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MUSIC INSTRUMENTS IN FILMS - AN INTRO
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Vatsan
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Joined: 20 Jan 2007
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PostPosted: Fri Oct 18, 2013 12:53 am    Post subject: Reply with quote

Pulsating dynamics, timely reduction and augmentation of energy, a "plateau" period wherein the song seems to have settled down temporarily after making penetrating statements, is a part of the MSV song ideology. A "melody agnostic" listener who does not have a great sense of appreciation of those dynamics in the melody can simply transfer his attention to the percussion part and marvel at the percussion part that speaks,emotes and reflects the timely energy flux!!! Prof's "anbuLLa mAn vizhiyE" is a 4 minute slice of modernity that retains in youthful modernity and vigour until today and most importantly, the enticingly passionate romance. Listen to this song and one may propose to the next piece of wood (no pun intended Smile in sight !!! A perfect song for a candle light dinner with the significant other. You see, MSV forces one to shoot off on a tangent Smile. Back to the composer's forte, the rhythm for the pallavi exudes a class untouched until the present day, a magnificent combination of double bongos and probably strikes on the rim of the drums, brush etc. The beat pattern awarded to the charanams could have been squeezed in here but that would have robbed the pallavi of its "exclusively privileged" look and feel that conveys the message softly and yet strongly. The charanams are spread over the traditional MSV 4/4 beat in order for them to wear a settled look, for they are nothing but nice little extensions of the super pallavi, rendered super by the off-beat beat...nice little feather they are on the pallavi diadem. Now that we have discerned the intentions of the composer through this rhythm changes, one is awe struck at his ability to constantly and unerringly size up the emotional weight a song is supposed to carry. What stuff is he made of ? Probably just condensed emotions , an emotion regulator cum mixer and an aesthetics synthesizer !!! Thanks for the opportunity !!!
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madhuraman
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Joined: 11 Jun 2007
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PostPosted: Fri Oct 18, 2013 5:50 am    Post subject: Articles Reply with quote

Dear Friends,
Let me first thank Mr.Vatsan for his yet another slice of brilliance in writing, matching the grandeur of the song 'anbuLLa mAn vizhiyE'. Brevity in his write-up has enhanced the spirit of listening to the song. Please try this link.
www.youtube.com?watch?V= Zy8RM-nayTG


Warm regards K.Raman Madurai
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ragasuda
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PostPosted: Fri Oct 18, 2013 9:51 am    Post subject: Reply with quote

Sitar



Quote:
The sitar English pronunciation: /ˈsɪtɑr/ (Bengali: সেতার) is a plucked stringed instrument used mainly in Hindustani music and Indian classical music. The instrument descended from long-necked lutes taken to North India from Central Asia and is also believed to be influenced by the Veena (instrument). The sitar flourished in the 16th and 17th centuries and arrived at its present form in the 18th century Mughal period. It derives its distinctive timbre and resonance from sympathetic strings, bridge design, a long hollow neck and a gourd resonating chamber.
Used widely throughout the Indian subcontinent, the sitar became known in the western world through the work of Ravi Shankar beginning in the late 1950s and early 1960s.[1] The sitar saw further use in popular music after the Beatles featured the sitar in their compositions "Norwegian Wood (This Bird Has Flown)", "Within You Without You" and "Love You To". Their use of the instrument came as a result of George Harrison's taking lessons on how to play it from Shankar and Shambhu Das.[2] Brian Jones of the Rolling Stones also used a sitar in "Paint It Black" and a brief fad began for using the instrument in pop songs.


from wiki: http://en.wikipedia.org/wiki/Sitar
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Vatsan
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PostPosted: Fri Oct 18, 2013 11:39 am    Post subject: Resp. Reply with quote

Prof saab, thanks Smile and thanks for your observations on the song itself !!! There is a beautiful little philosophy that evolves through the beat changes commencing from the interludes. The Accordian embellishment at the end of the pallavi , prior to commencement of the interlude(s) is a nifty little piece that scales chromatically (touching adjacent black and white keys), a dainty finishing touch.

