MSV Times | The Official Website of M.S.Viswanathan

MELODY'S SYNONYM VISWANATHAN Jan-14, 2007 - Sun
By Ram

The following write-up can be seen as a study on the evolution of Tamil Film Music and the contribution of the Legendary Indian Composer, M.S.Viswanathan during the process. This will find analysis on the Music of different Music Directors of Tamil Films in general and MSV's in particular. This will try to analyse MSV's music in a completely different perspective. This article will also find frequent references to other composer's music and hence it is purely an objective analysis.

In general, the Music that we listen to during the childhood and adulthood will be our favourite music, be whatever century we are in. This is clearly evident in my dad's oldest cousin being a G.Ramanathan-MKT-P.U.Chinnappa fan, my dad and his friends being MSV fans, his youngest brother (my 'chithappa') being a Illayaraja fan, my generation being A.R.Rahman fans. Whats great now is that, though my age is generations away from MSV, his music not only reached me, after travelling through all these years, but also appeals to me and many other folks in my generation. This is an apparent proof for the fact that MSV's music is "TIMELESS" when it comes to listening and "TIRELESS" when it comes to time-travelleing!!!

Before going to Music, let us see the evolution of "Sounds" in Tamil Films. MSV has many unique qualities in Music that differentiated him from his predecessors and his contemporaries. Of them, the amazing ones being, his quest for "sounds" and using the "Best of Technologies". His music was not limited just to use a Harmonium, a 'Fiddle' to support the voice, a Bul-Bul- Dhara/Clarinet as a filling instrument. He took the usage of instruments to unimaginable, unconventional, unbelievable heights. Its highly surprising that a man from Illapulli (Kerala) did these revolutions to the Film Music! The sounds of his orchestra had unique characteristics that one can instantly identify that it is MSV's music within seconds after the start of the song.

There has always been a saying among MSV's fans. "MSV created so many wonders in so many songs, when there was hardly any advancement in technology". But what I feel should have been the statement is: "MSV has used the Best of Sounds and the technologies available during his times, to give a difference in sounds for his Music"; The recording methods have taken great evolutions in Tamil Films. 1930s, 40s had the style of recording where the composers used to go running behind the camera men and keep composing in the shooting spot (set) itself and the heros/ hero-ins will sing while they act. The next generation started to use Studios and Track recordings. Great composers like G.Ramanathan, K.V.Mahadevan, S.M.Subbiah Naidu, Papanasam Sivan, Viswanathan-Ramamoorthy started to use this system.

The following generations of composers had (have) used and enjoyed better technical advancements, viz, Multi-track recording, Home Studios and above all - Internet . Its all an evolution and continuous advancement and there is nothing to pity at the previous generations of technologies (or) to keep wondering/cursing the future technologies. Each way has its own pros and cons. The factor that one needs to appreciate and understand is how the available technology was used to produce Best results at each stage.

For example, the first song programmed completely in a Synthesiser was by Illayaraja in "Agni Natchathiram". The first Indian film with world class quality Digital recording is Roja by A.R.Rahman, whose "Panchathan Inn" - is now Asia's Best Digital Recording Studio. So in each of generations composers, who used different sounds have been clear winners of that era and MSV has been the fore-runner in this concept.

The above fact can be proved by understanding the unparallel contribution of MSV to the concept of "Sounds". MSV differentiated himself from the rest during his times, by using the Best out of Analog recordings with quality Mike systems, 3-track recordings, Speakers, head phones for the singers, a dedicated studio for composing and recording for a film and using Sound Engineers for recording and the facilities for 'Dubbing'. Though others during his times used these as well, MSV's sounds were distinct, which shows his dedication and passion to produce quality recording which differentiated his Music and its sound quality from the rest of the composers during his reign. He has the unique ability to point out a wrong note in an orchestra of instruments. He brought in the concept of Orchestration to songs; He proved that a song has more than just a tune through his scintillating Preludes and Interludes and Back-Ground scores in his movies. This brought a totally "RICH" feel altogether to Tamil Music, for, the leap in Music was real big. His usage of rare instruments at the right places, the arrangement styles, heavy Brass-Trumpet-Bass-Strings sections, introduction and usage of Hindustani instruments like Santoor, Shenoy, Sarodh, Saarangi and above all bringing out melodies from these 'foreign' instruments proves that MSV is not only a genius beyond par in Music, but also a researcher in Sounds, who is ready to experiment to the maximum extent possible. He goes to umpteen number of takes for a single song, till he and everyone get satisfied. This quest for "RICH Sounds" is clearly evident in all his stages of Music. MSV had the vision and courage to take an orchestra to stage which is another standing testimony of his "Getting the Best from Technology" skill. Staging an orchestra was not even imagined in dreams by any of the other composers duing his times.

