukkum theriyaadhu naan potta mudichu
Aasa Adhigam Vachu - Marubadiyum – in the very first line manasa adakki aikalaama - the word “maama”, note how it is sung…
Amman Kovil Kumbham Inge - Aranmanai Kili - Ponganum ponganum ponga soru (look at that kuzhaivu / thoivvu / elegant slide)
Arunamalai Guru Ramana - Raajaavin Ramanamaalai – charanams – “unnai aridhal perum peru, seivaen enna kaimaaru
Bommukutty Ammavukku - En Bommukutty Ammaavukku – thedamal thedi vandha thaazham poo charam
Chinna Kuyil Oru Pattu Padudhu - Chinna Kuyil Pattu (one of the best sindhu bhairavis ever !!!! that too in raja’s own voice)
En Mana Vaanil Siragai Virikkum - Kaasi - the entire song, but watch pallavi “siragugal thannal moodikollum”
Enna Marandhalum - Kadhal Saadhi (the song is jam packed with emotion !!!) – see the lines “unna marakka manam koodudhillaiye"
Enna Satham Indha Neram - Punnagai Mannan – entire song, but see pallavi’s “uyirin uyirai” every time SPB sings it…also “aariraro, ivar yaar evaro” – SPB brings about subtle styling unique to sindhu bhairavi
Enakena Oruvarum illamal Ponalum - Thaalatu – the pallavi
Ennamma Kannu Sowkyama - Mr.Bharath - ” aamamma kannu sowkyam dhaan” – stamp of sindhu bhairavi
Ilamai Enum Poongaatru - Pagalil Oru Iravu - charanam last line “indha nilai dhaan, enna vidhiyo” – brilliant
Inji Idupazhaga - Thevar Magan – “maane vaa” in pallavi
Kadalile Ezhumbura - Chembaruthi - the way the very first line ends
Naan Oru Sindhu - Sindhu Bhairavi - charanams ending “sollungale” and “kandupidi” – executive summary for the raga
Nilavu Paatu Nilavu Paatu - Kannukkul Nilavu – charanam ending ‘kanavugal kavidhaigal ragasiyam” – aaha, oru mini “haiku” kavidhai
Oh Vennilave - Aananda Kummi – the way the pallavi ends (pai podalaam)
Thol Mela Thol Mela - Poomani – pallavi end – “nenjame nenjamae”
Now you basically have an idea how Sindhu Bhairavi flows, right ? …Get on to explore more !!!
Relish Raja’s majestic Sindhu Bhairavis.
Remember the DD television song “Milae sur mera thumhaara” (where various artists including Balamurali Krishna, kamal hassan, cricketer Hirwani, lata mangeshkar, Big B Amitabh etc appeared?) long time back? ..the entire song is sindhu bhairavi ragam. You may read on with that song in mind for theoretical reference. Another excellent reference could be “unakenna melay nindrai” from simla special…that is full loaded with sindhu bhairavi flavour. OK, over to Maestro now.
First shall we roughly define how sindhu bhairavi feels? It evokes a karuna rasam (empathy) as well as a very light tinge of melancholy at times. To my knowledge, there are around 50 raja songs in sindhu bhairavi. [Raga Arohanam| S R2 G2 M1 G2 P D1 N2 S | Raga Avarohanam = N2 D1 P M1 G2 R1 S N2 S
But as usual of raja, it is not just limited to karuna rasam or melancholy, but many different emotions and colours. Once you finish reading this, you should have a very fair knowledge of sindhu bhairavi….
I think I would start with one of my all time favourites in this raga….It is “Muthu mani maala” from Chinna kounder. A meditative quality overwhelms the listeners throughout the song…ippadi oru closely knit (intricately woven) song is possible only by raja…in the charanams, the ending line SPB sings,“lesa degam soodera”…that “soodera” is excellent touch of sindhubhairavi (correlate this with “tho sur bane humaara” of the DD song mentioned earlier)
Ok, now to some very hardcore sindhu bhairavis…..listen to the following song before you go to any other sindhu bhairavi based compositions… Mani Osai Kettu from payanangal mudivadhillai…Raja, in this song, poses as a personal classical music teacher for you, highlighting the soul of sindhu bhairavi in such a riveting fashion, that too in 5 minutes flat … Another riveting tune is it is Madha Un Kovilile from Achchaani …and If you know these two songs, you already know sindhu bhairavi raga.
