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MSV - Playing with tones and semitones - Part 3
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Sai Saravanan
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Joined: 10 Jun 2008
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PostPosted: Sat Mar 09, 2013 12:15 am    Post subject: Reply with quote

Dear friends,
Mr.Vatsan's 'chromatic slide or passages' or Mr.Murali's treatises: they have brought out the shining pearls from the ocean called 'MSV'. From where do their words flow!!! Amazing! Really colourful descriptions! Can any song/s be so beautifully explained as these?
Thanks,
Sai Saravanan
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N Y MURALI
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PostPosted: Sat Mar 09, 2013 10:38 am    Post subject: A Special write up is required about the MSV musicians Reply with quote

Dear Friends,
After reading all these posts I feel we need to develop special articles about each great musicians who worked with MSV. These articles can be prepared be few people like Vatsan/ Prof in English and a Tamil version also can be prepared by people like Ram/Parthavi.

Others can give all inputs. These articles have to appear in the Home Page with their photo collections. I think this is the best way we can show our gratitude to them for the sheer enjoyment they have given us over many decades.

I am writing this important post as a request for to all the concerned members of the forum.

I Look forward to your feedback on this.


N Y Murali
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N Y MURALI
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PostPosted: Sat Mar 09, 2013 12:27 pm    Post subject: Reply with quote

Oh!!! I just got one more pearl for this mayakkam.
Just recall the follow up humming of PS sings for TMS in the song 'velli kinamdhaan' for each line PS responds in the same melody of TMS,

like
Villi kinamdhaan .. ha haa haa ....
thanga kaigalil ... ha haa haa

as it goes on, listen keenly when the line comes

thottu kalandhaal ... haa haa
adhu thaan sugam.

This particular humming is a 'semi-tone-lesser' chromatic note (from pa to ma2 where ma2 is not at all in that song scale and it happens only at this place) indicating the feel the lady in a first night would encounter. No clear reference of a word mayakkam or bodhai etc but this man MSV is so sensitive to the situation that he has literally felt the emotion in the bliss for the word 'thottu kalandhaal' and bang came that humming.

youtube

http://youtu.be/UqNg4Y-iQFE

(The humming at 3.43 to 3.46)

N Y Murali
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parthavi
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PostPosted: Sat Mar 09, 2013 5:07 pm    Post subject: Reply with quote

Welcome back Mrs. Malathi after a long gap. You have given a nice explanation with a feminine touch.
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P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/
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parthavi
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PostPosted: Sat Mar 09, 2013 10:03 pm    Post subject: Reply with quote

Welcome back Lakshmi after a long gap.

You have shown wonderful observation in your posting even to the extent of Sivaji tightening the string.

I am sure you will soon excel your father in the level of your postings.
My best wishes to you.
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P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/
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N Y MURALI
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PostPosted: Sun Mar 10, 2013 9:52 am    Post subject: Another Pearl Reply with quote

Dear Friends,
The more we dwell in to this subject now we are sure about this concept of chromatic note for the situation.

A very thought provoking composition 'Dairiyamaaga sol nee manindhan thaanaa..'. We find the chromatic 'semi-tone-lesser' arrangement in the first word itself 'dairiya'. The guitar during the 2nd interlude for bottle scene is a nice way of expressing the sedative mood.


youtube

http://youtu.be/zwOSls9qlqY


N Y Murali
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madhuraman
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PostPosted: Sun Mar 10, 2013 10:21 am    Post subject: songs composed by MSV Reply with quote

Dear Friends,

"veLLikkiNNandhAn" is an amazing composition in terms of the swing and swirl in the tune and the parallel but 'a fraction later aalap' of PS who firmly clings to TMS's track as she raises the pace and volume with ah ah ah ah until the lyric frame closes in Pallavi lines.

The dip in tune at "innum sollavO" is an absolute delight to even a novice like me. At this point the humming too embraces the tune in total union - a strategy that MSV alone can conceive and handle to perfection.
Another feast of a delight is the percussion which launches a swift trigger of nerve tightening when the drum rolls racing with the rapid singing and is legitimately mesmerised by PS's humming back up as the pallavi is taken to its natural end.

The song is a package of nuances for those who follow the progress in a song. Another amazing masterpiece from MSV.