All his achievements and contributions that he has shelled out to the Indian Film Music shows that his Musical prowess is "In born" that he may not even remember all of those. This also shows that he is a Child at Heart (as he forgets his own feats) and Giant in Music!!!!

Now, into Music. Am not sure how to consolidate the list of marvels that MSV created and I'm left with no answer for my own question: "Where do I begin?"

Clifton Chenier is a great musician of a music type called "Cajun/Zydeco"; "Zydeco" music is a type of folk music originated in the South-West of Louisiana influenced by the French-Speaking "Cajuns"; It is basically a French Music, with American influences; Piano accordian and "wash board" are the major instruments used in this form of music; It is a type of street music that reflects the poor economic conditions that prevailed during its inception; Clifton, popularly known as "King of Zydeco", in one of his interviews said that it was his idea to mix French Music with American Rock; The music style became very popular in America.

MSV has used accordian in many of his recordings and some of his numbers have the influence of Zydeco too. The preludes of "Sorgam Pakkathil", the songs "Thaane Thanne Thanna Na Naa", "Ulagam Engum Orey Mozhi" has clear influences of Zydeco. No one in the world can describe how he has got the influence of this Music type and the way he has used accordian. In many of his re-recordings of club sequences (remember Actor Balaji will always be the owner of that club, picking 'beautiful' girls !!!), his rock-n-roll type songs will have Zydecos and am sure if we still start to dig more, we will get more of MSV's Music of this kind.

Another point that struck me while hearing Clifton's interview, when he said he mixed Frech Music and Rock Music. His statement, though it was his great idea to mix styles, did not amaze me very much, as our man, MSV has done innumerable amount of "mixes" or "Fusions" of music styles and all having a touch of Indian Melody; Heavy Jazz influences can be seen in songs like the prelude of "Viswanathan Velai Vendum"; There will be lot of variations in the first few notes itself. "Ninaithathai Nadathiye Mudippavan", "Thedinen Vandhadhu" etc are some other songs with Jazz influences. "Malarendra" from "Kadhalikka Neramillai", "Aadavarellam" from "Karuppu Panam" etc are typical Rock-n-Roll songs. Am just picking up songs as I casually recollect some numbers. But if one starts collecting and analyzing, any type of list will go end-less!

I cannot refrain myself from mentioning about another great example which showcases the World Music sense MSV had. Recently I watched an old English film called "Ben Hur" released in late 1950s; This is based on Roman empire. As one may know Romans had Arabic influences in their culture, as middle east was also under Roman's empire. The re-recordings of the movie will exhibit this clearly and it will be a mix of both European Orchestrations with Arabian Music; I was very much surprised with that, as MSV has done a very similar style of orchestration in "Sivantha Mann"; "Instrumental" track of "Sivantha Mann" present the "BGM" section of "MSVTimes.Com" is the track I'm talking about; "Sivantha Mann" will have "Bull-Fighting" sequence in Europe (during the instrumental music) where the European Orchestration just shake-hands and play with Arabian Music. Where did he get this idea from? Even if the director would have given a hint about this, how did he get to know the exact Music Style that was there in the 1st century during Roman's period? Where did he learn the European Orchestrations and how did he blend that with Arabian Music, so seamless? And a final question, why are the politicians in power alive without recognizing the Music master of the country ??? No one knows the answer for any of these questions!!!

