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Preludes & Interludes of Songs
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sankaran.lic
Aficionado


Joined: 07 Dec 2006
Posts: 77

PostPosted: Mon May 07, 2007 9:28 pm    Post subject: Reply with quote

JILLENDRU KAATRU VANTHADHO...

WONDERFUL SONG FROM NIL GAVANI KAADHALI

A JAISHANKAR BHARATHI STARRING MOVIE.ALL THE SONGS ARE GOOD

OTHER SONGS...

KANGALUKKENNA KAAVAL ILLAYO..(PIANO BEAUTY)

ENGEYO PAARTHA MUGAM..(GOOD HUMMING BY LRE)

RAAJA KUTTI NAAN EPPADI..(GOOD VOICE BYPS)

JILLENDRU KAATRU WAS PICTURISED IN A SWIMMING POOL

FILM DIRECTED BY C V RAJENDRAN.DETECTIVE MOVIE

SANKARANARAYANAN
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Ram
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Joined: 23 Oct 2006
Posts: 1160

PostPosted: Mon May 07, 2007 10:13 pm    Post subject: Reply with quote

Dear Sankaran.lic,

Thanks for the information. I'll listen to this number and post back my comments.

By the way, long time no see ? Keeping busy ??? Smile
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s ramaswamy
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Joined: 09 May 2007
Posts: 38

PostPosted: Wed May 09, 2007 9:03 pm    Post subject: Preludes, Interludes, Title Music, Re-recording, BGMs Reply with quote

I would like to mention just two songs to pinpoint MSV's genius.The violin relude and interlude to the songs "En Vaazhvil puthu pathai kanden" by P Suseela in "Thangappadumai" and the flute and guitar combo in the song by PS "Kadalenum vadivam kanden, karpanayil inbam konden" from "Bhagyalakshmi". Melody combined with innovation, that was MSV in short.
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S.SAMPAT
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Joined: 27 Jan 2007
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PostPosted: Wed May 09, 2007 11:19 pm    Post subject: Reply with quote

Dear Mr. Ramaswamy ,

Kadelenum vadivam kandaen is one of my most favourites song of our MSV sir. What a huming by P.S. what an interlude!! amazing!!

These are the songs which would attract your attention at the first hearing.

Excellent! keep it up.

Regards
Sampat
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ragasuda
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Joined: 17 May 2007
Posts: 1532

PostPosted: Wed Jul 18, 2007 4:40 am    Post subject: bgm cum theme music Reply with quote

Dear friends,
This is one of the most important aspects of the discussions MSV fans should discuss but not much postings are found. We should make this the most posted topic.
MSV has sometimes used his theme cum bgm as tunes for songs which have become superhits. e.g. The bgm theme in Rathapaasam was used as a tune and featured in the film SUJATHA, song "Nee Varuvaai ena Naan irundhaen" sung by Kalyaani Menon (Rajiv Menon's mother). Likewise, the bgm in Thangapadhakkam was converted to a song in another movie, "Manmadha LeelaI', (title song of Manmadha Leelai). MSV somehow will not leave the popular at the same time difficult bgms into songs in some other movies.
I shall bring out more such bgms/ songs later.
V. Raghavendran
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saradhaa_sn
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Joined: 17 Dec 2006
Posts: 268
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PostPosted: Wed Jul 18, 2007 12:36 pm    Post subject: Re: bgm cum theme music Reply with quote

ragasuda wrote:
Dear friends,
This is one of the most important aspects of the discussions MSV fans should discuss but not much postings are found. We should make this the most posted topic.
MSV has sometimes used his theme cum bgm as tunes for songs which have become superhits. e.g. The bgm theme in Rathapaasam was used as a tune and featured in the film SUJATHA, song "Nee Varuvaai ena Naan irundhaen" sung by Kalyaani Menon (Rajiv Menon's mother). Likewise, the bgm in Thangapadhakkam was converted to a song in another movie, "Manmadha LeelaI', (title song of Manmadha Leelai). MSV somehow will not leave the popular at the same time difficult bgms into songs in some other movies.
I shall bring out more such bgms/ songs later.
V. Raghavendran


டியர் ராகவேந்திரன்...

இதுல ரொம்ப வருத்தப்பட வேண்டிய விஷயம் என்னன்னா, இப்போதுள்ள ரசிகர்கள் 'எது முதலில் வந்தது, எது பின்னர் வந்தது' என்று புரிந்துகொள்ளாமல் எம்.எஸ்.வி. அவர்களை குறை சொல்வதுதான்.

