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Braving it up with MSV's melody...an exploration - I
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Fri Jul 25, 2008 6:04 pm    Post subject: Resp Reply with quote

Thanks Ramki, Prof, Vaithy and the irrepressible Vinitha. Another bit falling through.....

“enakkoru kAthali irukkinrAL avaL Ezhu swarangaLil sirikkindrAL” , yes and Wednesday follows a Tuesday and 2 follows 1 and so on Smile MSV doesn’t need to state this, his perpetual, on-going love affair with the art has found its expression through his creations….musical creations. He demonstrates the truth behind the pallavi by singing a string of swarams and unleashing a staccato laughter ‘sancharam’ Smile A tune certainly created out of pre-written lyrics noting that the meter is as if set in stone, written in blood !!!!
“geetham avaLathu vaLaiyOsai”…..comes through with a couple of variations and improvisations setting up the stage for the syrupy part , except the listener is on tenterhooks awaiting the negotiating punch to arrive and arrive…it does !!! Weans away from its normal route to show us yet another seemingly greener pasture, a musical “dip” is all it takes at
“nAtham avaLathu thamizhOsai”

“nAtham” is taken through the swaram d1 which was not expected !!!!

This facet is yet another feather in the overburdened cap of MSV, cajoling the tune away from its normal course, yet not sounding discordant, sounding innovative, not sounding contrived/ manufactured. As a listener, if you wouldn’t imagine any other style of negotiating a melody “correct” (atleast for this song), its not surprising. It is only the “e” in the word “artiste” surfacing, the finishing touch to the word. It is quite natural for composers of this caliber to pull off an innovation quite naturally and yet make you feel the path traversed was the only way to do it. As if other methods weren’t available Smile !!!! Hopping onto the punctuation bit, the melody already has it at this stage, except that MSV chose to underline it only as he can, with the word “thamizhOsai” being strapped against a ridges laden phrasing and stretched, when the percussions have come to a stand still !!! MSV has pitchforked this feature at the charanams as well !!! muthhAna muthhallavO intha pAdal !!!

You may find this “strap-against-ridge-stretch” feature appearing at various points in other songs, a semi-classical
“Ezhu swarangaLukkuL” (pAthai vaguthha pinnum bayanthenna la….abam”),
a romantic “nEram pouranami nEram” (“pArthhu pArthhu E….ngum”) ,
another romatic “azhagiya thamizh magaL”
( paalil vizhum pazham enum
bothai perum iLam manam
aLLathaa…..an aLLikoLLathaan ) ….but not as a melody finisher.

The benevolent genius who sprayed music regardless of the quality of the stimulant has a “Karnanesque” quality to his musical personality. Probably why he lived his way through as a creative Karnan while dishing it out for the movie with the same name. But limiting ourselves to the self-imposed ambit, the deleted Karaharapriya song from the movie, ‘mahArAjan ulagai ALuvAr’ has enough sangathis to sound like a Ghulam Ali live ghazal extravaganza. ‘intha maharaNi avanai ALuvAL’ ….ALuvAL is taken in steps and brought down in undulating cascades. Skipping over to the charanam,
pAdathhil mugam irukkum
pArvayil irangi varum
vEdathhil layithhirukkum
veeram kaLaithhirukkum as fixed a meter as it could get in this existence. The musical phrasings preceding these lines anyway….heady stuff garnished with fine, tenderly woven changes, the TMS’ version being slightly different from that of PS. Probably owing to the words, ‘karNanukku mattum enna ithayam illayA”, requires the level of loving insistence portrayed by the tune. A detour taken again…apologies…pAdalai patri ezhuthumpOthu kaLaippathillai….well, "kaLaithhirukkum" is followed by a riveting agAram that underlines the fact that MSV does not have to “stock” musical ideas for future use. Any other composer could have been easily tempted into repeating the last line in a conclusive tone/tune and ending the charanam. The agAram that MSV has awarded to this song can sow the seed for several other tunes as it opens up new vistas in one’s listening mind ....it strongly declares, subtly announces and winds down with gamakas eventually giving in to the temptation of re-joining the pallavi. An elaborate punctuation that!!! The songs preceding the last song discussed showed us what a musical comma and a musical full stop are, not a musical essay in the form of a melodic punctuation, as this song did !!!
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Fri Jul 25, 2008 6:05 pm    Post subject: Vin Reply with quote

And to the lovely Vinitha....Hey Ceeps you exude warmth as much as MSV sprays music. Salam to you !!!
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baroque



Joined: 15 Feb 2007
Posts: 478
Location: San jose, CA, U.S.A

PostPosted: Fri Jul 25, 2008 11:32 pm    Post subject: Reply with quote

Thanks SL! You are generous!