Chord Progressions. This is a pure technical concept in Western Classical music. The application of this concept is abundant and great in Tamil Film music. Illayaraja has done this in songs like "Paadavanthathor Ragam, Paavai Kannilo Naanam", "Roja Poo Vaadi Vanthathu" in "Agni Natchathiram", "Varuthu Varuthu" in "Brahmma" etc; Quite good application of this concept; Examples from A.R.Rahman's songs would be "Yeh Thara Vo Thara" from Swadesh (Hindi), "Singa Nadai Pottu" from "Padayappa" etc; It may not be surprising, but its yet again a fact that MSV has already done this. Examples from MSV's numbers include the Prelude guitar piece of "Yaar Andha Nilavu", piano pieces in "Oh Little Flower" etc; How do we call this again? "Amazing"

Another interesting incident happenned to me recently. A few months back I had a very long chat with a MSV fan in America on a Saturday night. He is a manager in a leading software company. We talked nearly about 2.5 hours over the phone discussing many aspects of MSV's music. Each of us were throwing examples from MSVs music and we kept on doing that and discussing, non-stop. We were having a great time. We stopped our conversation around 11:45 PM as I was to go for a Movie with my friends. Another surprise awaited in that movie.

We went to the recent english film called "Snakes in the Plane". In the movie there will be a scene where a snake will suddenly come out in a flight and for that scene there will be a special "chord" given as the back-ground music. To my shock and surprise it was the same chord which MSV has used in "Nenjam Marappathillai" when Sridhar will show "100 year old Nambiar" suddenly in a scene. MSV has already used all these in 60s !!!! I was stunned. I'm on search for the "Snakes in the Plane" DVD to rip that chord to showcase this to the world through MSVTimes.Com! Truly amazing !!! This makes me think that I need to write another exclusive article with more insights on World Music infuence in MSV's music.

Another good example of Western Classicals is application of rare chords. Applying a minor scale chord to major notes is a brilliant imagination and our Indian composers have great examples to their credit. Harris Jeyaraj has done this in his "Kumari" song from "Anniyan" and even in his recent "Unnale Unnale"; There are good examples from Raja and Rahman songs. Now, MSV is again a fore-runner in this. "Oh Little Flower" has beautiful chords which follow an odd, minor note in a particular place, where it will have a major chord counter-part for the same "Santham", in the line before. "Sorgam Pakkathil" has again beautiful variations in chords; But in-general, in giving odd notes in a song seamlessly, that too in an unexpected sequence, MSV is the only master. The other composers have enjoyed this and admitted this fact about their Master (MSV), happily;

Another great contribution of MSV is that he took Indian Music to other countries; Example: His concert in Russia and his on-stage composition, along with the Master of Lyrics, Kannadasan, explained the relation between Russian folk and Indian folk. At this juncture we should also appreciate the great efforts of Illayaraja in conducting Symphony orchestra in London (please forget any controversies) and A.R.Rahman for composing London stage musical "Bombay Dreams"; Even if we have a different music taste we should definitely stand as people from a single nation and support the persons who represent our country in great forums of the world!

The contribution of MSV to the language Tamil is herculean. There is no composer who has done contribution and justice to the language, better than MSV, at all times. His taste for Lyrics -"Santha Chuvai" - is something to be adored. He does not just fit words into tunes. Nor does he try to form a pattern out of pre-written words. (There are some Rahman's songs where the Tamil pronounciation of the singers is bad. Though I listen to his songs too, I've mentioned this point in the Official Rahman fan club). MSV brings out the "Bhavam" or the "Expression" the song is trying to convey. MSV identifies that and gives life to the words. That is the reason the MSV-Kannadasan combo has always been deadly and the songs churned out by this combination will always be immortal.

Ragam. The concept itself in an ocean by itself. And its application to Tamil Film Music is another ocean. And MSV's contribution to this concept is the deepest ocean. Series of articles can be written on this Indian Classical concept. All the Tamil film composers have contributed their part to Ragas. But MSV did a total blast to the definition of "Raga" and he went far far beyond the "word" Ragas, for which one cannot provide any definition at all. G.Ramanathan's "Mullai Malar Mele" in "Dharbar Kaanada" started and showed a trend where a Ragam can be applied lightly. Coming to Illayaraja's period in 80's it was a trend where the songs will follow a single Raga with minor variations (Nothing wrong, thats Raja's style). He showed some rare Ragas like "Kusumadharini" in "Eeramana Rojave", "Kathyayini" in "Uzhaipali" etc; There have been many songs of Raja that revolved around standard Ragas like "Siva Ranjani", "Keeravani", "Hindolam", "Mayamala Gowla" etc; Coming to Rahman's period, amidst "Quality Shatterers" like "Manmadha Rasa" and "Oh Podu", which were declared as "Song Of The Year", to any music listener's pain, Rahman has been the only person to fight and inject classical music into the industry. There are statistics and examples. Applying "Siva Ranjani" to a "Rock" song in "Thiruda Thiruda", an excellent keyboard support for a "Kalyani" Keerthanai from "Andhimandharai" or using a near extinct Raga called "Karnataka Kaapi" (Aaroganam: "Karahara Priya"; Avaroganam: "Kaanada") for the Signature Tune for World Space radio and many more like this, Rahman showed his class, differentiating him clearly from the rest of his contemporary composers. Rahman has been a revival for Hindustani and Jazz music in Tamil Industry, putting an end to a big draught after MSV's period. (MSV and Rahman share certain strikingly surprising similar qualities/characteristics in Music, though they are completely different in the period and style of music, which I'll take-up in another article).