நீங்கள் சொல்வது நூற்றுக்கு நூறு உண்மை.

சிவாஜி நடித்த 'ரத்தபாசம்' படத்தின் டைட்டில் மற்றும் தீம் மியூஸிக்தான் பின்னர் சுஜாதா படத்தின் பாடலாக (நீ வருவாய் என நானிருந்தேன்) உருப்பெற்றது.

அதுபோல தங்கப்பதக்கம் படத்தின் (1974) தீம் மியூஸிக்தான், மன்மத லீலை பாடலாக (1976) வடிவம் பெற்றது.

ஆனால் சமீபத்தில் தங்கப்பதக்கம் படத்தை திரையரங்கு ஒன்றில் பார்க்க நேர்ந்தபோது அங்கிருந்த மக்களில் சிலர் பேசிக்கொண்டது "என்னப்பா இது?. ரீரிக்கார்டிங்குக்கு எம்.எஸ்.வி.சாருக்கு வேறு டியூன் கிடைக்கலையா?. மன்மத லீலை பாடலை அப்படியே திருப்பி அடிச்சிருக்காரு" என்றனர். அவர்களிடம் பேசி எது முன்னர் வந்தது, எது பின்னர் வந்தது என்று விளக்கினேன்.

நம் கண் முன்னே சொல்பவர்களுக்கு நாம் விளக்க முடியும். மற்ற சமயங்களில் பேசுவோருக்கு என்ன சொல்ல முடியும்?. ஆனால் இதே ரசிகர்கள், இன்றைய இசையமைப்பாளர்கள் ஒரே டியூனை 50 படங்களில் ரிபீட் செய்தாலும் (செய்கிறார்கள்) ஒண்ணும் கன்டுக்க மாட்டாங்க. முடிந்தால் கைதட்டுவாங்க.
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Ramesh.P
The Ardent


Joined: 07 Dec 2006
Posts: 177
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PostPosted: Tue Dec 18, 2007 6:01 pm    Post subject: Reply with quote

கண்மணி ராஜா மெல்லிசை மன்னரின் ராஜாங்கத்தில் மற்றும் ஒரு படம்.
கடற்கரை /காதலர்கள் /அலை ஓசை காட்சி அமைப்பு இவ்வளவு தான் .
ஆனால் இந்த பாடலை முதலில் கேட்கும் போது நான் பாடல் காட்சியை பார்க்கவில்லை . பாடலை கேட்டவுடன் என்னால் ஒரு ரம்மியமான ஒரு சூழ்நிலையை உணர முடிந்தது. பாடல் ஆரமிக்கும் முன் வித்தியாசமான ஒரு ஹும்மிங் (மெல்லிசை மன்னர் என்று நினைக்கிறேன் )தொடர்ந்து வரும் புல்லாங்குழல் இசை உங்களை கடற்கரைக்கு கொண்டு செல்லும் . இரண்டாவது சரணத்தில் வரும் ட்ரம்பெட் இசை உங்களை ஒரு தனி உலகிற்கு கொண்டு செல்லும் .சத்தியமான உண்மை.

ரமேஷ்
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Ramesh.P
The Ardent


Joined: 07 Dec 2006
Posts: 177
Location: Chennai

PostPosted: Tue Jan 06, 2009 10:54 am    Post subject: Reply with quote

Dear Friends

I am giving this article for those joined recently in MSV club. Enjoy.
Sorry if you have already read the article.

SONG: MIN MINYAI KANMANIYAI.


Vishwesh writes:

A few weeks before as I was strumming a waltz for a song, I was struck by the chord progression that sounded so pleasantly familiar to me. I couldn’t remember the lyrics but the tune was so fresh in me that I could play the whole song without the lyrics though ! I couldn’t get the song off my mind once I had tried my hands on it. Thanks to google, I could find the song in fifteen minutes. And I was so glad to find a few comments in the web left by those who had similarly been impressed by this song.

The song starts with the typical flourish of an MSV prelude. Right from the start the joyful tempo is beautifully maintained though the saranam changes delightfully to a major scale from a minor. The first interlude itself is beautiful, for it has the flowing accordion (which is replaced by the strings in the second. How charming is MSV’s usage of the accordion, which always sounds to me to be literally oozing out of the instrument!) which is followed by the strings that subtly change the general mood of the song but still full adhering to the joyful tempo of the song (probably the hero and the heroine now sing along with a baby and hence the change to a major scale) . MSV is a true master of maintaining such a spirit from the first note of the song. Compare it with most of the modern songs in which there is hardly any sequence that you can follow from the pallavi to anupallavi, let alone the interludes which are most of the times clueless about what precedes and follows it! There is the typical MSV trade-mark bangos, though it is not so obvious. I don’t know if any other music director used bangos as him. The song sparkles with his tasteful usage of the accordion and the orchestration is rich, like most of the songs he tuned for MGR.

