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Braving it up with MSV's melody...an exploration - I
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baroque
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PostPosted: Sun Aug 17, 2008 1:06 pm    Post subject: Reply with quote

SL, Oru naaliley... truly, I am glowing in happiness! Fires up the intense feeling.
thank you so much.

What is next?

Romantic, lush, sexy Aarambum indrey aagattum.... KAAVIYA THALAIVI... TIMELESS TREASURE or Soulful, pathos, bageshri breeze Malarukku thendral pagaiyaanal.....Yenga Veettu Pillai or Joyous, bubbly , mood up lifting IRANDU KAIGAL.....Trisoolam or you opt to pick a religious composition... faithful or sad

Hoping you pick a ENCHANTING YESUDAS, HONEY SOAKED Malaysia Vasudevan soon.

Pesum mani vaarthai thamizh chuvayoo
pudhir podum vizhi jaadai vidukadhaiyo
nenjil aasai alai paayum pudhupunalo
oru aadai sumandhaadum madhukudamoa
panjanayil kai anaikka
paiya paiya mei anaikka
Thaavi thaavi varum kalai maano

Eazhudhugiraal oru pudhu kavidhai
Vanna iru vizhiyaal indha poongodhai ...
or
Heartwarming composition with swarams, humming lude!

Nedunaal aasai ondru indha
nenjinil udhiththadhundu
adhai neeridaiyaaga solla
naan naanam illadhaval alla...
Well, your choice girl make sure you don 't lose! Solladha kadhalellam sorgathil seraadhu! Very Happy
We wait for you! One song at a time, let us go after the fellow! Smile

Vinatha.


Last edited by baroque on Mon Aug 18, 2008 12:18 pm; edited 1 time in total
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vaidymsv
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PostPosted: Mon Aug 18, 2008 8:32 am    Post subject: WHY NOT A 170 MINUTE SONG!!!! Reply with quote

Hi Vatsan,

Yet another melody from you & of course MSV. Oru Naaliley...... Remember we're listening to that classy stuff the othe day. I feel sad why it wasn't made a 170 minute song (from it's 7 mints)....... Mind you, MSV could have still kept going composing even it turned out to be a 170 minute song..... It is really unfortunate that the so called Editors played havoc on many of MSV's greatest creations..... editing them mercilessly just to satisfy someone from the Producer's side, leaving us in total drought constantly craving for more.

CHEERS
MSV IS MUSIC
VAIDY

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Vatsan
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PostPosted: Mon Aug 18, 2008 5:56 pm    Post subject: oru nalile Reply with quote

I was asking Vinatha to respond to engage in a discussion on this song, but thanks for the good words Smile

The mind-set of the composer I think stands up for special mention, if a line like "oru nALilE uravAnathE" can be musically presented the way it has been, his mind must have been devoid of any constructs, pre-determined ideas and the such. He received the lyrics with a fresh mind, a mind so pliable that it could take any form or shape based on the stimulant and no wonder his tunes take all shapes and forms, with most of them belonging to the "never heard before" category. God bless !!! The conviction laden ascent at "pOthum ena koorum" is the highest, greatest example of how to start the ending of charanam. For the nth time, lyrics set to the same meter...but musically.....lovingly enmeshed, drawn out, waved and the result...incomparable aural beauty.

There are no hackneyed phrases in MSV's tunes, only new phrases that cannot be heard elsewhere. I state this as I mull over the folds at 'vegu nALAga Asai koNdAL' (oru rAjA rANiyidam), "sugamAna kathai sollavO" (sollavO.....).... so simple here and yet......

'kaNNanin AsaigaL kAtrinil pOvathO' ('yamunA nathi...') is exemplary and breath-taking at the same time, great idea implemented !!!! Sheer out of the box stuff !!!
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s.r.sankaranarayanan
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PostPosted: Mon Aug 18, 2008 9:30 pm    Post subject: Reply with quote

THALAIVA VATSA,

NEENGAL ORU PAKKAMUM, VINATHA INNORU PAKKAMUM PATTAIYAI KILAPPI KONDIRUKKIREERGAL.IDHAN THAKKATHTHIL PROF ANGE PUHTU THREADIL SARAVEDI KOLUTHTHUGIRAR. SITE ENGILUM
VANNA SITHARALGAL.
JAMAYKKIREERGAL.
DETAIL AGA PIRITHORU POZHUDHIL.