Take Kalyana Maalai Kondaadum Penne from Pudhu Pudhu Arthangal – What can you say about this song? Unimaginable that one can power-pack & load up a 5 minute song with so much punch, and still keep it to look very simple. …In pallavi see “sudhiyodum layam polave” and in charanams watch,”azhagaana manaivi…amaindhaalae perinbame”…
“Nilave mugam kaatu”…from Ejamaan….therein watch the line in charanams,“ unai serndhadhu kodi mullaiyae, ini endha kuraiyum illayae..dhinam theerum theerum thollaiye”….u can compare the sympathy evoked in these lines to that is “ennai yaarendru enni enni nee paarkirai”, a olden days classic set in same raga)…“Nilave mugam kaatu” song is an amazing composition, with or without sindhu bhairavi…
In the same film there is another sindhu bhairavi number …“oru naalum unai maravaadha” from Ejamaan…oh, another gem this. The entire song is soaked with the essence of the raga. You would want to notice the little nuances of sindhu bhairavi elaborated by SPB and SJ right in the pallavi (watch in “vizhiyodu imai polae”… see the thoivu evoking sympathy…)
Shenbagame Shenbagame - Enga Ooru Paatukkaran - seems Asha bhonsle wept after listening to the tune…very powerful tune in sindhu bhairavi…in the pallavi, each time “shenbagame / thenpodhigai” words are sung, different Asha (also Mano in his version) brings out various characteristic curves / flavours of the raga.
Valaiyosai Kala - Sathya – Entire song will help, but especially the first line of pallavi “thendral kaatrum veesudhu” and in charanam first line “unnai kaanaadhirukkum nodi neram…..varudam ena maarum”
The following lines in the following songs would highlight the flavour of the raga very clearly…
Aatama Sadhiratama - Captain Prabhakaran – yaarukkum theriyaadhu naan potta mudichu
Aasa Adhigam Vachu - Marubadiyum – in the very first line manasa adakki aikalaama - the word “maama”, note how it is sung…
Amman Kovil Kumbham Inge - Aranmanai Kili - Ponganum ponganum ponga soru (look at that kuzhaivu / thoivvu / elegant slide)
Arunamalai Guru Ramana - Raajaavin Ramanamaalai – charanams – “unnai aridhal perum peru, seivaen enna kaimaaru
Bommukutty Ammavukku - En Bommukutty Ammaavukku – thedamal thedi vandha thaazham poo charam
Chinna Kuyil Oru Pattu Padudhu - Chinna Kuyil Pattu (one of the best sindhu bhairavis ever !!!! that too in raja’s own voice)
En Mana Vaanil Siragai Virikkum - Kaasi - the entire song, but watch pallavi “siragugal thannal moodikollum”
Enna Marandhalum - Kadhal Saadhi (the song is jam packed with emotion !!!) – see the lines “unna marakka manam koodudhillaiye"
Enna Satham Indha Neram - Punnagai Mannan – entire song, but see pallavi’s “uyirin uyirai” every time SPB sings it…also “aariraro, ivar yaar evaro” – SPB brings about subtle styling unique to sindhu bhairavi
Enakena Oruvarum illamal Ponalum - Thaalatu – the pallavi
Ennamma Kannu Sowkyama - Mr.Bharath - ” aamamma kannu sowkyam dhaan” – stamp of sindhu bhairavi
Ilamai Enum Poongaatru - Pagalil Oru Iravu - charanam last line “indha nilai dhaan, enna vidhiyo” – brilliant
Inji Idupazhaga - Thevar Magan – “maane vaa” in pallavi
Kadalile Ezhumbura - Chembaruthi - the way the very first line ends
Naan Oru Sindhu - Sindhu Bhairavi - charanams ending “sollungale” and “kandupidi” – executive summary for the raga
Nilavu Paatu Nilavu Paatu - Kannukkul Nilavu – charanam ending ‘kanavugal kavidhaigal ragasiyam” – aaha, oru mini “haiku” kavidhai
Oh Vennilave - Aananda Kummi – the way the pallavi ends (pai podalaam)
Thol Mela Thol Mela - Poomani – pallavi end – “nenjame nenjamae”
Now you basically have an idea how Sindhu Bhairavi flows, right ? …Get on to explore more !!!