How refreshing TMS is ! I personally feel P.Suseela would have made this song more memorable than LR Eswari. She sounds contrived to me in the ‘la la la la la la’ of the pallavi.

The lyrics were equally refreshing. One of the distinct qualities of songs belonging to this era, as I find, is that you could enjoy the lyrics just as you enjoy good poetry (though in this song the emphasis is on the good qualities of the dad, who is MGR that the son would imbibe ). I was struck by the playfulness of this line :

‘pasikkural kodukaiyil puthu puthu isai amaiththAn’

A brilliant song and it is a pleasure to hear it even repeatedly, which is the true mark of good music. Play the song in a musical instrument and you will find how strikingly simple the tune is. That a simple tune as that is made into something unforgettable is what makes a creative genius.
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Ramesh.P
The Ardent


Joined: 07 Dec 2006
Posts: 177
Location: Chennai

PostPosted: Tue Jan 06, 2009 10:55 am    Post subject: Reply with quote

Dear Friends

I am giving this article for those joined recently in MSV club. Enjoy.
Sorry if you have already read the article.

SONG: MIN MINYAI KANMANIYAI.


Vishwesh writes:

A few weeks before as I was strumming a waltz for a song, I was struck by the chord progression that sounded so pleasantly familiar to me. I couldn’t remember the lyrics but the tune was so fresh in me that I could play the whole song without the lyrics though ! I couldn’t get the song off my mind once I had tried my hands on it. Thanks to google, I could find the song in fifteen minutes. And I was so glad to find a few comments in the web left by those who had similarly been impressed by this song.

The song starts with the typical flourish of an MSV prelude. Right from the start the joyful tempo is beautifully maintained though the saranam changes delightfully to a major scale from a minor. The first interlude itself is beautiful, for it has the flowing accordion (which is replaced by the strings in the second. How charming is MSV’s usage of the accordion, which always sounds to me to be literally oozing out of the instrument!) which is followed by the strings that subtly change the general mood of the song but still full adhering to the joyful tempo of the song (probably the hero and the heroine now sing along with a baby and hence the change to a major scale) . MSV is a true master of maintaining such a spirit from the first note of the song. Compare it with most of the modern songs in which there is hardly any sequence that you can follow from the pallavi to anupallavi, let alone the interludes which are most of the times clueless about what precedes and follows it! There is the typical MSV trade-mark bangos, though it is not so obvious. I don’t know if any other music director used bangos as him. The song sparkles with his tasteful usage of the accordion and the orchestration is rich, like most of the songs he tuned for MGR.

How refreshing TMS is ! I personally feel P.Suseela would have made this song more memorable than LR Eswari. She sounds contrived to me in the ‘la la la la la la’ of the pallavi.

The lyrics were equally refreshing. One of the distinct qualities of songs belonging to this era, as I find, is that you could enjoy the lyrics just as you enjoy good poetry (though in this song the emphasis is on the good qualities of the dad, who is MGR that the son would imbibe ). I was struck by the playfulness of this line :

‘pasikkural kodukaiyil puthu puthu isai amaiththAn’

A brilliant song and it is a pleasure to hear it even repeatedly, which is the true mark of good music. Play the song in a musical instrument and you will find how strikingly simple the tune is. That a simple tune as that is made into something unforgettable is what makes a creative genius.
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N Y MURALI
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Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Tue Jan 06, 2009 11:38 am    Post subject: Reply with quote

DEAR Mr. RAMESH,

THIS STYLE OF MUSIC COMPOSITION IS CALLED 'FUSION MUSIC' AS IT COMBINES THE STYLE OF WESTERN AND CARNATIC IN THE RAAGA 'KARAHARAPRIYA'.

I WILL WRITE A SEPARATE POSTING ABOUT MSV FUSION MUSIC IN MY FORTH COMING POSTING.