Beautiful write up, sure you know to express your thoughts.
You mention some amazing masterpieces.. each song will take you on a journey to musical bliss! You pack your posts with more songs Smile
Songs in Posts 1 & 3 ... I will run around during weekend Smile


Actually that day I was telling a friend about one particular song’s tune is very wrong for that particular composition, miserably failing to evoke the intended rasa..MOOD...Tacky choice of the MD etc..

Evening when I found your new article on this particular topic I was very excited! Smile


Strategy - 1 is kutti kutti elongations,enunciations, repeats of vaarithigal with variations.

Strategy -2 is Repeating the long phrases/passages with completely different tune... Hey Babe, I SPICE IT UP! Smile

I bounce a pattu to encourage you in Strategy - 3.

How about those POWERFUL silent pauses, gestures, humming in AAYIRAM IRAVUGAL VARUVADHUNDU....!

Very ENTICING tune with tasty beautification
!...

Girls fantasize about kalyanam, being with the most wonderful man-hubby... living happily ever after .. from the time they are little girls..

Unruffled Susheela is sugam!
Words can't express the enduring composition,SL. if you can try.. Please ponder some Susheela solos too!

Amazing feeling fill my heart!
I am all smiles! Smile porum po.. Smile
Vinatha.


Last edited by baroque on Sat Jul 26, 2008 8:21 am; edited 1 time in total
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baroque



Joined: 15 Feb 2007
Posts: 478
Location: San jose, CA, U.S.A

PostPosted: Sat Jul 26, 2008 7:00 am    Post subject: Reply with quote

Can't wait for you to present the laya based melodies!...Strategy - 4.
(appadinnu onnu vachukkalaamono! You may mention a sophisticated label! Smile )

I am listening to kattodu kuzhal aada aada....What a meticulous layam & raga bhavam in Chenchurutti... ragam has limited scope in melody but catchy & aesthetic.
oscillations & repetitions induce inner joy!
Harmonious compositions!!
How do you classify songs like Udhadugalil unadhu peyar ottikkondadhu..?
Even the social song ONDRU ENGAL JATHIYE....ETC..
Fall & rise melodies with unparallel layam..aesthetics of tempo!

TIME factor I am thinking, SL.

BREATHLESSNESS... the singer holds in a particular place like the following song(hope I am correct! Rolling Eyes )

Deivam thandha veedu.....Aval Oru Thodarkadhai - (Composition runs on Ragam PILOO...Bhajarey yadhu naadham maanasa...Sadhasiva Brimendra composition)

naan kaettuth thaaythandhai padaiththaraa? ( here the singer holds in a place for a long time...

(Yeudas Aalap.. continues with variation)

naan kaettuth thaaythandhai padaiththanaa?

illai en pillai enaik kaettup pirandhaanaa? (kutti elongation)


Another type melodies with vishranti - quiteness.

They all in one category. CLASSICAL PROWESS ROCKS - UNIQUE & BLISS!
Vinatha.
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msvramki



Joined: 18 Dec 2006
Posts: 418
Location: Chennai

PostPosted: Sat Jul 26, 2008 12:33 pm    Post subject: Reply with quote

டியர் வத்ஸன்,

உங்களது மூன்றாவது பதிப்பை படித்து, மீண்டும் படித்து, மீண்டும்.....
ஆஹா, மெல்லிசை மன்னரின் மெலடி திருப்பங்களின் அழகை, அதைக்கேட்கும்போது நாம் பெரும் இன்பத்தை, இவ்வளவு அழகாக வார்த்தைகாளால் எப்படி உங்களால் கூறமுடிகிறது என்ற மலைப்பில், நான் வாயடைத்துப் போய்விட்டேன். பதில் எழுத வார்த்தைகள் வர மறுக்கின்றன.

நம் மன்னர் இசைக்கும், நம் வத்ஸன் எழுத்துக்கும் நான் அடிமை.

தொடர வேண்டுகிறேன்.

ராம்கி.