Warm regards K.Raman Camp: Navi Mumbai
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N Y MURALI
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PostPosted: Sun Mar 10, 2013 6:21 pm    Post subject: More about 'velli kinnam thaan' Reply with quote

Quote:
வெள்ளி கிண்ணம்தான் .... ஒரு அருமையான பாடல். நாயகன் மற்றும் நாயகி இருவரும் முதலிலேயே அறிமுகம் ஆகியிருந்தாலும் கல்யாணத்திற்கு பின் தனிமையில் சந்திக்கும் போது நாயகிக்கு இயற்கையான வெட்கம். அதனால்தான், பல்லவி ஒரு முறை முடியம் வரை அவளிடமிருந்து ஹம்மிங் இல்லை. அவள் வெட்கத்தை முக பா(3)வத்தில் காட்டுகிறாள். இரண்டாம் முறை பல்லவி பாடப்படும் பொழுது அவளுக்கு அவனுடைய ஸ்பரிசம் பழகிவிடுகிறது. அதனால் ஹம்மிங் அவளிடமிருந்து தொடங்குகிறது. பெண்களுடைய இயற்கையான நளினும், வெட்கம் அனைத்தையும் எப்படிதான் மனதிற் கொண்டு இசை அமைத்தாரோ? அற்புதமான இசையமைப்பை என்னவென்று சொல்ல? இசை அமைக்கும் பொழுது அவரே பெண்ணாக மாறி விட்டாரோ என்று எண்ணத் தோன்றுகிறது. எத்தனை முறை கேட்டாலும் திகட்டாத பாடல்.

Malathi.
Your observation gives a new dimension to how MSV looks at the song.
It makes sense to look at this angle also. To add more credential, may I add a point that in the same humming she answers only for the 4 lines of the 8 liner pallavi, and the pointed humming of my posting happens only at the end of the songs shows that the incremental feeling of closeness and the completeness of the overall song.

Another Dimension:
I recall a write up by one of our forum member about the rhythm part in this song where he has explained about mixing of two different type of rhythm 3/4 and 4/4 which cannot be easily mingled.

Thumba Sekar once has also demonstrated this aspect. Now I am forced to infer that may be he would have thought at this angle that the couple may not be together for long time and that being the core theme of the movie has thought of mixing these two rhythms which normally does not match.

While we are trying unravel the mystery of decoding the master creator's neuron's memory markings by hearing this song for decades, the fact that all he could have done his paid attention for few minutes about the story and the character and decided during the composition and improvised if required till the end of the recording and forgotten the whole for starting a new creation.

N Y Murali
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Sai Saravanan
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PostPosted: Sun Mar 10, 2013 10:20 pm    Post subject: Reply with quote

Dear Sir,
This is an excellent suggestion to write on the musicians who worked with our master. It is really very thoughtful and would be a treasure for all the generations. Many are unaware of those who have played under him and in what manner. Very few of us can feel now and then about certain nuances when a particular song strikes our imagination, and brings the actual player before our minds. Mostly known to the present generation are greats like the flute master and tabla Prasad, to name a few. Others are not known to many. This effort will enlighten all of us.
Sai Saravanan
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N Y MURALI
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PostPosted: Tue Mar 12, 2013 8:22 am    Post subject: Reply with quote

Dear SRS Sir,
I also heard this information. There is one more information told by him that being a cinema music (light music) some deviations are accepted and as such the said notes 'pa' 'ma' are also appearing.

The Carnatic raga is called 'Niroshta'. Roshta meaning 'lips' and 'Niroshta' meaning the opposite. Obviously the scale of the raga without 'ma' 'pa' is
sa ri ga da ni sa. So keeping this as a base if we analyse the song hardly we find any omission of the two notes. I am giving below the notation for each line of pallavi.

velli-kinnam-thaan
sa ni - pa ga ga...

thanga-kaigalil
ri ga - ma ga ma...

muthup-punnagai
pa pa - ga ri ri....

enthan-kangalil
sa r i- ga ri gaa..

vairac-chilaithaan
ga ga - pa ni da..

enthan-pakkathil
da ni - sa ni saa..


thottuk-kalandhaal
ri ri - ni pa pa

adhuthaan-sugam
da ni sa da pa - ga ga

In the above notation we hardly find any omission of the said two notes. So in what context he mentioned is not clear. Hope I have clarified.



N Y Murali
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V Sivasankaran
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Joined: 13 Nov 2008
Posts: 150

PostPosted: Tue Mar 12, 2013 1:22 pm    Post subject: Reply with quote

Dear Murali, Vatasn,

I enjoyed the Madolin works of shri MSV. I do get a feeling that Mandolin comes very handy to establish moghul era music.

Sugestion of Murali on special article is welcome. Shri Msv had used accordain extensively and an article on Accordian songs and the persons who played would be great.

V SIVASANKARAN
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N Y MURALI
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PostPosted: Tue Mar 12, 2013 3:06 pm    Post subject: Reply with quote

Dear Siva,
Regarding your post on mandolin it is a pure western instrument and nothing to do with moguls. I think what the string instrument you are referring could be Sarod and I am not sure either. Are you referring to the instrument that comes in song like 'Allah Allah'?

N Y Murali
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