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Naan andri yaar varuvaar ( Maalayitta mangai )

 
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S.Balaji
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Joined: 10 Jan 2007
Posts: 772

PostPosted: Thu Oct 25, 2007 9:24 pm    Post subject: Naan andri yaar varuvaar ( Maalayitta mangai ) Reply with quote

நான் அன்றி யார் வருவார்
இளநங்கை உனை வேறு யார் தொடுவார்



When T.R.Mahalingam sang this Pallavi , his happiness must have been multifold as probably this was the first song which he sang at such a low tone !

When we analyze the singing pattern during the 1940s & 50s, one will realize that majority would have sung at a very high pitch. The reason is very simple …… Most of them would have come from stage plays where either there was no solid mike facility or the amplifiers didn’t exist. Consequently, the singers had to raise their decibel levels to reach the last row audience.

Great performers like M.K.Thyagaraja Bagavathar, P.U.Chinnappa, S.G.Kittappa in the male section & stars like K.B.Sundarambal in the female section are classic examples who generally followed a high pitch tone .

T.R.MAHALINGAM incidentally was one such class singer whose main identity is a scintillating honey coated voice & penchant for high decibel songs

Some examples are songs like :::: Kayadha kanagathe …….. Isai thamiz nee seidha arum sadhanai etc

This became a set pattern for TRM that critics started commenting that he is basically a high pitch singer only ! So, apparently, he was keen to prove his critics wrong & was looking for an ideal platform to display his variety .

Paired with A.P.Komala, finally TRM achieved his long awaited desire of doing a song in low pitch !

This wonderful song set in Abogi scale is actually a Kavignar Kannadasan produced MALAYITTA MANGAI

This 1958 release movie has more than 15 songs including the evergreen Senthamiz then moziyaal !! which is another TRM special…. which over shadowed all the songs .

Well well….there is another story also behind this Naan andri yaar varuvaar….

The lyrics & the tune were set for Makkal Thilagam MGR’s famous movie Mahadevi. It seems he felt that the song was a bit slow & also the contents were not to his liking that he asked Kavignar to write another song which turned out to be that melodious KAN MOODUM VELAYILUM KALAI INDHA KALAYE.

Whatever may be the history behind this song, the tune is melodious as it has Abogi content sweetly used.

The lyrics :

நான் அன்றி யார் வருவார்
இளநங்கை உனை வேறு யார் தொடுவார்
நான் அன்றி யார் வருவார்
அன்பே நான் அன்றி யார் வருவார்

ஏன் இல்லை …….ஏன் இல்லை என்ரொருவர் அருகில் வந்தார்
முத்தம் எனக்கே என்றார்… சொன்னார் தந்தார்
பேசாமல் பேசுகின்றார் வண்ணம் பாடாமல் பாடுகின்றார்

வ்ண்ணப்பாவை உந்தன் இதழ் கோவை தன்னில்
இந்த காயம் என்ன வந்த மாயம் என்ன
வ்ண்ணப்பாவை உந்தன் இதழ் கோவை தன்னில்
இந்த காயம் என்ன வந்த மாயம் என்ன

கூண்டு கிளி எடுத்து கொஞ்ஜினேன்
இதழ் கோவை என நினைத்து கொண்டதோ
கூண்டு கிளி எடுத்து கொஞ்ஜினேன்
இதழ் கோவை என நினைத்து கொண்டதோ
முத்தம் தந்ததோ சொந்தம் கொண்டதோ

இன்னும் சந்தேகமா

கண்ணே

கண்ணா

மாதென்னை யார் தொடுவார் …எந்தன் மன்னன்
உமைஅன்றி யார் வருவார்
மாதென்னை யார் தொடுவார்

கன்னி மாலை கண்டும் இன்ப சோலை வந்தும்
இன்னும் கோபம் என்ன் மின்னும் நாணம் என்ன

காதல் கதை பிற்ந்த உள்ள்மே
அதில் ஆசை மடை கடந்த வெள்ளமே

இன்பம் பண் பாடுவோம்
கண்ணே
கண்ணா

நாம் அன்றி யார் அறிவார் அன்பே நாம் அன்றி யார் அறிவார்
இன்ப நலம் நாடும் மன இன்பம் யார் பெறுவார்


Lets analyze the song ….

