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MSV'S REVEALED MUSIC

 
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Fri Sep 03, 2010 8:17 am    Post subject: MSV'S REVEALED MUSIC Reply with quote

Dear Friends,
There haves been many discussions about how MSV gets the inspiration for the ever refreshing melodies he conceives for a given situation.

Many proposed the raga/nonraga/western harmony theories for the structure on which the melodies rest. However these are the structures and as such the perception of each individual may vary.

But what about the inspiration or the hook that drives MSV to conceive these melodies? We need to understand this concept. It is indeed unfortunate that unlike many composers in the world MSV never ever have given a cohesive and clear idea about how he conceived the melody. Some said that MSV refuses to part with the trade secret. But there is a fact that MSV always composes melodies in front of others and not in closed doors makes us feel that he never tries to suppress the truth. But why then he is not able to part the process that place during his compositions. The fact of the matter is that MSV always composes tunes in the contemplative mood. In that mood the tune reveals itself to the person who is the contemplative mood. So the person may know the product but may not know the process. It is a very tricky situation and the same process takes place for many creations and music is one of that.

But however MSV did mention some truth without even knowing that he is revealing the truth. Please recall the speech of MSV in our programme ‘nadhamenum kovilile’. MSV mentioned that music lies in the lyric itself and he has been blessed by god with the power as to how to extract the music from the lyrics. “vaarthaiyileye isai irukkiradhu.. adhai veliye kondu varum sakthiyai aandavan enakku koduthirukkiraan’.

So it goes to show that music is in the lyric itself in disguise. So we can conclude that there is a relation between music and the lyric.

But at the same time MSV mentioned in another interview that music lies in the visual itself. When asked to clarify further he said that he along with the lyric writer and the director used to discuss in detail about the situation of the song. He further said that when the directors explain the situation (which has not been shot at all), MSV gets to see a picture running in his mind and in that picture he sees a music and that music is extracted by him. ‘avargal kaatchiyai sollumbodhu en mana thiraiyil oru kaatchi therigindradhu. Adhil oru isai keytgindradhu. Andha isaiyai than naan pidithu kodukkiren’.

So music lies in the visual itself in disguise. Closely studying these 2 different statements we get confused as to which is correct. Whether music lies in lyric or visuals. The fact is both are true.

Now let us analyze how these two statements revealed by MSV in different interviews revels a great truth. There is term called ‘Muthamizh’ which means iyal (language-lyric), isai (music) and naadagam (visuals – acting). these three have to be in relation to each others in the ratio of 60 degree angle (not more and not less) and when it form like that then you get an equilateral triangle. When the angle are same the length of each side same. When it becomes disproportional then the triangle ceases to be an equilateral.

This is the main reason we see that MSV’s melodies always go with the lyrics and situation. This fact is the pivotal reason for the songs to remain fresh all the time.

But is the statement that music, visual and lyric which are inter related to each other are scieintifally explained. I do not know. But there is one basic order that prevails in all the three which can explain this relation.

Music consists of 7 notes (swaras) which are ‘sa’ ‘ri’ ‘ga’ ‘ma’ ‘pa’ ‘da’ ‘ni’. Though they are basically 7 in numbers they have branched themselves in 12. That is there are two each for ‘ri’, ‘ga’, ‘ma’, ‘da’ and ‘ni’ (so 5x2=10) and which ‘sa’ and ‘pa’ forms 12 branches.

What about the visuals. The basic content of visuals is light. It is indeed surprising that the light rays also have 7 basic colors. (VIBGYOR). Further surprise is that they also have branched themselves as 12 colors. Try out a water color box or a sketch pen box.

Then finally what about the lyric? The beauty is there is also we can find the similarity.
Our Indian language especially Tamil and Sanskrit contains 12 basic letters (uyir ezhuthukkal). Interestingly they are also arranged in the order of 7 and 12. That is there are 7 letters which are called ‘nedil’ and 5 letters which are called ‘kuril’ in Tamil language. The beauty is that the 7 ‘nedils’ have branched with another 5 ‘kurils’ to form 12 basic letters. That is in another way the ‘kurils’ are within the ‘nedils’. In fact this concept of 7 ‘nedils’ in Tamil language made our music scholars in Traditional Tamizh isai to keep the 7 ’nedils’ as the symbol for the 7 music notes prior to the period of the Pallava King ‘Mahendra varma Pallavan’ in the 6th century when these symbols have become as sa, ri, ga etc.

Now having known that MSV is able to extract melodies from the inspiration of the lyric and the visuals I need to give an example of MSV composition to prove this point.

Take the case of the melody extracted from the lyric. Study the song ‘malar koduthen’ from the movie ‘Thrisoolam’. When we hear the pallavi line
‘malar koduthen kai kulunga valayil itten
magai endhan raajathikku naane
idhu our seeraattamma ohi ennayum thaalattamma’

One can sense the happiness of the mood in the musical content.

But see the anupallavi line
‘magano magalo pirakkum en veedu nalamaaga
madiyil thavazhum uruvam en thandhai mugamaga

One can surely sense the feel of a melancholy when hearing the line ‘en thandhai mugamaga’. It is the usual sentiment for us to remember our dear ones with the such mood. Such mood is brought here. This idea has emanated from the yric. We will notice that the same tune will never repeat in the entire song except for that place. Technically speaking MSV introduced a different note which ‘ga1’ in that place only in order to infuse that mood whereas in all other places the other note ‘ga2’ is always used.