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msvramki



Joined: 18 Dec 2006
Posts: 418
Location: Chennai

PostPosted: Sat Jul 26, 2008 1:02 pm    Post subject: Reply with quote

அன்பான எம் எஸ் வி யர்களே,

மெல்லிசைமன்னரின் மெலடி திருப்பங்கள், பாடல்களில் அவர் இயல்பாகவே கொடுக்கும் பங்க்சுவேஷன்கள் (அதாவது கமா, புள்ளி, மவுனம்) பற்றி நம் வத்ஸன் வடிக்கும் வரிகளில் மனம் பறிகொடுத்து, இன்று காலை,

"நீல் நயனங்களில் ஒரு நீஈஈஈஈண்ட கனவு வந்தது "

பாடலை என் ஐப்பாடின் என் காலை நடையின்போது கேட்கிறேன்..
கேட்கிறேன், கேட்டுக்கொண்டே இருக்கிறேன் ...

இப்பாடலின் அனுபவித்த் உணர்வின் சுருக்கம் இதோ :


பியானோ, வயலின், குழல் என அமர்க்களத்துடன் பாடல் தொடங்குகிறது.

நீல ந.ய..ன..ங்..களில்
ஒரு நீ ஈ ஈ ஈ ண்ட கனவு வந்த்து

என்ற அழ்கான வரியைத்
தொடரும் ஒரு 'ஹார்ப்" நம்மை ஒரு கனவுலகுக்கே அழைத்துச்சென்று நிறுத்த்கிறது,

"கைவளை அம்புகள் கைவழி ஏந்திட
மன்மதன் என்றொரு மாயவன் தோன்றிட "

என்ற வரியில் மன்னர் கொடுக்கும் GLIDE DOWN - ஆஹா !

கனவில் சஞ்சரிக்க மீண்டும் ஹார்ப் !

தொடர்வது அனுபல்லவி :

"கனவு ஏன் வந்தது
............................."

என மன்னர் கொடுக்கும் வரியில் கேள்வி பாவம் அழகாக தொக்கி நிற்க, மயங்கி நின்ற நம்மை திரும்பிக் கேட்கிறார் மன்னர்,

"கனவு ஏஏஏஏஏன் வநதது" .

உணர்ச்சி வசத்தில் என் கண்கள் குளமாயின.

அதுவும், "கனவு" என்ற வார்த்தையின் "க" வை எடுக்கும் இடத்தைப் பாருங்கள் !! என்ன ஒரு பஞ்ச் !

மனதைவருடும் இடையிசையைத்தொடருவது சரணம் 1 :

"பச்சைக்கல் வைத்த மாணிக்க மாலை
பக்கம் நின்றாடுமோ ஓ ஓ ஓ"

இந்த வரியில் "ப"(ச்சை) வை எடுக்கும் இடம் &
அந்த வரியின் GLIDE DOWN -

கனவு விமானத்தில் கீழ் நோக்கி மிதக்கும் அனுபவம் !

"பக்கம் நின்றாடுமொ ஓ ஓ" வரியில் "மோ ஓ ஓ" வில் அவர்
தரும் சிறு ஸ்கேல் மாற்றம் ! - 'கர்நாடக' இசை வித்தகர்கள் ஒப்புதல் அளிக்க மறுத்து ஆனால் மயங்கி ரசிக்க, நாமோ மகிழ்ச்சியில் கிறங்குகிறோம் !!

தொடர்ந்து,

"அந்த நாள் என்பது
கனவில் நான் கண்டது
அந்த நாஆ ஆ ள் என்பது.......

என்ன ஒரு அழ்கான "நா ஆ ஆ ள்"
(ஆம், நிஜமாகவே இன்று எனக்கு ஒரு அழகான நாள், இப்பாடல் கேட்டதில் !)

தொடந்து வரும்

"மாயக்கண் கோண்டு நான் தந்த விருந்து
மன்னன் பசி தீர்த்தோ ஓ ஓ ஓ
........................................"

மேற்கூறிய அதே அழகு !!

இப்பாடலின் முழுவதுமாக் வரும் தாள நடை -
இடை இசைகள் எல்லாமே அழகின் எல்லைகள் !


நன்றி வத்ஸன் - பாடலை மீண்டும் கேட்கத்தூண்டி என்னை
கனவுலகில் மிதக்கவிட்டதற்கு !!

"நான் சுவாசிப்பது எம் எஸ் வி யின் இசையையே !

அன்புடன்
ராம்கி.