Relish Raja’s majestic Sindhu Bhairavis.
Having Kapi with ilaiyaraja :-)
Having Kapi with ilaiyaraja :-)
This write-up is for all beginners who are interested in figuring out carnatic ragams used in IR's songs...How about a small trip on kapi raga usage by IR, over a cup of kapi (sorry coffee).
Kapi, as a raga, has a distinct flavour, that is very tough to miss. Forget the swarams used, all you need is a pair of willing ears. Just stay with me, as we take some beautiful numbers by IR in kapi. Lets will start with an obscure song from an even more obscure film. It is sung by TMS and starts something like this - "Sirithal Sirippen Aval Oru Rajakumari" from film Mariamman Thiruvizha. Pick the lines next two lines after these first two lines. Thats your first taste of kapi :-)
Then take the song "Thayum Naane Thanga Ila Maane" from the film Engeyo Kaeta Kural. The pallavi is pukka kapi flavour. Ok, now pick up specifically the pallavi line "thalaatu paadum...vanna poondhene"...That is the maestro's kapi touch for u. Same with "Sangathil Paadatha Kavigal" from Auto Raja...the pallavi is a good tutorial on kapi flavour. To quote another example, take another obscure song titled "Sugamo Aayiram" from film Thunaiyiruppal Meenakshi. The last line of the charanams...adhai gettiya pudichikunga...
Now that you have made ur mind curious about kapi, slowly move on to more heavy ones...Repeatedly hear the following songs...Ada Maapila Summa Moraikkadha - siva, Vizhiyile Mani Vizhiyil Mouna Mozhi - Nooraavadhu Naal (kapi or no kapi, this song is a masterpiece), Hey Paadal Onru – Priya, Thanni Thotti from Sindhu Bhairavi...[in charanams,"oru raja dhesa maari yesa paaduraan..." and subsequent lines remaining in the charanams are the very essence of kapi...oh my, how very beautifull...]
Then move on to more subtle ones...inge kapi konjam light'aa irukkum ;-)...Based on my opinion, songs in this category would be....Chembaruthi Poovu - Chembaruthi, Sami Kitte Solli Vachu - Aavaaram Poo, Chinna Chinna Malar Ondru - Kavalai Padathe Sagodhara, Kanne Kalaimaane - Moondram Pirai, Oranjaram Usharaiyya - Kakai Chiraginile (pallavi mattum...charanam'la IR mixes "Desh" )...
Ivlo dhaan sir kaapi :-)
All said and done, "Ada mapila summa muraikaadha" will remain etched in my heart for the stunning tune and baffling way in which SPB has rendered it..We didnt have a more versatile & rocking usage of kapi before this song, and probably we may not have such a vibrant usage of kapi in any song in future...
A small point here...there is a portion in the song where SPB sings the "mangalyam thandhunaanena" manthiram..First & Second line: Mangalyam thanthunaanena Mama Jeevana Hethuna (not much kapi taste)...but in the third line - Kanthe badhnami subhage - ilaiyaraja brings out the nuance of kapi stunningly..
Kelunga...Rasichu kelunga ...IR's Kapi is sure to delight you..
This write-up is for all beginners who are interested in figuring out carnatic ragams used in IR's songs...How about a small trip on kapi raga usage by IR, over a cup of kapi (sorry coffee).