N Y MURALI
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Ramesh.P
The Ardent


Joined: 07 Dec 2006
Posts: 177
Location: Chennai

PostPosted: Tue Jan 06, 2009 1:01 pm    Post subject: Reply with quote

Dear Murali

Thanks for your reply. Waiting for your THUNDER Very Happy

regards
ramesh
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N Y MURALI
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Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Fri Jan 09, 2009 6:34 am    Post subject: Reply with quote

DEAR ALL
ABOUT THE SONG 'PAVALA KODIYILE' I VIVIDLY REMEMBER THE MOVIE I SAW LONG BACK. THIS IS A DREAM SONG AND BEFORE THE SONG COMMENCES MGR WOULD LOOK AT A TAJMAHAL MINIATURE PIECE ON HIS TABLE AND STARTS DREAMING. SO YOU HAVE THE COMPOSITION IN A TYPICAL PERSIAN/MUGAL STYLE COMPOSITION. IT COULD HAVE BEEN THE OTHER WAY ALSO LIKE SINCE IT WAS A DREAM SONG MSV WOULD HAVE BEEN FREE TO DECIDE THE STYLE. SO WHEN THE COMPOSITON IS IN THIS STYLE THE DIRECTOR WOULD HAVE CREATED A SEEN LIKE MINIATURE TAJ.

THE WHOLE BGM WOULD BE IN COMPLETE PERSIAN STYLE AND THAT IS THE REASON YOU HAVE THE HUMMING FROM LRE.

REG

N Y MURALI
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Vatsan
The Fervent


Joined: 20 Jan 2007
Posts: 352

PostPosted: Fri Jan 09, 2009 4:40 pm    Post subject: Resp Reply with quote

Ammamma kELadi thOzhi........I will never forget the haunting sax piece in Charukesi in the charanams. What a piece of delight !!! What appropriate use of xylophones. You will feel the quiet cold of the night amidst waters !!!

FYI...as mentioned by MSV in an interview he referred to an expression of a man's viragathAbam in Charukesi by the great G Ramanthan (manmatha leelayai vendrAr uNdO) and felt tempted to use the same raaga for expressing a woman's longing. Yet the overall canvas against which the song happens is totally different, MSV measures up the way only he can and admittedly, steps out of Charukesi in the charanams, the first line atleast. His explanation.......the small "Da" (D1) wouldn't have suited the words that were penned by Kannadasan for the first line of the charanam. Object lesson for banal composers who look at a piece of lyric as a set of meters that have to be tuned.

Aren't we all lucky to have Kannadasan and MSV and have them working together as much as they did, as well ? Twin souls, committed some sin during their stay in the gandharva loka and came down to earth to atone for their sins.
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madhuraman
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Joined: 11 Jun 2007
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PostPosted: Fri Jan 09, 2009 7:35 pm    Post subject: Preludes and Interludes Reply with quote

Dear Mr Vatsan
Your encomium to Kannadasan -MSV takes a different route, when you adore them as 'punished Gandharvas' sent down on a mission of absolving their sin or some way of atonement for a 'misdeed' up there! Even so, we are the beneficiaries in a measure and scale incomparable [for the magnitude] to have had their contribution in our days of school / college and thereafter.
I do recognize your spirit of appreciation, but it causes a discomfort to view them as 'punished candidates'. On the contrary we are also victims of circumstances to keep seeing the pathetic plight of TF songs whose creators are richly rewarded though the listeners are punished in the true sense. Is this what goes on in "Kali yuga"?
Warm regards Prof.K.Raman Madurai.
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parthavi
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PostPosted: Fri Jan 09, 2009 7:59 pm    Post subject: Reply with quote

Dear Mr. Raman,

According to Hindu mythology, several great personalities were born in this world because of somecurse. The Ashtavasus were cursed to be born into the world by Vasishta because they stole Vasishta's Kamadhenu. While the person who actually stole the cow was destined to live long, the other 7 brothers who abetted the crime were "allowed" to die immediately after birth and get deliverance. So, Ganga, the wife of Yayathi drowned each of her children immediately after they were born. She had taken a pledge from her husband before marriage that he should not question her actions and if he she did, she would love. So, Yayathi was helplessly watching his wife "murdering" each of her children. but when she was about to drown her eighth child, he couldn't tolerateany more and protested. So the child was spared and grew up. He was Bhishma. (Ganga left her husband because he had violated his pledge.)

Yama was born as Yudhishtira because he was cursed by a Rishi for giving him punishment disproportionate to a sin committed by him as a child.

So I would say that Mr. Vatsan's description of this great duo as punished Gandharvas does not amount to disparaging them. after all, we don't know what we were in our early births (If one believes in previous births). It is what the duo has contributed in their present birth that counts. Don't we hold Bhishma and Yudhishtira in high regard?
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