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vaidymsv



Joined: 08 Nov 2006
Posts: 715
Location: Madras, India

PostPosted: Sat Jul 26, 2008 8:33 pm    Post subject: LETHAL COMBO OF MSV & VATSAN Reply with quote

Hi Vatsan,

Another enlightening article on the melody negotiation. I was just listening to Kaadhal Enbhadhu Kaaviamaanal...... Enna oru sangadhis in this song pa....and another song from Ponnoonjal- Nalla Kaariyam Seekiram Nadakkanum...... Mesmorising indeed. Just unbelievable and I am amazed at the level of this GIANT'S capabilities to negotiate to any level. Truely, a composer creator of World Class this MSV!!!! No wonder I love to get infected (thoroughly in every part of my blood stream!!!!) by this man's melodies.

CHEERS
MSV IS MUSIC
VAIDY

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Ram



Joined: 23 Oct 2006
Posts: 782

PostPosted: Sun Jul 27, 2008 12:17 pm    Post subject: Reply with quote

Dear Dad..

Really beautiful description about "Neela NayanangaLil"

Beautiful Sangathis.... Possible only by MSV!

You have highlighted perfectly the apt points of this mesmerizing song!

MSV, the Great !!!!!
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baroque



Joined: 15 Feb 2007
Posts: 478
Location: San jose, CA, U.S.A

PostPosted: Sun Jul 27, 2008 12:39 pm    Post subject: Reply with quote

Mr.Ramki's posting is intricate and rich.
Sparkling as gorgeous as the composition Neela.....

Special sangadhies are Shri.MSV's manodharma!

SL, Other strategies like Sonic, rhythmic gestures etc.. I can recall in other composers compositions . But the unsurpassed ability to churn out the finesse sangadhies .. belongs to Shri.MSV! HOW DIVINE!

wonderful thread.

Vinatha.
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Mon Jul 28, 2008 1:13 pm    Post subject: resp Reply with quote

There is no paucity of benevolence in this forum as well.....thanks Ramki, Vaithy and with the proper spelling ...Vinatha Smile Thanks for the nice words. I will try and get down to other aspects/ songs as well.
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Mon Jul 28, 2008 5:43 pm    Post subject: Melody reconciliation Reply with quote

Dear kind readers, some more....

“paavai paavai thAn……” is a rocking number from “enga mAmA” which itself is a bejeweled album with very strong intentions from MSV to make it so. The reason, the movie had its origin up north, with MSV’s close friend Jaikishen pulling off yet another commercial win for the producers. The law of the land is that the unforgiving public waits with bated breath for nitpicking and creates reasons for unfavorable comparisons with what was dished out, up north…..regardless of the quality of the local output.

…Asai Asai thAn’ the song continues..
pArthhu pEsinAl
Ega bOgam than
thAnE vanthAl vAsam illayO’

The song is a thrilling delight, mysterious pauses followed by rolls on the bongos, violins, trombone and accordion joining in the festivities and what you have is a carnival of a song that arrives….rupturing through the screens, and amidst all the smoke, the song zips through and suddenly you are subjected to what you heard as the prelude. Well, that served as the postlude too as the trombone and the bugle “staccato” their way up on the ascent, violin counter melodies trickling through and a holy end as the bongos go up in flames and the strike the on top hat signaling that the last of the firecrackers has been burst. Firecracker of a number, a free spirited wild man’s delight. Kannadasan not be left behind measures up with…

aNaikkum pazhakkam
kodukkum mayakkam
AN peNNidam thanthathO kaNdathO

enakkum unakkum
irukkum nerukkam
yAr yAridam kandathO thanthathO

Listeners who can recall the maverick nature of the tune will concur with me on the fact that MSV created it during one of his “other dimensional” sojourns. Now, listeners/ readers please let me know if “thanthathO” could have been “ended” differently. If the answer is in the affirmative, you would also agree that the “best” adornment to the word is MSV’s version. The word that was sticking out as a part of the “poetic meter” becomes pliable as the composer “bends” it, maneuvers it to scale chromatically into the lower registers. P Susheela’s honeyed base voice had been used in semi-classicals, in rocking agArams before, but seldom the way this song did. That was not Western pop, but MSV-Western-pop, an out-of-the-box MSV flourish, a punctuation.

The interludes transport you to the streets of Goa, the traffic coming to a standstill as clowns somersaulting their way through, children running berserk, fun loving, cashew fenny loving adults with bongs and accordion strapped around them adding to the “no holds barred” ambience. The accordian windingly blazes its way through with the violins providing a cushioned back-up, the electric guitar takes over with an accordion semi-flourish prompting the charanam.

ennai katti pOttu koNdAl
manjam thottu konjalAm

MSV chose to repeat last word twice over for an “effect”.

The listener waits with rapt attention, adrenaline flowing when the rhythm guitar chord strikes and….

