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



Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Tue Nov 17, 2009 6:50 am    Post subject: Articles and writings by Fans Reply with quote

Dear Mr Vatsan,
Your posting appearing after a long silent spell rips open the too well -known facets of the composer from a less-known form of looking at. Yes, I enjoy your reference [and reverence too] to the pocket-sized dynamite of the composer and I prefer to substantiate thus: All energy packs are compact , lest they should prove hazardous explosives. In this case the pack seems tobe 'recharged' at will. The energy that we awe at this juncture is inexplicably inexhaustible signalling the hands of Divinity perpetually blessing the soul of the composer perhaps in an altruistically selfish attitude of listening to excellence in grandeur all the time. How else to explain this?
Thank you so much for yet another delight from you.
Warm regards Prof.K.Raman Madurai
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Tue Nov 17, 2009 3:01 pm    Post subject: Resp Reply with quote

Thanks Prof Saab. I had tonnes to write yesterday but there were far too much of invasion into my private cubicle space. Now, I have time, I am going to think up something new.
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S.Balaji



Joined: 10 Jan 2007
Posts: 772

PostPosted: Tue Nov 17, 2009 3:38 pm    Post subject: Reply with quote

Kathirundha kangale Very Happy priceless beauty from The Master . What a start Vatsan ! Nothing cures / soothes oneself like the melody of our MSV !
How many occasions, I would have discussed threadbare about this song with many music lovers and yet the result will be a big zero as the quest for identifying / unearthing what ran in MSV's mind at the time of composition is a mystery which can never be unravelled.

As you perfectly pointed out, the same pallavi being crooned differently by 2 great singers with subtle variety......... When PBS starts ....Kannirandum vennila ....there is a touch of seriousness to his tone....but when he repeats, he gets into a romantic mood no ? and those guitar interludes .......Vow Shocked and that swift take over of flute onward to tabla and ending with violin flourish to ....maiviziyale .....

why did he question us with ...mayakkathai kodupadhenna ??

Another fascinating tale of MSV being probed Very Happy

I would suggest you better take off for a day and pen more about this another mystery man MSV ! Idea
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parthavi



Joined: 15 Jan 2007
Posts: 705
Location: Chennai

PostPosted: Wed Nov 18, 2009 1:22 am    Post subject: Reply with quote

First of all kudos to Vatsan for expressing in words the ineffable beauty of the subtleties o the fDivine Composer. Your writing has a quality of lyrical beauty about it, something that is unique (in the exact sense of the word) and inimitable. If there is a branch of literature called Music literature, you may be called a Music literateur and I am sure we can find only a handful of people like you in this world.

Like Mr. SR Shankar has pointed out, I have observed with astonishment the delightful variations in Anupallavi provided by MSV in hundreds of songs. For some songs, we can derive some purpose, though possibly, the Mastero, has acted on his intuitive prompts, guided by divine intelligence and not by logical analysis. For several others, such variations provide sheer divine pleasure. It is difficult to draw the line.
Some more examples I can think of:

oruvar meedhu oruvar sayndhu TMS
oruvar solla oruvar kettu PS


Muththukkalo kangal? thithippatho kannam? Questioning tone by TMS

Muththukkale Pengal. Thithippathey kannam - Affirming tone by PS

In several songs, the same Pallavi is sung with some difference by the male and female voices.

Nalla Idam nee vantha idam

Enna Poruththam namakkul TMS normal
Enna Poruththam -- PS mocking

Naanamo, innum Naanamo? TMS - Questioning Tone

Naanamo, innum naaanamo? PS Denying


Naan unnaich cherndha selvam, nee ennai aalum Deivam TMS,

When PS sings the same lines, we can see more emphasis on the word Deivam. The girl is asserting, 'No, you can't call me God. You are my Lord."