BRAHMAANDA VAAZTHTHUKKALUDAN,

S.R.SANKARNARAYANAN
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Ram
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PostPosted: Tue Aug 19, 2008 7:31 am    Post subject: Reply with quote

s.r.sankaranarayanan wrote:
DETAIL AGA PIRITHORU POZHUDHIL.

BRAHMAANDA VAAZTHTHUKKALUDAN,

S.R.SANKARNARAYANAN


DETAIL AGA PIRITHORU POZHUDHIL? ADHU EPPOZHIDHIL, THIRU BALA AVARGALEY ?!!

BRAHMAANDA EDHIRPAARPPUDAN

RAM

Very Happy
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baroque
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PostPosted: Tue Aug 19, 2008 10:49 am    Post subject: Reply with quote

Quote:
was asking Vinatha to respond to engage in a discussion on this song, but thanks for the good words


SL,
Loving your song picks & postings always. I am enjoying here as an enthusiastic cheerleader.
I highlight some songs & specialties rt. that's all thonum for me. Smile
You are too much, OK! Very Happy MSV kooda aachcharya paduvaa, enna ennamo he is telling about my songs nnu!
You discuss with Ram, SRS sir, Balaji etc..
I adore your kutti post with yamuna nadhi..., oru naaliley... etc.. above, indulge the musicals one more time tonight. enjoy panna vedingo! Smile

Please include KANAA KAANUM KANGAL MELLA... & post few lines for us.
One of my favorite Balu's solo with a tinge of pathos in ambience of Rags Megh & Megh Malhar (Rahman's Velli malarey....JODI - WE LOVE SIMRAN Smile & thillana DHEEM TA DARE.... in Thakshak rocks the world of Ustad Rashid Khan)

Vinatha.


Last edited by baroque on Wed Aug 20, 2008 7:01 am; edited 4 times in total
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msvramki
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PostPosted: Tue Aug 19, 2008 10:24 pm    Post subject: Reply with quote

Dear Vatsan,

I am speechless by reading your analysis on ORU NAALILE URAVAANATHE and the result is I keep listening to the song, then read your post, then listen to the song then re-read your post ..... so on.

As you have written in one of your posts - " I hate listening to the song ...... since the hang-over stays for days together" . Now it true for your write-up too. I hate reading your posts as I have become an addict to them !

As you have rightly said, we can discuss at a time, only one aspect of MSV's song that too we won't able to do it fully and it is like trying to measure the length, breadth and depth of Pacific ocean !!

Your contribution is going to be jewels of the book we plan to release
out of the extracts of Forum postings.

Pl go ahead and thrill us !

Ramki
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S.Balaji
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PostPosted: Thu Aug 21, 2008 2:39 pm    Post subject: Reply with quote

Am still having Orunalile fever ! Manushan eppadi thaan tune potaaro ? and orchestration is simply unimaginable Shocked especially that sleepy mode flute postlude !
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Vatsan
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Joined: 20 Jan 2007
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PostPosted: Thu Aug 21, 2008 6:18 pm    Post subject: Return Reply with quote

Returning to the forum after a trip......once again, thanks for the very kind words. Have thought of a song, writing on it now as I am being called to attend a meeting. Will try and finish it when I return to my desk.
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Ram
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PostPosted: Thu Aug 21, 2008 6:38 pm    Post subject: Reply with quote

Quote:
Am still having Orunalile fever !


Me too...

Just simple two words.... "OruNaaLiley Uravaanadhey" How on this earth can someone imagine a tune like that for those simple two words.