“kasappum inippum manathin ninaippu
Or peNNidam uLLathE nallathu” happens.

“nallathu” is the hapless “victim” this time as it joins “thanthatho” in the pantheon of “Words overpowered by melodic punctuation”. The roaring postlude is an announcement of sorts of that fact Smile, ….maybe. Please listen to this song and experience gay abandon.

As an aside, composers of caliber seem to undergo a process of metamorphosis when challenged with various cinematic situations. ‘kaN pOna pOkkilE ‘ with a generous dash of Western classical ambience, ‘paruvathhil konjam’ romance against the backdrop of eerie intrigue, ‘mAlai soodum maNanAL’, damsel romantically besotted, a traditional, homely damsel at that….only a cursory glance, a cursory tryst in the minds with the above mentioned songs would reveal the individualistic treatment meted out to the way, the melody has been constructed, instrumentally ornamented and so on.

One such ‘kudumba viLakku’ heroine oriented numbers’ thaNNilavu thEniraikka’, to me atleast, remains evergreen and fresh in its allure.

Mayavanathan’s lyrics read….

thaNNilavu thEniraikka
thAzai maram neer theLikka
kanni magaL nadai payinRu sendRAL
iLam kAthalanai kaNdu nANi nindrAL

As usual, exquisite tuning, an undercurrent of tenderness & shyness, no overt abandonment as in the previous song and deliciously dignified…the tune has all that. Kudos to MSV for imparting a personality to the tune !!!

If the tune for the first 2 lines are expressions of womanly announcements and gestures, the third line can indicate a mix of a most lovingly complaintive observation and a simple loving observation….kanni magaL nadai payindru sendrAL…..apt and appropriate and a depiction of tuning etiquette…incorporating a character to “a tune for words”. While we remain besotted in this expressively tuneful portrayal, the last line brings through yet another facet of melody negotiation, could we call it melody reconciliation, for want of better term !!! A case of a melody not being entirely closed out, but temporarily reconciled, with respect to responding to prior melodic “proddings” and “queries”.

“iLam kAthalanai kaNdu nANi nindrAL”…..the tune nods at the word “kAthalanai” like the Tanjore nodding dolls when placed back in the shelves, but yet to me, a master class reconciliation. Not exactly a Laya based melodic phrase, but something that fitted well into the Laya already established. MSV insistently continues, “nANi nindrAL” as the last word has a nice little “roll” woven around it. A melodic punctuation that accentuated the seriousness of “nANi nindraL” and underlined it:) and a fine embellishment too, serving a dual purpose. Bask in the musical presence of shyness smitten, epitome of feminity.

To Vinceeps, noted your points/strategies. Will pitchfork as appropriate.

Ramki, your write up on 'neela nayanagalil'.....needs to be savoured.
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jeyaramg1



Joined: 04 Feb 2007
Posts: 20

PostPosted: Mon Jul 28, 2008 6:32 pm    Post subject: Reply with quote

SL :

Oops, what a writing!!. Great to see these gems. "Kannan Varum Neramidhu" is a Waterfall of Melody, with streams of melody gushing out and pouring out unabatedly. We spoke abt this song the other day.

"Neela Nayanangilal" is a another wonder creation, Unmatched work, beyond comprehension. The way charanam starts and the interludes seemlessly welded to the start of charanam- One and only the Master can produce this kind of wonders.

On melody punctuation, do we want to talk abt 4 different "Enna?? "from the superhit 'Thangapathakathin mele...." .

Best Regards
Jeyaram G
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msvramki



Joined: 18 Dec 2006
Posts: 418
Location: Chennai

PostPosted: Mon Jul 28, 2008 9:23 pm    Post subject: Reply with quote

Dear Vatsan,

Great writeup on "Pavaipavaithaan" from EngaMama, the song which drove me crazy during my college days.

The western (sorry - 'msv-western') presented with somuch melody by our master has been my top-of-the-layer song all along and I tried to play the bango beat of the song in my college orchetra, failing miserably !!

I had watched Gopalakrishnan playing bango so beautifully in stage performances of MSV in my college days and I had watched it with wonder ! ( indeed it is a wonder).

I use to nod my head always like a tangore bommai whenever I hear " kaathalanai kandu naani nindraal" , which you had so neatly brought out in your analysis.

It is a litmus- test- evidence of how MSV coveys the same feel', 'expression', 'bhava' and 'message' ... to all listeners identically in all his songs and it is basically because music is not 'manufactured' by him
ever but it 'happens', as you used to say !!