As we know, MSV is a rasika. As a rasika, he keeps improvising to make the composition more delightful in several ways - some perceptible, other subtle, for his own enjoyment!. I have been amazed by the fine variation in frequency (or whatever is the technical term for this) between the singing and the humming of 'paattukkup paatteduthu' at the end of the song, which sounds very synchronous, otherwise.
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MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Fri Nov 27, 2009 1:46 pm    Post subject: Reply with quote

Thank you Parthavi, SR Shankar and Balaji, but that was a posting that nipped at the bud Smile Situational constraints Smile In any case, this is a most exciting facet of MSV the great, dynamics and variations galore. He is ever the yogic composer with a penchant for parakaya pravesham or for the "earthtly" minded, an alchemist, infinite in expressive strength with a heart that feels the most nuanced of feelings. His articulative faculties have melted into musical expressiveness which explains his
fidgetiness when confronted with a conversation and his utter dislike for words without a tune enshrouding them Smile. Ever the verbiage hater, he peppers his conversations with the oft repeated "Meter, Matter, Melody", "One Sun, one moon and one Naushad", regardless of what the question or the stimulus for the conversation may be. Conversations with him therefore are as predictableas his compositions are unpredictable:).

Parthavi, "improvisation" is the term MSV himself uses, but I personally would view it differently. As I have often read, "The greatest composer is the composer who discovers what is already present". Ofcourse, the quality of the "discovery" is dependent on the quality of the "discoverer". It is of little surprise...MSV's alluding to the process of unearthing tunes that show up from lyrics. To me, it is also the soul behind those words that show up...to him, musically adorned. This process of churning out variations, in my understanding, is the process of MSV gaining familiarity with that very soul that announced its presence, now beginning to reveal its multiple faces/ paradigms. MSV, the very aware MSV, recognizes it with his Creator bestowed faculties and ends up transmitting it or better still, vigorously spraying it. I have used the phrase "ends up" intentionally as an indication of the fact that is very little volitional activity involved, from MSV's creative offices. It is His will and MSV, merely His expressive passage, atleast on most occasions. His humility is therefore not carefully cultivated (read contrived) but a result of his awareness of the hot line he has to the Source of all.
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tvvraghavan



Joined: 15 Dec 2006
Posts: 175

PostPosted: Fri Nov 27, 2009 5:17 pm    Post subject: Reply with quote

Dear Vatsan
Thats a brilliant observation and a beautiful delineation on the aforementioned songs.

I am just wondering as how many such categories would one end up with if someone tries to.. Smile

I dont have much to say as I have just realised the intrinsic beauty of these songs from your observation and enjoying it.

Keep posting...

MSV Rules !!!
Venkat
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sriramp



Joined: 19 Jun 2007
Posts: 68

PostPosted: Mon Nov 30, 2009 2:31 am    Post subject: Reply with quote

Vatsan,

I cannot agree with you more when you wrote,

"He is ever the yogic composer with a penchant for parakaya pravesham"

I certainly felt his yogic/tantric power in many songs like

Kettadum kuduppapane (how a person in trouble seeks god's blessings),
Chellakilligalam palliyile (how an orphan kid calls "amma"),
Mouname oru parvai yal (the humming that substitutes for silence),
Aayarpadi Maligaiyil (should observe how the tune gets into a hushed whisper, maya kannan thoongugindran araro),
Thulluvado ilamai (how the words "thulluvado" really jump and dance)...
just to name a few among his thousands.

Again with your permission, if I quote your words
"MSV's alluding to the process of unearthing tunes that show up from lyrics", all the above songs that I remembered in few minutes time while writing my post would qualify for MSV's ability to connect to soul of the song (lyrics, situation, actor.....)

thanks for the writeup, please keep posting.
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Mon Nov 30, 2009 7:16 pm    Post subject: Resp Reply with quote

Thanks to everybody for their observations. Great observations, the male-female dynamics incorporated by this composer are quite dumbfounding indeed !!! I am referring to those in “ChandrOdayam oru peNNAnathO”, “engirunthO AsaigaL”, “sirippil uNdAgum rAgathhilE” etc. Here the charanams get the treatment, the lady love underplays whereas her partner is all gusto and machismo, all for similar, repeating poetic meters.

“alaiyOdu piravAtha kadalillayE
- - - - - - (Do not remember)
thudikkAtha imaiyOdu vizhiyillAiyE
thuNaiyOdu sErAtha inam illayE
en mEni unathanri enathillayE”

Above lines are awarded to the lady in love, as the last line is indicative of that fact, the lady in love declaring that the last of the spirit, mind and the body triumvirate has been rendered surrendered.