Now Ragasuda tempts !!! We have barely encroached upon the "bongo arrangement" surface when yet another MSV stronghold is introduced !!! We will keep alternating between the two......for starters, I was chatting up with a shishya of Bongo Gopalakrishnan and he unwittingly confirmed our finding..our finding that for MSV the instrumentalist is more important than the instrument. Meaning, his choice of instruments (on most occassions) is based on the quality of the instrumentalist that handles it. That is primarily owing to the fact that MSV can bend, twist and tie any instrument into knots to suit the intended purposes. That is the reason why you have shrieks on the Shehnai in a MGR duet, and the Shehani feels at home there , an otherwise most incongruous fit !!! The story narrated to me was that MSV had composed the prelude for "pottu vaithha mugamO", much different from what we hear today, when he chanced upon Junus Seth stepping into the Studio. MSV, with his eyebrows raised says "Goodness me, how I can miss out on our Seth" and changes the prelude totally, with the Sitar occupying a place of pride providing the impetus for the song. That was a racy Sitar piece placed with the intentions of portraying the childlike prance of JJ running up the hill, with Sivaji the lover boy watching her in loving admiration. Yet again, it is emotion, the feeling that is important..and that is a perfect elixir for a tormented mind !!! MSV has indeed experienced pinnacles of joyousness while composing and that simply rubs off on keen listeners. Let us start culling out the cases of unconventional usage of this instrument more !!!!
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vaidymsv
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PostPosted: Sat Oct 19, 2013 11:08 am    Post subject: A TOPIC WORTH DISCUSSIONG FOR THE REST OF OUR LIVES!!! Reply with quote

Hi Ragasudha,

Credit must go to you entirely for having started a thread that speaks volumes about not only the variety & usage prowess of instruments of our CREATOR, but the time is what that matters the most!!! MSV's sheer brilliance & mastery over anyone as far as this area is concerned will ever remain an unscalable peak, or the foot hills to say the least...

The musical instrument bait was so tempting, I had to break my long observed silence. Look, what our Master's music can do to you!!!

Vatsan, Sabesan, Mani & I and many more on many occassions have discussed from every angle the usage of certain instruments that may have looked most inappropriate for others but for our Legend, it is this surprise element and the confidence with which he uses them. I am sure MSV must be holding the world record for having used the maximum variety of instruments in film music. As Vatsan brilliantly pointed out, MSV always chose the cream of the players who could cast a magical spell on the listeners. To him, the players were his lifeline and no wonder he always credited his succes to these brilliant musicians many of whom are no more with us. I am not aware how many have seen the breathtaking list of MSV's musical crew prepared by me that was uploaded in this forum years back. MSV's rhythm patterns are so unique, no other MD can even dream of replaying it leave alone creating it.

I will soon come with a great instrument that is predominantly used in the North and some interesting observations of MSV himself about this player who ruled the South!!! Stay logged in....

CHEERS

MSV IS MUSIC!!!
VAIDYMSV

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Vatsan
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PostPosted: Sat Oct 19, 2013 11:44 am    Post subject: Resp Reply with quote

Yow Vaithy mama, Shehnai ? Sarangi ? ezhutharuthu kashtamappa...romba ezhuthaNum......but anyway..............
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V Sivasankaran
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Joined: 13 Nov 2008
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PostPosted: Sat Oct 19, 2013 11:54 am    Post subject: Reply with quote

Dear Professor\ Vatsan,

Professor thanks for taking up Anbulla man vizhie song.Rhythm pattern exclusively used for pallavi is a master peice. Shri MSV'S penchant for innovation in the arena of rythm and preludes poses mighty challenge to the listner. I was quite sure that it was not exclusively bongos usage. Thanks vatsan for informing that rim of the drum was also used.

Innovative music of Shri MSV remains " ever consuming passion" for all of us.

V Sivasankaran
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ragasuda
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PostPosted: Sat Oct 19, 2013 4:07 pm    Post subject: Reply with quote

Dear Vatsan,
Thank you for appreciation. I have done nothing new compared to the contributions of the likes of you. Just wanted to bring the genius of MSV in using music instruments under one roof. And you have all generously acknowledged this initiative and I am thankful to you all.
Let us take the glory of the great master to future generations.
Pls continue...
Raghavendran
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ragasuda
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PostPosted: Sat Oct 19, 2013 4:16 pm    Post subject: Reply with quote

டியர் வைத்தி,
என் உள்ளத்தை பிரதிபலிக்க தமிழ் எனக்கு கூடுதல் வசதி ஏற்படுத்தித் தருவதால் தமிழில் தங்களுக்கு பதில் எழுதுகிறேன்.

தங்களைப் போன்ற நண்பர்கள் ஏற்கெனவே மெல்லிசை மன்னரின் இசையையும் இசையக்கருவிகளின் பிரயோகங்களைப் பற்றியும் மிகச் சிறப்பாக பல்வேறு தலைப்புகளில் எழுதியுள்ளீர்கள். எனவே என்னுடைய பங்களிப்பு என்பது கிட்டத் தட்ட பூஜ்யம் எனத் தான் சொல்ல வேண்டும்.