It took me very long time to realise that the pallavi has just four words - "OruNaaLiley Uravaanadhey Kanavaayiram Ninaivaanathey" !!!

Simply above human! Out-of-the-world! Breath-taking! - Just keep on adoring!

Like a Dracula bite, all of us are bitten by Vatsan's writing and the real virus in that bite 'the song Oru NaaLiley' has flown in to all of us !!!

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Vatsan
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PostPosted: Fri Aug 22, 2008 4:33 pm    Post subject: Gnana Oli Reply with quote

Hi Readers......thanks for enjoying all that has transpired in this thread, I enjoyed the exchanges with you as much...thanks once again.....I am thrilled to continue...please read through and pass on your comments

Until now we have experienced romance with an intrigue, romance portrayed through “raga-less” semi-classicism and MSV’s lithesome musical presence in all the mentioned genres. What about some physicality thrown in, what about experiencing MSV’s wrenching melody negotiation processes in sensuous romance ? maNamEdaiyil amarvatharkku mun actress Sarada-vin idaya mEdaiyil amarntha pAdal…..MSV-yin isai gnana oLiyai veesum pAdal……

The swing beat has been awarded some of MSV’s glorious compositions like ‘selvangaLE’, ‘ vaNNakkiLI sonna mozhi’, ‘nAn nandri solvEn’ etc, swing beats laced with piano punches, a MSV favorite orchestral ornamentation. This song, as a difference has the piano a wee bit underplayed, in fact the entire orchestral paraphernalia underplayed, giving you the feel of the tender draft of air that gently brushes past the back of your hair, nape of your neck, force ejecting a smile. This softness is preserved throughout as the haunting melody ethereally ushers the listener into the pregnant darkness of the night, a night of romance gliding towards the gloriously inevitable. Oh….what would be the experience like…the consummation of Yin and Yang togetherness and melodiously so !!!!

maNa mEdai malargaLudan deepam
mangayar koottam maNakkOlam
mAppiLLai peN endrAl ivar enbAr
endrum vAzhga maNamangai enbAr....

What has been intentionally left out of the above piece of lyric is something the tune is capable of pitchforking in, in the minds of the listeners….”a comma” is what springs up as “malargaLudan deepam” with careful intent, has been musically separated from the matter of factly “maNamEdai”. The list grows as the tune takes a detour and then an ascent at “mAppiLLai….” The retraction to the lower notes is as graceful as the musical climb but more exciting, the percussions “swing” to a stop, being relegated to underlining, imparting definitiveness to the melody flow, a strike for each pivotal musical phrase as the vocals flow beyond the melodic limitations of the strike(s)...pivotal musical phrase… a statement making one at “ivar enbAr, endrum vAzhga, maNamangai”. The next word “enbAr” is like the sky diver forced into a free fall unexpectedly, a riveting, flashy birka glorifies it and ends the pallavi, P Susheela’s rubbery vocals measuring up, as the Pallavi “coils up” to completion. Repeat of the soothing, the fussiness devoid “maNamEdai….” unfurls the wound up melody and an MSV repeat is always replete….replete with improvisations, sangathis which take up the shape of the mood being conveyed. Listeners would vouch for the sangthis’ perfect fitment into the scheme of things here, a gentle accentuation at “deepam” and at “koottam” are as meaningful as they are understated as they should be as loudness, any overt display is something the indigenous MSV Quality Control team wouldn’t permit, for the song in question. The musical punctuation at “enbAr” is not a necessity, one could impart a sustaining phrase without the “shake” or birkas but we the listeners, we, the lucky ones would have been deprived of the “coil-up-unfurl” act that personifies the melody. A gentle start juxtaposed over an unexpected, quick end…when a normal composer waits to complete the melody, MSV uncovers an opportunity to induce a character to the melody, through a melodic punctuation !!!! A bazillion good wishes to the composer for elevating our tastes!!!

nAn iravil eriyum viLakku
nee en kAthal maNimAligai
nee pagalil theriyum nilavu
nAn un kOvil poonthOraNam
maNi Osai olikkum nam illam engum


The charanam goes on thus, flowing along as MSV abandons any desire to abnegate the “swing” mood as it reinforces yet another understanding….that the charanam serves only to delve deeper into the idea propounded in the Pallavi.