The tune typifies heroines of the sixties, not given to overt display of love to their better halves, ever the shyness smitten, bashful, glancing askance, a direct “into the eyes” stare weakens their knees Smile Hasty, furtive glances are what their womanhood would allow:) No loudness, an almost introspective start is what I can feel, no frills, till an almost insistent “thidukkAtha imaiyOdu vizhiyillaiyE” gives one an inkling where this instantiation of womanhood is headed Smile The lyrical construct for sure places listeners on tenterhooks, in anticipation of the glorious culmination, poetically speaking, the intent of piling up those metaphors to be finally revealed. The tune composer sensing that and treading the “soul path” of the poet, has added a packet of momentum, an atom of serious intent to every succeeding line, ever being sensitive to the murmur of the lyricist’s soul. The immediately succeeding line, “thuNaiyOdu sErAtha inam illayE” seems to usher in a feeling of consummation, a summation of the lady’s intent after a “high” in the previous line, but not quite. The melody has left an “unfinished” taste in one’s mouth. There is yet another line awaiting consonance, the musical negotiating phrase has not yet arrived. Now it does, the percussions are reigned in, have actually ground to a halt as the lyrical punch line needs to be accentuated upon…musically. Any composer “slow on the draw”, would nervously grope for dramatization techniques now, but here, the chief protagonist is awarded a tuneful line and….nothing else, the tune being the only adornment, as she awards the physical facet of her being to her significant other. Impact felt for sure, instrumental embellishments would be looked upon as an insensitive transgression when such tender declarations of abandonment happen :)Similar treatment is meted out the last lines of all charanams but nowhere within the song is it more appropriate than at the point of the song we have just discussed. But wait, does the melody sound “resolved”? No and that is not the composer’s intentions either, gentle gamaks, shakes at “illayE” unfurls the red carpet for the TMS-Charanam juggernaut to happen. The most strikingly masculine voice cannot blossom without a tune that is specially carved out for it. When “ithazhOdu ithazh vaithhu imai moodavO” by TMS rips through, important aspects as the tuneful difference between the male-female charanams, the presence of the tuning/composing mind to provide the flavor of sexuality to the charanam starts, the sheer forcefulness of the “TMS awarded” charanams and the co-existence of these aspects as kindred souls under the watchful eyes of the composer sink into our systems. The combined effect of these song facets, thus knitted together provide ample fuel for articles such as the one you are reading, to occur apart from leaving the most delicious taste in our mouths.
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madhuraman



Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Tue Dec 01, 2009 6:50 am    Post subject: Articles Reply with quote

Dear Mr Vatsan,
Quite a mesmerizing recap of the song after a clean 45 years. Except adoration of 'thy style' of writing, nothing comes to the fore, having been squarely bewildered all ends up. The breather of a space you have allowed helps me with a bit of recovery to limping to normal, still under the hold of the unyielding nostalgia and the air-tight expressions you have played up with.

The lyric line eluding your memory is

'nizhalOdu nadakkAdha udal illaiyE'

That was the breather allowed! The rest has been just impeccable as ever. Keep going the way you like.


Warm regards Prof.K.Raman Madurai.
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parthavi



Joined: 15 Jan 2007
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Location: Chennai

PostPosted: Wed Dec 02, 2009 12:14 pm    Post subject: Reply with quote

Dear Mr. SR Shankar,

Since you have made a mention about Vaali's lyrics, I venture to record another feat of Vaali in respect of this song. I am not sure whether this posting will be considered inappropriate to be included under this tag, though.

There are hundreds of instances of changes in the lyrics due to the objections raised by the Censor Board. In many cases, since the songs would already have been recorded and even the records released, the audio version would remain unchanged and the changes will be done only in the film recordings. Wwe can find some differences in some words between the audio versions and video versions of several songs.. For people like me who have unconsciously committed several songs to memory by having listened to them over radio or the tape recorder, hundreds of times, the changes in the film (video) version which we now hear over the TV, will always be a bit intriguing (சற்று உறுத்தலாகவே இருக்கும்),

For example,

எந்தன் பருவத்தின் கேள்விக்குப் பதில் என்ன சொல்லடி ராதா
in the orignal (audio) version was changed to

எந்தன் பார்வையின் கேள்விக்குப் பதில் என்ன சொல்லடி ராதா

in the film
(since the Censor Board members, the noble gentlemen they were - I include the lady members also under the term 'gentlemen' - could not permit four letter words - like பருவம்!)