Now take the case of the next point which is extracting the music from the visuals. Take the case of the song ‘unga ponnana kaigal punnagalaama’ from the movie ‘kaadalikka neramillai’. What does that situation convey? The situation in nutshell convey that a youngster makes fun with the girls who were the reason for his ouster from the job by pulling out the air of the car tyre and after sometimes he himself fills the air with the cycle pump. So the important musical theme of this visual is the rhythm of the cycle air pump. Just see the interlude music before the start of the last charanam. It reflects the same feel. In fact MSV unlike others have gone a step ahead. There is a unique style of pumping the air with the cycle air pump. Initially we tend to pump the air with full energy and speed and in the process we lose the breath. Then we continue to pump the air but not at the speed as earlier but with a steady motion. You can notice this style in that interlude. Please see for yourself in the movie. The great thing about is that the director has understood the theme of that interlude and has aptly filmed the same.

Like this there could be innumerable examples in his music. We need to explore these and bring it to light.

N Y MURALI
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parthavi



Joined: 15 Jan 2007
Posts: 705
Location: Chennai

PostPosted: Fri Sep 03, 2010 5:25 pm    Post subject: Reply with quote

Dear Murali,
Another thought-provoking article from you. While I do not consider myself competent to react to your observations (which include some theories and some surmises), I would like to share my own perception on a few aspects.

1) I think that the theory that the lyrics contain or reveal the tune seems to be giving a short shift to creativity. It could be possible to set the same lyrics into music in more than one way, each capturing the mood. To believe that there is but one perfect tune for a poem could be restrictive. (We know that MSV himself comes out with several tunes for any song before one is finalised.)

2) The contention that the three parts of Muththamizh should be equally balanced is difficult to accept. What if they are not? What if the triangle is not equilateral? In general, we try to imagine or crave for a kind of perfection which may be either unnecessary or impractical. Anyway, I mention it in passing and I think this is not relevant to our discussion on MSV's prowess.

3) Your observation on 'Ponnaana kaigal' is brilliant. As you have mentioned, there are many such examples. I have observed a similar feat in the song 'Gettikkaariyin poyyum purattum' from Kannan en kaadhalan.' The first stanza starts with the word 'Thattezhuththukkaari' (meaning a lady typist.) In the interlude preceding this (first) charanam, can observe the sound of someone typing very fast on the typewriter. Not only that, we can also hear the sound of the paper roll being pulled back Incredibly meticulous. And these have been constructed in a natural way and they do not look contrived!
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MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/
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madhuraman



Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Sat Sep 04, 2010 7:20 am    Post subject: Songs composed by MSV Reply with quote

Dear Mr.Murali and Mr.Rangaswami,
The endlessly clueless topic "How MSV goes about composing songs?" has once again surfaced citing a few examples. There are enough points to apreciate from your approach to the topic. Despite my near hollw ability to interpret songs, I do indulge in the luxury, propelled by the sheer enjoyment I derive from MSV compositions.
As for the song 'unga ponnAna kaigaL' from "K Neramillai", several notable qualities spring up. As the situation demands, the song right away opens on the pallavi 'unga ponnAna kaigal' as a 'draw attention strategy ' in the movie sequence where the female artistes too are taken by surprise. Right there MSV shows his class where the percussion and strings that follow establish the mood of the song. In every utterance of the lyric, exceptional care has gone into, to effectively portray tussle; while the sober and sedate ending of orchestra leaves the real taste of the composition in the minds of listeners until the visuals take over in the movie. As a mere audio track, the song has the reputation of self repeat within our minds even if we listen the item just once. Precisely this the real mesmerism that MSV bales out on innumerable occasions.

Look at songs
'vAroi en thOzhi vArAyO' ,
Nenjaththai aLLikkonjam thA thA',
Boomiyil iruppadhum vAnaththil parappadhum'
'Sandhanam kungumam konda thAmaraippoo'

All these are songs of rejoiceful occasion involving more than 2 0r 3 Characters. In all these, MSV pumps enormous energy [to the listener]by excellent hand claps set to a characteristic rhythm for each number.
No two songs have similar claps. The clap patterns are quite different besides when, where and for how long the claps are inserted.Also, the clap enhances the mood of ecstasy by the most srticulate play of this craft. Therefore, MSV certainly visualizes the scene; the more detailed the briefing, the more astounding is the composition. For a person with no formal trainig in western culture, how easily he has brought out western styles. A case in point is "Sivandha maNN'' where his orchestration has literally forced the Director to conceieve the shots.
Same is the case with "ulagam sutrum vAliban" songs that were just briefed as to be shot in overseas locales. Mere mention of the country's name is enough for MSV to cast his product in conformity with the land of picturisation.

This brings to focus a few things that we need to study in depth.

Apparently MSV appears quite casual. With in himself there must be a steady exercise of endless permutation-combinations for his own soul satisfaction.
He need not discuss these with any one, because, he draws solace from his own imagination and is willing to wait for the occasion[to use it], instead of a vulgar taste of aggressively marketing it.

Obviously, these do not vapourize into the oblivion. This is because, these are products of healthy imagination of freedom not fetterd by any urgency to satisfy someone. Being adept with the power to conceive the deep meaning of lyrical phrases, he accords highest priority to verbal clarity and emotional exuberance. So, he rapidly selects the best swaram or chord [which ever one likes]combinations to prop up the cinematic effect. While compiling the orchestral notes, he stays within the frame of song emotions and provides a seamless version. Everywhere he is perfection-personified and does not permit any player to indulge in violation unless the violation itself proves a richer embellishment.
In the final reckoning, MSV's admisions that 'I visualize a scene/ I read the tune in the lyric' are most probably honest truths in the sense MSV has no time and space for anything except music in his Anatomy. Needless to reiterate that he is THE MD and a Complete man at that.
Thanks for the opportunity.
Warm regards Prof.K.Raman Madurai.
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Prof. K. Raman
Mumbai
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