When the normal route would be a “on the face” accentuation of the core idea put forth in the pallavi, we have seen MSV’s tunes percolate into the charanam with a strong announcement at times, a reflective observation on other occasions and so on. Here, the tuneful, quiet introspection brings forth cascades of revelations as the hidden sense of abandonment slowly starts shining forth, shining forth through the “saw toothed” melodic phrasing. Yet another MSV speciality, when every successive/ alternate line is made to commence with a preceding swaram / note and made to flow through similar placement of notes. MSV has shown a strong affiliation to this “demeanor” both on the melody and orchestral fronts. Please recall the case where the singers almost chant “sugamO sugam, sugamO, sugam” in “karpanayO kaivathanthO”, as every occurrence of “sugamO” starts with a note preceding the note the earlier instance of “sugamO” is commenced with. There is a similar implementation at the start of the first interlude, through the flute in the song "Chittukkuruvikkenna kattuppAdu”. “varavENdum oru pozhuthu” and “adadA enna azhagu” had a slightly revised version of the “saw tooth” syndrome where the “toothing” occurred through succeeding notes…in the prelude !!!

The protagonist’s sense of expansiveness is amply portrayed by the literal expansion of the words in the first 4 lines of the stanza. A detour again, a sense of déjà vu, when was the last time we heard MSV bring through the expansive vision of a woman, a gleeful woman, letting her proverbial hair down, whose spirit pervaded each blade of grass she ran over, rotating, running in circles for the sheer joy of it, very high on life, whose spirit soared as her life motion lay to dust, the shackles ? How was it musically represented ? Lets take the case of the following “meteorized” (thanks Prof Raman:) ) meters.

OrAyiram nAdagam AdinAL
poo mAlaigaL mEniyil soodinAL

With the soaring spirit, the tune soars, each word is expanded laying the meters undone, immediately transporting the listeners to the nearest hill station, the terrific “outdoor” feel, a sense of expansiveness.

One could recall the humming in the interludes in “chittukkuruvi muthham kodutthu” as expansiveness found a perfect conduit in P Susheela, every taint in existence became a beautiful taint, every speck of dust became a beautiful natural coloration, everything was simply beautiful. Furthermore, where was the scene shot ? Smile Atop a hill ? Smile Outdoors ? Smile

“marathhil padarum kodiyE” (savalE samALI) , “kodiyE” takes me around the world for its all encompassing expansive portrayal. But what about the childlike tender observation at “maNNil nadakkum nathiyE”……sorry, beyond the ambit of this discussion, to wean oneself away from the song takes some effort..Whew !!!

A musical detour, never a distraction, but the “gnana oLi” song longingly beckons…..longing, expansive and deeply persevering at “nee en kAthal maNimALigai” , hmmm…..a proclamation of sorts Smile !!!! The following lines veer towards the very same sentiments, strongly, no ambiguity here, till the final emphatic whisper after the storm…

maNi Osai olikkum nam illam engum

The rhythm guitar and the strokes on the percussive brush simply play second fiddle to the mesmeric melody pattern that renders the unsuspecting “engum” “coiled”. The pallavi gently smiles again, settling the melodic “spoils” wrought earlier Smile

Compositional surprises... there happens a time when even the most unconventional composers become predictably unpredictable and the surprise element no longer surprises us. With the composer in discussion, you do know what lies in store for you in the next corner, the surprise element well and truly surprises . There is one here for sure, the second charanam is presented with a different tune, something that calls forth a deeper perusal and ofcourse, enjoyment Smile.

en madiyil vidiyum iravu
nam idaiyil vaLarum uravu
dhegam thazhuvum malar kAtru
mOgam paravum peru moochhu
nAn peruvEn sugamE, sugamE……