In the song 'Chandrodhayam', this was the original version of the last charanam.

இதழோடு இதழ் வைத்து இமை மூடவோ
இருக்கின்ற சுகம் வாங்கத் தடை போடவோ
மடி மீது தலை வைத்து இளைப்பாறவோ
முகத்தோடு முகம் வைத்து முத்தாரவோ

Those who have this song recorded from the Radio in cassetets can still hear this.

The censors seem to have found the entire charanam objectionable. So Vaali had to rewrite the whole charanam. And what a brilliant job he has done!

This is how he rewrote it and this is what we hear now when the song is played from the video.

எழிலோடு எழில் சேர்த்து இமை மூடவோ
எனக்கென்று சுகம் வாஙகத் துணை தேடவோ
மலர்மேனி தனைக் கண்டு மகிழ்ந்தாடவோ
மணக்கின்ற தமிழ் மண்ணில் விளையாடவோ

I think this should be one of the very few instances, if not the only instance, where the entire charanam was rewritten to comply with the caprices of the censors. Anyway, we should thank the censors for bringing out another excellent charanam from Vaali, though the original charanam might be lost except in the archives of people like Mr. Raghavendran and in forum postings.
_________________
P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Wed Dec 02, 2009 6:34 pm    Post subject: New Posting Reply with quote

THanks Prof, Parthavi, SR SHankar for your appreciation and observations. Neat ones too, your observations. Additionally, some more of my thoughts...

The kind of romantic love duets we are discussing, have virility as their slogan for tune passages awarded to the male singer and for his lady love, acquiescence, downplayed demonstrativeness, tinge of bashfulness emerge as the thematic disposition for the melody.

Apart from all the above, a sense of completeness, wholesomeness is what one experiences when a MSV “event” draws to a close. Each MSV duet (and several solos and chorus numbers as well) is verily as event, story laden at that. The song “energy” introduced in the Prelude was made to expose its various dimensions and then trails off, through a postlude…..exquisite song planning, as pundits would put it. Even when postludes did not form a part of the song’s armory, the fact that the the song is nearing the end of its “air-life” cycle is indicated through the nature of the counter melodies incorporated. For now, please take a counter melody to be a piece of melody running counter to the main melody being sung out, except that it traverses through different notes ensuring that the song passage as whole with the melody and its counter, are complementary, a song enrichment aspect. For instance, “pAl vaNNam paruvam kaNdu” is the pallavi embellished with various counter melodies (violins) until it is sung out for the last time, when vigorous high-pitched violin counter movements indicating that the end is indeed nigh, forge in. As the listener starts bidding adieu to the song, the violins scale higher up bringing down the curtains in a bang, finishing on a high, technically speaking, a suspended chord, ideal for signifying a dramatic, eventful finish. What do you call this compositional drama ?!!? For the listener’s world, a scrumptious, consummate experience and a delightful musical ride, with a palpable sense of aesthetics, very refined.

The above is a “never before, never after” characteristic pioneered by MSV, that removes the slightest iota of a doubt from the listener’s mind on where the song is headed. The listener does not feel the need to wait for the announcement of the next song to realize the obvious Smile The counter melody communicated to him so.

Counter melodies do not necessarily form a part of the “braving up with melody” deed, but a MSV product has these irresistible dimensions of entrapment, and getting derailed completely from the main topic of discussion is as common as MSV’s instances of stepping out of the raga territories Smile. That was a “violinated” punctuation on display, the punctuation imparted and squeezed in by the composer. Closed eyes with an intention to internalize the “event” is my common reaction to that, but what is MSV’s, when punctuations are introduced by the lyricist, how does he react ? How does he measure up musically to this ?