தமிழ்த் திரையிசையில் மெல்லிசை மன்னர் விஸ்வநாதன் இசைக் கருவிகளைக் கையாண்டதைப் போல் விஸ்தாரமாகவும், ஏராளமாகவும் எந்த இசையமைப்பாளரும் செய்திருக்க மாட்டார்கள். அது மட்டுமா இருக்கின்ற இசைக் கருவிகள் அல்லாது, முருகேஷ் போன்ற கலைஞர்களின் புது முயற்சிகளாக கையாளப் பட்ட பல்வேறு இசை ஒலிகளின் பரிமாணத்தையும் எம்.எஸ்.வி.யைப் போல் யாரும் செய்திருக்க முடியாது. என்றாலும் இதையெல்லாம் நாமே விவாதித்துக் கொண்டிருக்காமல் அடுத்த தலைமுறையினருக்கும் கொண்டு சேர்க்க வேண்டும் என்றால் அதற்கு இசைக் கருவிகளுக்கென தனியாக ஒரு விவாத தலைப்பிருந்தால் நன்றாக இருக்குமே என்கிற எண்ணத்திலேயே இது உருவாக்கப் பட்டது.

இது நம் அனைவருடைய வரவேற்பினையும் பெற்றதில் எனக்கு மிக்க மகிழ்ச்சி. எங்கெங்கு முடியுமோ அங்கெல்லாம் உதாரணங்களையும் இங்கே இணைக்க முயல்கிறேன். சில சமயம் வீடியோவும் இடம் பெறும். குறிப்பாக பின்னணி இசையை நாம் அனுபவிக்க வேண்டுமென்றால் அது படத்துடன் பார்க்கும் போது தான் இவருடைய பங்களிப்பின் மகிமை தெரிய வரும். நம் நண்பர்கள் குறிப்பிடும் காட்சி அல்லது இசைக் கோர்வையைப் பற்றிய அது தொடர்பான ஒலி அல்லது ஒளி இடம் பெற்றால் படிப்பவர்களுக்கு அது இன்னமும் சிறப்பாகப் போய்ச் சேரும்.

நீண்ட நாட்களுக்குப் பின் தங்கள் வருகை எனக்கு மிகவும் மகிழ்ச்சி அளிக்கிறது.

தங்களுக்காக நான் வாழ் நாளெல்லாம் நெகிழ்ந்து கண்ணீர் விடும் பாடலை சமர்ப்பிக்கிறேன். இது போன்றதொரு பாடலை நூறு ஆண்டு தமிழ் சினிமாவில் யாராலும் கற்பனை செய்து கூட பார்க்க முடியாது. பி.சுசீலா ... ஹ்ம்.... அவரும் தான் ... இதைப் போல் வேறு யாராலும் பாடவும் முடியாது... அதுவும் இரண்டாவது சரணத்தில் ஷெனாயும் இவரது குரலும் ஒரு சேர ஒலிக்கும் போது இதயத்தைப் பிழிந்து விடும்.

http://youtu.be/rjL-3Rlc4fQ
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parthavi
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PostPosted: Sat Oct 19, 2013 10:17 pm    Post subject: Reply with quote

'தேடித் தேடிக் காத்திருந்தேன்,' 'மௌனம்தான் பேசியதோ' போன்ற பாடல்கள் வெற்றிப் படங்களில் இடம் பெறாமல் போனதால் 'கேட்பாரற்று' உறங்குகின்றன. 'கோரிக்கையின்றிக் கிடக்குதே வேரில் பழுத்த பலா' என்ற பாரதிதாசனின் வரிகள்தான் நினைவுக்கு வருகின்றன. இந்தப் பாடல் பற்றி முன்பே நம் அரங்கில் விவாத்திதிருக்கிறோம். முன்பு நான் குறிப்பிட்ட ஒரு விஷயத்தை மீண்டும் குறிப்பிட விழைகிறேன் - என் வியப்பையும், மலைப்பையும் எத்தனை முறைகள் வெளிப்படுத்தினாலும் எனக்குத் திருப்தி ஏற்படாததால்.

இரண்டாவது சரணத்தில் 'அஹா அஹா ஆஹா' என்று ஒரு ஹம்மிங்க் நான்கு முறை வரும் ஒவ்வொரு முறையும் ஒவ்வொரு விதமாக வரும். கடைசி ஹம்மிங்கின்போது வெளிப்படும் குழைவை வர்ணிக்க முடியாது.