Yes.. next analysis please !!

RAMKI
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isaiyin innoru peyar thaan emmessvee.
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baroque



Joined: 15 Feb 2007
Posts: 478
Location: San jose, CA, U.S.A

PostPosted: Tue Jul 29, 2008 2:59 am    Post subject: Reply with quote

I assumed it was a spelling mistake Smile Some of the people know me more than a decade, they still call me vinitha, vinutha etc.. Evil or Very Mad Smile

Noted your next set of songs... will return tonight with the musicals to enjoy your observations.

Thanks Mr.Musically Savvy!

Songs I enjoyed while driving this lunch hr.

1.
That P.B.Sreenivas to kaadhal mannan!
What a lover that Radha got!
I am jealous!
No two ‘radha’ calls are the same..
Radha konji konji Celebrates Raja too!
radhaaa
radhaaa..radha..radha..radhaaaa
rajaa..raajaaa..oh raajaa...

endhan paruvaththin kaeLvikku
badhil enna solladi radha
undhan paarvaikku paarvai badhilaai
viLaindhahdu raja..oh..raja


Sumaithangi .. With Mayakkamaa..., Manidhan enbhavan..... & more memorable album.

2.
Compositions in Strategy - 5!

5(1) - laughter followed by swarams

Sirippil undaagum.....T.M.S & P.S
Engirundho vandhaal


sirippil undaagum raagaththile pirakkum sangeethame
adhu vadikkum kavidhai Aayiram avai ellaam un enname en kanney poovanname ....

5(2) Sandhangal followed by Sahithyam... in ever popular Varumaiyin Niram sigappu!
What a poetic way of expressing love!
sippiyirukkudhu muththumirukkudhu
thirandhu paarkka neram vandhadhu ippodhu....

5(3) Swarams prelude follwed by Sahithyam pallavi in enchanting Kavidhai Arangerum.. Andha 7 Naatkal. Jayachandran with janaki.

5(4) Fast, lilting, rhythmic peppy Sindhu bhairavi by lover boy!

Unakkenna mele ninraaai O nandhalaaalaa
unadhaanai paduginren naan romba naalaa

thaai madiyil pirandhom
thamizh madiyil valarndhom
nadigarena malarndhom
naadagaththil kalandhom

thadhom thadhom thadhom thagadhimithom
thadhom thadhom thadhom thagadhimithom
thadhom thadhom thagadhimithom...




3. Lataji puts the world in trance with krishna bhajans, bhakthi - sangeet with her serene voice but didn’t get to make this ‘krishnaa’ call!


SWEET, EMOTIVE Susheela was blessed with the masterpiece!

ennuyirth thaaye neeyum sugamaaaaa
ennuyirth thaaye neeyum sugamaa


iruppadhu yengey sol enren
annai mugamo kaanbadhu nijamo kanavo nanavo sol endren kanavO nanavO sol endren..

(Strategy -4 ... singer holds in particular swara longer then aalapana continues..)


kannaa sugamaa
krishnaa sugamaa
en kanmani sugamaa sol endren ........
kaNNA sugamaa
krishnaa sugama kanmani sugamaa sol endren kanmani sugamaa sol endren .... ORU NAAL IRAVU PAGAL POL NILAVU...


Unparallel poignancy & pathos in Susheela’s voice!
Outstanding emotional song ever created in Indian cinema!

ta..ta
vinatha.


Last edited by baroque on Tue Jul 29, 2008 9:32 am; edited 1 time in total
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baroque



Joined: 15 Feb 2007
Posts: 478
Location: San jose, CA, U.S.A

PostPosted: Tue Jul 29, 2008 7:03 am    Post subject: Reply with quote

Now you know why it is PAPAYA FACIAL SONG! Smile Very Happy
samudra rajaakumari
sugaputhra sukumari
nava naagareega naari
namo namo namaha ....


Impossible to write the lyrics & highlight the musical embellishments in the melody!

Listen & Immerse in divine love!

What a beauty!
SAMUDRA RAJAKUMARI…..Lover boy with Vani Jayaram!
Scintillating romantic musical loaded with improvisations, elongations, enunciations!


2. Strategy - 5 song
5(5) maalai malar pandhalitta....
Combination of Aalapana follows the swarams & aalapna follows swarams & sahithyam.
Female artist - Vani gets to sing only swarams.
Shri.MSV capitalized the singers inherent sweetness & romance in the voice.
ta..ta..

while driving this evening I listened to them.
vinatha.
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