Lets welcome the song using the song’s pallavi itself, such is its quality as the song that arrives in a Golden chariot, the garlands singing its paen.

thanga ratham vanthathu veethiyilE
oru thaLir mEni vanthathu thErinilE,
maragatha thOraNam asainthAda,
vaNNa mANikka mAlaigaL kavi pAda

Conspicuous commas, even if Kannadasan did not physically place the commas, the reader / listener will need to assume so, as none of the above lines could be considered to be independent of the other, the above is after all a sequential progress to the narration of an event, depicted. The very soul of the pallavi lies is in this understanding and it promptly shows up to the composer as he with alacrity, waits with bated breath for the inherent tune to “show up”. The tune discovery process leads to MSV channeling a tune that melodiously observes the arrival of the “ratham”, a solemn statement, and the next line on the lines of……..
“Hey, I saw a gorgeous BMW / Mercedez roll by and in it…..was the most bewitching beauty”. How often have we found ourselves passing this on to a friend, sometimes wide-eyed, sometimes in fierce whispers !!! Or in a comfortably placed, relaxed evening, when the suddenness of the impact has worn off , but with the perfume of the incident prevailing in our systems yet , the reaction being more grounded…. in the form of a gentle nod, a deep recollection and reflection on the “panoramic” influence it cast on you. And ofcourse, followed by a narration of the rounded view of its effect on you Smile. “oru thaLir mEni vanthathu thErinilE” has precisely all those plus an aura of insistence and a scent of the impending continuation of the “list”. “maragatha thOraNam…” imbibes and simply reflects the resultant expressions of its previous lines, “predictably” through a different sequence of notes. Predictable, as MSV NEVER treats subsequent lines with similar meters, with the same tune EVER.
The following and the last line of the pallavi exhibits a more persistent insistence and MSV does not close it out here, the first time around. The air of conclusiveness has been deliberately side-stepped. Side-stepped for the lady love, P Susheela to make her presence felt, she re-sings the penultimate line as if in agreement with her male counterpart and then delivers the final punch of closure to the pallavi. The last line now is delivered by scaling up through shakes a wee bit and undulating down, on the way rolling out a “full stop”, a “period” , well and truly the Pallavi is complete now. A finisher’s flourish is what the last musical phrasing has delivered on its way to greeting the first line pallavi once again Smile


Usage of appropriate swarams/ notes signaling continuance during the start of a “list”, mild accentuation for the subsequent / “continuing” pieces of lyrics and an emphatic melody strike to imply end of a list are the tonalities MSV toys with, when presented with a comma ridden piece of lyrics. Now these dynamics are multidimensional and when slapped against a soulful “athhAn, ennathhAn” put forth a particular flavor out of the numerous hidden within.


athhAn
ennathhAn
avar ennaithhAn

eppadi solvEnadI……….

A half of a pyramid is what the lyric resembles and little wonder why it was spurned by several composers as not conducive enough for tuning.

avar kaiyaithhAn, koNdu mellathhAn, vaNdu kaNNaithhAn……….

eppadi solvEnadI……….

Now here come the commas Smile Yes, Mr. MSV please unleash your dynamics laden plan!!! But wait let’s digress somewhat, the “pyramid” piece of lyrics is a composer’s nightmare, but here it is a dream, lays the foundation for a dream melody. An introduction of a personality “athhAn”, a most melodious tone of introduction is what the word is treated to. The composer avoids rendering a sense of impending melodic continuation to this word, it is an introduction after all. MSV leaves that for the next line, actually a word, “ennathhAn”, requesting P Susheela to ornament the word with gentle shakes that express familiarity with the personality with whom the perfunctory pleasantries have already been exchanged:), and then the commencement of a story block, an anecdote, a sense of expectancy. “eppadi solvEnadI” is the tuneful portrayal of a woman in love besotted with romance and shyness, ever the tight rope walk for a woman. A part of her that “wants” is efficiently neutralized by another that simply cannot express it Smile Chameleon MSV, becomes the woman, a pregnant pause preceding this line places both the protagonist and us, the listeners on tenterhooks Smile If I missed out making a mention of the tuneful “avar ennaithhAn”, a shy thriller of a tune running through it, it is only because, the “black hole” pause dragged me into it Smile. The tune around “avar ennaithhAn” is a mini wonder of a tune piece, taking on the burden of keeping the expectancy alive after promising much and failing Smile and yet emptying into the most decorative pause ever “not tuned” by a composer Smile A digression consumes several lines and that’s because….here we go again….the most irresistible allure……