இந்த அற்புதம் இதோடு முடியவில்லை. இந்த ஹம்மிங்கிற்கு முன்பு இதை வாத்தியத்தில் இசைத்திருப்பார் (ஷெனாய்?) மெல்லிசை மன்னர். என்ன ஆச்சரியம்! சுசீலா பாடும்போது அவர் குரலில் வெளிப்பட்ட அதே மாறுபாடுகளை வாத்தியமும் வெளிப்படுத்தியிருக்கிறதே! இது என்ன விந்தை! வார்த்தைகள் பேசும் வாத்தியங்கள் என்பது வெறும் வாய் வார்த்தை இல்லை. சுசீலா இந்த ஹம்மிங்கை இசைக்கும்போது அவர் அதை எப்ப்டிப் இசைக்க வேண்டும் என்று வாத்தியத்திலேயே மெல்லிசை மன்னர் இசைத்துக் காட்டியது போல் அல்லவா இருக்கிறது!
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Vatsan
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PostPosted: Sun Oct 20, 2013 12:07 pm    Post subject: Resp. Reply with quote

Ragasuda, I will not listen to "thEdi thEdi" song as too powerful it is for a Sunday morning !!!

Continuing on the unconventional, unexpected usages of Sitar, I have always loved the piece that coaxes, persuades in the first interlude.

In "sirippil uNdAgum rAgathhilE" , before P Susheela starts with "nilavena vaLarattum", there is this 4 bar Sitar phrase placed over Drum beats (Dum maro Dum kind of beats before the Hindi song was released Smile , a nice little filler it is for the violin to provide a nudge and a prompt for the charanam to start.
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vaidymsv
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PostPosted: Sun Oct 20, 2013 1:20 pm    Post subject: NO CLUE!!! Reply with quote

Hi Vatsa,

You have no clue to know what instrument I am planning to write about. Keep guessing anyway... I will certainly not eloborate except for the fact that its one of the greatest instruments and that we Indians can take pride that we have some world renowned players.

Our Creator's usage of this instrument as usual is innovation of the highest order he is known for. What baffles us is, how does he and from where does he get the thoughts to introduce that particular instrument to suit that particular place / mood in a song!!!!!!!!!!!!!!!!!!!!!!!!

I am sure no other person in the world except our dearest MSV has his music dotted with innovations all the way. There is melody, subtance, mood, human emotions of all available sorts and last not but not the least, a defeaning silence in many songs that portray the most poignant of situations!!! No wonder all of us are so addicted to HIS music that will stay with us as an integral part of us till we breath our last..........

Thanks Ragasudha for a heart rendering melody......

MSV MOMENTS, WORTH LIVING & LEAVING!!!!

CHEERS

MSV
IS MUSIC!!!

VAIDYMSV

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ragasuda
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PostPosted: Sun Oct 20, 2013 2:31 pm    Post subject: Reply with quote

Vaidy,
Eager and curious to know the instrument ... waiting ...

Vatsa...

Quote:
In "sirippil uNdAgum rAgathhilE" , before P Susheela starts with "nilavena vaLarattum", there is this 4 bar Sitar phrase placed over Drum beats (Dum maro Dum kind of beats before the Hindi song was released , a nice little filler it is for the violin to provide a nudge and a prompt for the charanam to start.


What u mentioned in your previous post ... listen it now ...

https://soundcloud.com/veeyaar/sirippil-undagum-bgm-01
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ragasuda
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PostPosted: Sun Oct 20, 2013 3:46 pm    Post subject: Reply with quote

Vaidy, நீங்கள் எழுதப் போவது இதைத் தானே

https://soundcloud.com/veeyaar/ulagin-mudhalisai-bgm01
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msvramki
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Joined: 18 Dec 2006
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Location: Chennai

PostPosted: Sun Oct 20, 2013 10:07 pm    Post subject: Reply with quote

Dear Raghavendra,

A wonderful thread ! Only YOU can think of triggerring such an innovative thread to bring out the tonnes of innovations done by our Master using these isntruments !

Vatsan !

Great writing as usual on the nuanses of songs created by our Mellisai Mannar ! Most of us in MSVTIMES focus our attention on MSV's orchestration, instruments, but only YOU can bring out so accurately the shortest pieces of instrument, which touches your inner soul in the few seconds we listen !I Eg : Sirippil Undaagum raagathile - Sitar piece !! Something extraordinary that was created by MM and you were able to disect and present it to us ! What a great listening and minutest observation ?

Ragavendra :

Hats off to you in posting the piece in minutes, just like that and I do not how you could do this so casually. Your nearness to MSV's music is something uncomaprable. Yes.. as you said we have the responsibility to make this known to the next generation. I have no words to 'Thank you' in the fittest way. Pl continue your mission.

Vaidy :

Welcome back to the Forum after a long time. We were waiting for your passionate writing on our Master's Music !! Now we wait for the rare and wonderful instrument piece you were puzzling ! Pls come on !!

This thread created by our Raghavendran definitely triggers a clue how we could conceptualise our future Anniversary events in the years to come !!

Thanks
Ramki
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