Kapi, as a raga, has a distinct flavour, that is very tough to miss. Forget the swarams used, all you need is a pair of willing ears. Just stay with me, as we take some beautiful numbers by IR in kapi. Lets will start with an obscure song from an even more obscure film. It is sung by TMS and starts something like this - "Sirithal Sirippen Aval Oru Rajakumari" from film Mariamman Thiruvizha. Pick the lines next two lines after these first two lines. Thats your first taste of kapi :-)
Then take the song "Thayum Naane Thanga Ila Maane" from the film Engeyo Kaeta Kural. The pallavi is pukka kapi flavour. Ok, now pick up specifically the pallavi line "thalaatu paadum...vanna poondhene"...That is the maestro's kapi touch for u. Same with "Sangathil Paadatha Kavigal" from Auto Raja...the pallavi is a good tutorial on kapi flavour. To quote another example, take another obscure song titled "Sugamo Aayiram" from film Thunaiyiruppal Meenakshi. The last line of the charanams...adhai gettiya pudichikunga...
Now that you have made ur mind curious about kapi, slowly move on to more heavy ones...Repeatedly hear the following songs...Ada Maapila Summa Moraikkadha - siva, Vizhiyile Mani Vizhiyil Mouna Mozhi - Nooraavadhu Naal (kapi or no kapi, this song is a masterpiece), Hey Paadal Onru – Priya, Thanni Thotti from Sindhu Bhairavi...[in charanams,"oru raja dhesa maari yesa paaduraan..." and subsequent lines remaining in the charanams are the very essence of kapi...oh my, how very beautifull...]
Then move on to more subtle ones...inge kapi konjam light'aa irukkum ;-)...Based on my opinion, songs in this category would be....Chembaruthi Poovu - Chembaruthi, Sami Kitte Solli Vachu - Aavaaram Poo, Chinna Chinna Malar Ondru - Kavalai Padathe Sagodhara, Kanne Kalaimaane - Moondram Pirai, Oranjaram Usharaiyya - Kakai Chiraginile (pallavi mattum...charanam'la IR mixes "Desh" )...
Ivlo dhaan sir kaapi :-)
All said and done, "Ada mapila summa muraikaadha" will remain etched in my heart for the stunning tune and baffling way in which SPB has rendered it..We didnt have a more versatile & rocking usage of kapi before this song, and probably we may not have such a vibrant usage of kapi in any song in future...
A small point here...there is a portion in the song where SPB sings the "mangalyam thandhunaanena" manthiram..First & Second line: Mangalyam thanthunaanena Mama Jeevana Hethuna (not much kapi taste)...but in the third line - Kanthe badhnami subhage - ilaiyaraja brings out the nuance of kapi stunningly..
Kelunga...Rasichu kelunga ...IR's Kapi is sure to delight you..
Monday, December 6, 2010
nandalala
Saw the movie...i felt as if my soul was sent for a overhauling...what a refreshing movie ! How good a thinking director this fellow is....Music was great as always..Any other composer would have spoilt the natural flow of the movie with his sounds. Raja elevates the story telling to a new level ....
Acting - myskin has lived as the character and has not acted. Cant imagine anyone else doing this role now. It was 75% attendance at Padmam (sangam) and only the front 4-5 rows were empty. Some theatre comments were interesting, as listed below
a) Question - who is this actor?? Answer - yaaro myskin'aam !
b) music romba touching'aa irukku'la
c) ilaiyaraaja'vaala dhaan ippadi compose panna mudiyum
the guy next to me was sobbing while the song 'thaalaattu ketka naanum' played...my eyes were wet too...Another one was already humming the end card BGM as he knew it by heart.......i am confident this movie will pick up commercially too.
If you are not watching this in the theatre, you have no rights bragging about good cinema not being made.