Starts without any prelude but TRM’s ever sweet voice takes off with a low tone Naan andri yaar varuvaar….ila nangai unnai veru yaar thoduvaar….

For which APK responds with Yen Illai……… and a lovely small pause ( with a mild flute ….Great work here ! )

The ludes are small but good enough to take us to the charanam…. TRM now cannot resist his penchant high pitch voice….so he resumes in his customary high decibel voice ……..

The song has some well set sangathis, birkhas and fine bit of improvisation as and when the charanam is repeated ……

The song also takes several intersting twists and turns with TRM at times leading the singing & at times APK surging forward ...both complementing each other splendidly to give a lovely number....

The movie is a big step forward for the magnificent Mellisai Mannargal MSV-TKR as this paved way for a fantastic 60s .

I am not sure if Abogi was set to any other cinema song earlier. Seniors may clarify if MKT has sung any melody or Papanasam Sivan had given any song on Abogi ...

The Master has given variety through Abogi :

The everfamous THANGA RADHAM VANDHADHU - Kalai Kovil
VANAKKAM PALA MURAI SONNEN - Avan oru Sarithiram

are some examples of how the raga was splendidly applied .....

Wonder why this song is not being spoken or discussed all these years !! this remains a mystery to me . Even hardcore MSV fans never spoke to me about this splendid composition !!!

Hear this superb song through the link below :

http://www.musicindiaonline.com/p/x/oqygl-sVpd.As1NMvHdW/
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madhuraman
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Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Fri Oct 26, 2007 6:25 am    Post subject: Pick a Song and Analyze-Naan anri yaar.. Reply with quote

Dear friend,
On your observations about high decibel singing, I have a few points for general understanding. High decbel rendition had its origin from the stage, delivering to "open-air theatre audience" strewn all over the place. Right from the very conversation every thing had to be audible without the help of amplifiers. [Even to-day in villages you can see people separated by 500 meter gap comfortably conversing in high decibels.]
It would be a news to the youngsters if I recall that, many song recordings were done in ordinary rooms with just 1mike for the singers [ IRRESPECTIVE OF THE NUMBER OF PERSONS]. Naturally, the female singers were given proximity to he microphone and males had to shout across from a distance. Besides, even in filmdom members of the opposite gender used to keep 'safe distance' as otherwise the female artistes would not be permitted by their households even for singing. In the present day liberalties before camera, in the company of Festive crowds we are able to see "free for all" and 'no holds barred' display of movements. So, one may say I am spreading falsehood. In the restrictive social settings of the then Tamil nad, most movie artistes were from neighbouring states. There was another very important dimension to singing. Every singer had to pronounce every syllable to utmost clarity by "open-mouth singing". That is the major reason for clarity in all the old songs. Also MDs would ensure that human voices stand guarded from the invasion of instrumental decibel. In fact if we critically watch all those re-recordings in movies, all instruments stay relegated to provide for the clarity in dialogues. Now every thing is noisy except the singer's voice. Also singers have picked up the habit of tight-lipped singing by pressing the microphone receiver on to the lips. The words are not clear. May be if we hear them we will regret more. Unheard words pass for lyric!
Warm regards Prof.K.Raman Navi Mumbai.
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Prof. K. Raman
Mumbai
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vaidymsv
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Joined: 08 Nov 2006
Posts: 715
Location: Madras, India

PostPosted: Sun Oct 28, 2007 6:19 pm    Post subject: IYAYYO Reply with quote

Dear Balaji,

Ayyayyyyyyyyyyyo Nannum Venkatum 2 days back intha paatai kettutu aaadi poitom sir. Enna oru guts for our EMPERROR to scale down the pitch of TRM which no one ever had the guts (leave alone the brains) to do that too in the 50's. Intha MSVi enna panninal thagum???

CHEERS
MSV FOR MUSIC, GUTSY MUSIC
VAIDY
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