The swing continues, MSV is no mood for distraction, the flow established is good enough. The tune here steps out of the deep intensity of the first stanza and cascades into simple, tuneful, plain, “matter of factly” statements. The hint of the hitherto unrequited thirst for union shows up somewhat at “dhegam thazhuvum malar kAtru” with the succeeding line in concurrence with it. Does that make “nAn peruvEn sugamE” stick out like a sore thumb, awaiting a musically negotiating gesture? Awaiting a musical answer…”yes”, but does not quite stick out like a sore thumb after the treatment meted out here, the baton dips and brings out the melody in waves and crests and troughs giving us a hint of what transpired in the first stanza. The sustenance at “sugamE” has enough expressions loaded into it to indicate….to indicate that more of unraveling is yet to happen, more of the call for a physical expression of the bond that brought the lovers together. Flipping out of the “lovers” mode, a timely, appropriate reminder of the character of the song portrayed in the first charanam and once again, aesthetically bringing the intentionally diverted (albeit only slightly) melody back to friendly terms with the song ideology, an act of melody negotiation !!!

yAm petrathum sugamE sugamE…..
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vaidymsv
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PostPosted: Fri Aug 22, 2008 7:46 pm    Post subject: ABSOLUTELY MESMERISING Reply with quote

Dear Vatsan,

Ennai enna enna panna solre pa. Absolutely mesmerising. There couldn't have been better words to describe Our Master's Music when you said..... MSV's music replete with sangathis........ just to add one thing to what you said..... Replete with everything that you could associate good music with!!! Aha, nee petra sugathai naanum petreynappa. Is there anything else in the world that could be more intoxicating than Our Creator's Music?????? I'll tell you this intoxication is something that will never give you trouble but......... a PERMANENT HANGOVER...........AND YOU KEEP LISTENING TO IT ON AND ON & ON.... THE HANGOVER CONTINUES..... AND YOU ENJOY EVERY MOMENT OF IT..... LIVE IT UP GUYS, THERE'S MORE TO THIS NEVER ENDING TOPIC......

Vatsan, fantastic stuff indeed and I want you to show case the Piano Prowess of this Tiny Little Wonder and you have already struck the right chord of my most favourite Piano Man in this World!!!!

CHEERS TO PIANOMAN MSV!!!
VAIDYMSV

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PostPosted: Fri Aug 22, 2008 9:32 pm    Post subject: Reply with quote

Dear Vatsan,
I t is a wonderful article looking at the analysis from a new angle. Is is also timely revealing the Ingenuity required to complete the phrase and the lines. The present songs seem to be having problems starting. The finish is one's guess. I pity the composers and the audience . Waiting to see part two.
Chakravarthy
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msvramki
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PostPosted: Fri Aug 22, 2008 10:15 pm    Post subject: Reply with quote

Dear Vatsan,

Fantastic writeup on MANAMEDAI !

We should read out this to our Master one of these days with an apt translation so that he could understand the 'feel' in your writing !

And would like to watch his facial expressions !

Probably there is every likelihood that he may shout at someone inside the house - " Kondaadaa en pettiyai ( ie his Harmonium )" , as it had happened in an earlier occasion with you and play a totally different version, just like that, and surprise us !!!

Go on Vatsan, Please !!

RAMKI

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s.r.sankaranarayanan
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PostPosted: Sat Aug 23, 2008 4:44 pm    Post subject: Reply with quote

GRAND STUFF MY RUSHDIE.YOUR "MANAMEDAI " WRITE UP QUALIFIES AS BEST OF BOOKER.VATS, YOU HAVE A FANTASTIC WRITER/ AUTHOR IN YOU. YOU SHOULD WRITE MORE. KEEP GOING WITH THE RHYTHM.I FERVANTLY PRAY THAT YOU DONT DEVELOP "WRITERS BLOCK".

ABSOLUTELY NO WORDS.( SORRY FOR THE SAME OLD CLICHE.)

CARRY ON RUSHDIE.

S.R.SANKARANARAYANAN
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