Now, after G.Ramanathan and S.M.Subbiah's times and before the period of Illayaraja, one man who elevated the Classical Music, Melody-based music and there by elevating Film Music was none other than the Legend M.S.Viswanathan. The beauty of his composing is he does not stick to or decide upon a particular Raga before composition. He gives life to the lyrics in songs (or) life to a scene in his re-recording by understanding the "expression" that the sequence is trying to convey. He makes "Music" for the "Mood", which is just the way "Saint Thiyagaraja" composed his Krithis. Music of both of these persons "Springs" out from "Nothing", based on the "Bhavam" they are trying to convey. One of the MSV fans even expressed that even "Saint Thiyagaraja" cannot come near MSV, when it comes to "Bhavam", for which I agree totally. (Many may not, but its totally fine, as its their right and taste). A wonderful club song "Neerada Neram Nalla Neram". It is based on "Puriya Dhanashri" (What an imagination and courage to bring this Ragam to a Club!) Another version of its Prelude will have "Amirtha Varshini" played initially after a while, he will touch the Ri1 and Da1 at which the Raga will turn into "Puriya Dhanashri". His creativity is endless. Another example that he composes songs for Bhavam is "Sindhu Nadhiyin Isai" is based on "Desh" by coincidence! "Amutha Thamizhin" from "Madhurai Meetta Sundara Pandiyan" is based on "Dwijavanthi", one of the rarest Ragas. The variations from Raga adds beauty to the song. My dad used to say that we need to name the Raga as "Viswa Mohanam", "Viswa Kalyani" etc. But am sure we will run out of words if we start to name like this. There are lots and lots to write about the applications of Ragas and that too by MSV. Am restricting myself within this paragraph.

Thaalam (Beat Patterns). MSV has produced many "off-the-rules" beats. "Ennanga.... Sollunga" from "Enga Maama" has "Thisram" when the song starts (beats in the pattern of three's) in the first four lines. The fifth line will easily go to "Chathusram" (beats in the pattern of four's) and again come to "Thisram" without much efforts. A similar variation in Thaalam can be found in the title music of "Savaale Samali"; MSV sings this track and again the variation between Thisram-Chathusram is an easy go. "Velli Kinnam Thaan" is another example of this kind. If we start collecting the beat variations in classical drums, one will be completely filled in excitement and go crazy. The list may even give a wrong impression that MSV has used only Drums, because the list would be unbelievably huge. The Interlude in "Manaattam Nalla Mayilaattam" will have Tabla bit, stepped a beat away (a "Maathirai" away), deliberately. Any listener will definitely not understand what MSV would have done on hearing for the first time. (This pattern is adopted by Illayaraja in the song "Oru Naalum" from "Yejaman"). There are umpteen number of unconventional beat patterns by MSV. Tabla in "Nizhal Nijamagirathu" title, "Kavithayil Yezhuthiya" from "Kaviya Thalaivi", Mridangam in "Paaduvor Paadinaal", "Pongum Kadalosai", rhythms in "Avalukkenna Azhagiya Mugam", "Siva Sambo" etc are heights of MSV's sense of rhythm.

MSV's contribution to Hindustani Music, Carnatic Music, Raagas, Orchestrations, Varities in each music, his creativity, imagination and spontaniety - each of these topics would require an article of its own and we will still have so much left without analysis. What I've given above is just some handful examples from Oceanic creations of MSV. Am unable to complete this article as thoughts on MSV's creations keep pouring in.

Just three words to conclude : "Melody's Synonym Viswanathan"

More to come...