Stepping back into the comma world, the already discussed dynamics packed in shyness, slip through, “avar kaiyaithhAn” presents the launch pad for a leap into nervous seriousness “koNdu mellathhAn”. Do I feel an inaudible quiver, with a mock complaintive nature…in the “folds” around “mellathhAn”? Yes, the soul of the tune is blessed with that feeling too. “vaNdu kaNNaithhAn” has the tune for it, playing the triple role of continuation of narration of the lover boy’s “misdeeds”, a natural progression further into matters that cannot be disclosed, through a tuneful ascent and paving the way for expression of the irrepressible shyness……for a woman overwhelmed with shyness…..with an overwhelmingly beautifully placed, a most powerful pause. When the accordian slides into our aural space, the mind begs to rewind the song to the stealthily soft violin and accordian pieces that packed the prelude. The song leaves your soul throughly nourished, mind becalmed but glowing with the sight of its soul represented as a melody. I am totally overwhelmed even living through this melody piece !!!!
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madhuraman



Joined: 11 Jun 2007
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PostPosted: Wed Dec 02, 2009 7:56 pm    Post subject: Articles Reply with quote

Dear Vatsan,
You have been rather consistently 'possessed' by MM's melody negotiation - rather deeply punctuated. The present one is woven around the 'proverbial comma' of MSV. Quite an enthralling piece by any conservative estimate. Not blessed with the repertoire of musical expressions as much as yourself and a few others, I prefer to state that your ripping the subject open does not cause the pain of a prick, leave alone causing a scar. But, it does leave a deep impression that is all too mental to be viewed by any surface examination. The write-up unfailingly puts the reader in a 'defined coma' where in the physiology is intact despite the apparent inactivity of the 'static individual'. So to say we fall into a musical coma more by the intoxicating influence let loose by MM in an apparently casual 'execution' that is clinically precise. I do not find adequate terms of describing your endeavour. May God bless you.

Warm regards Prof.K.Raman Masurai.
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sriramp



Joined: 19 Jun 2007
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PostPosted: Sat Dec 05, 2009 8:43 am    Post subject: Reply with quote

Vatsan,

Great analysis on MSV's style of storytelling abitilities in songs. I always listened to "athan enathan" for its stunning voilin BGM and young P Susheela's voice but your write-up enlightend me to the work in tune making that took so much effort in highlighting the situation and the lyrics. You are writing much faster than I can read and digest your write-up.s It has been a delight to read your analysis on MSV.
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Wed Dec 16, 2009 3:20 pm    Post subject: Resp Reply with quote

Thanks Prof and Sriramp for your comments. Story telling abilities in addition to the overall packaged deliciousness and mood inducing phrases make MSV what he is.

I am not in favour of intellectual dissection of any piece of art as it brings in a sense of clinical incisiveness to the whole process, a heartless exercise. I am only trying express my feelings as they occur to me when I re-live the song while posting here. If you have re-experienced what I have experienced while writing, then we well and truly should flock together, as birds of a feather:) If otherwise, at the very least, trust the import of my writings are more soulful than a surgeon's glistening knife:). Retracing our paths to the "punctuation" bit, all that the lyricist had to do was to commence a list and finally end it, hand it over it over to MSV and get out of the way Smile, assured that he has laid the foundation for yet another MSV masterpiece Smile
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
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PostPosted: Wed Dec 16, 2009 11:00 pm    Post subject: Reply with quote

Hai Vatsan,

A great writing indeed. When did you become a woman to sense such kind of feel? This is a classical example of breaking the 'sandham' in to many fragments and infuse emotions in to each fragments. Especially at the place 'vandhu kannaithan' singer PS extends the melody with 'ahhnn ......' show us the top of the pyramid from where we fall to the ground when the next line comes 'eppadi solvenadi'

Great writing.

N Y MURALI
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