Acting - myskin has lived as the character and has not acted. Cant imagine anyone else doing this role now. It was 75% attendance at Padmam (sangam) and only the front 4-5 rows were empty. Some theatre comments were interesting, as listed below
a) Question - who is this actor?? Answer - yaaro myskin'aam !
b) music romba touching'aa irukku'la
c) ilaiyaraaja'vaala dhaan ippadi compose panna mudiyum
the guy next to me was sobbing while the song 'thaalaattu ketka naanum' played...my eyes were wet too...Another one was already humming the end card BGM as he knew it by heart.......i am confident this movie will pick up commercially too.
If you are not watching this in the theatre, you have no rights bragging about good cinema not being made.
Friday, November 12, 2010
Ilaiyaraja does not know music.
Ilayaraja recently said: “I am still in this field because I don’t know music. I still have so many things to pass on to the younger generation.”
Sounds like another philosophical rant, right? But there are many ways of looking at this statement. It will hit you depending on what category of fan you are.
category 1 fans - Fans that think Raja is past his peak - this group can probably reconcile / console themselves to the fact that raja is still learning (as admitted by him) and does not know music, while the "other MDs" (i made this plural) have already mastered the art of music making. So the friends in this group, you have to wait for your next 'virumandi' or 'sony music collaboration' to happen, to be happy with IR. Till then, its not a sin to have fun with your other MDs. Its good to drift away once in a while, just for the heck of it.
category 2 fans - Fans that think Raja has not finished yet or are mighty content with what they already have - This group does not feel hurt by market forces/realities / statistics or even comparisons with "Other MDs" on this basis - to this group of "selfish" fans, they dont want to expect anything more from their idol. They have their bags full already and it will take many "sweet" years for them to even completely figure out whatever he has given so far. To this category of fans, measuring IR on a commercial yardstick is like comparing a Kamaraj with a Chavan, a Kalmadi or a A.Raja (telecom minister). Kamarajar was not commercially successful either. But Kamarajar didnt take up politics to be commercially successful. The intent is different, the agenda is different, the purpose is different. The Game is played differently.
Raja started his musical journey, first as a professions, then a passion and then as a spiritual tool. The spiritual dimension at which he approaches music now is never going to make any sense or can never draw parallel to today;s materialistic / manupulative market environment. We just have to let him be what he is.
For me, a category 2 fan, the statement at the top of the mail sounds like IR has an agenda. Read the second part of the statement - Raja says - "I still have so many things to pass on to the younger generation." I belong to the group that knows or hope that the finish line is yet to be drawn.
We can talk of the winners once the race is over.
Sounds like another philosophical rant, right? But there are many ways of looking at this statement. It will hit you depending on what category of fan you are.
category 1 fans - Fans that think Raja is past his peak - this group can probably reconcile / console themselves to the fact that raja is still learning (as admitted by him) and does not know music, while the "other MDs" (i made this plural) have already mastered the art of music making. So the friends in this group, you have to wait for your next 'virumandi' or 'sony music collaboration' to happen, to be happy with IR. Till then, its not a sin to have fun with your other MDs. Its good to drift away once in a while, just for the heck of it.
category 2 fans - Fans that think Raja has not finished yet or are mighty content with what they already have - This group does not feel hurt by market forces/realities / statistics or even comparisons with "Other MDs" on this basis - to this group of "selfish" fans, they dont want to expect anything more from their idol. They have their bags full already and it will take many "sweet" years for them to even completely figure out whatever he has given so far. To this category of fans, measuring IR on a commercial yardstick is like comparing a Kamaraj with a Chavan, a Kalmadi or a A.Raja (telecom minister). Kamarajar was not commercially successful either. But Kamarajar didnt take up politics to be commercially successful. The intent is different, the agenda is different, the purpose is different. The Game is played differently.
Raja started his musical journey, first as a professions, then a passion and then as a spiritual tool. The spiritual dimension at which he approaches music now is never going to make any sense or can never draw parallel to today;s materialistic / manupulative market environment. We just have to let him be what he is.
For me, a category 2 fan, the statement at the top of the mail sounds like IR has an agenda. Read the second part of the statement - Raja says - "I still have so many things to pass on to the younger generation." I belong to the group that knows or hope that the finish line is yet to be drawn.
We can talk of the winners once the race is over.
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