"MSV CLUB" - The Discussion Forum of MSVTimes.com

[Vatsan]

"karpanayO" highlights yet another MSV "habit" or a style he likes especially when "sugamO sugam" is repeated. The repetition starts from a preceding note giving it a "saw tooth" structure. There are several songs with MSV's trade mark "saw toothed" treatment. Lots of his hummings, counter melodies and sometimes main melodies have 'em. Now that the week has started, MSVTIMES.com will occupy a major time slice for 5 more days Will try squeezing in something worthwhile soon. WHat are the songs.......yep !!! Strat Sundari and Ramki have given me the leads. Let me take a stab at those songs !!!

[baroque]

Nice experience, SL just reading it makes me very happy...
please continue.. I am searching for thendralil.... kanney pappa.


oruvar meedhu oruvar saaindhu
oodam poley aadalam aadalam...TMS...(menmaiyaaga intro)

susheela reinforces in same mood

aadalam paadalam
(Music)
oruvar meedhu oruvar saaindhu
oodam poley aadalam aadalaaam...TMS...(Regular)
oruvar meedhu oruvar saaindhu
oodam poley aadalam aadalaaaam...TMS..same tempo with elongation at the end!
oruvar solla oruvar kettu
oruvar (solla) oruvar kettu (first time)
paadal nooru paadalaam paadalaam
oruvar solla oruvar kettu
paadal nooru paadalaam paadalaaaam ( rephrasing with elongation at the end phrase)

Mayakkum sangeetham with seductive trumpeting. Vinatha.

[baroque]

Dreamy orchestration, suck the sugam in pattu boy's improvisations in IDHAZHE IDHAZHE....IDAYAKKANI. Female vocalist has no sahithyam.. she fills in with sonic calls & dialogues...strategy - 5.

Naan endral adhu avalum naanum.... too has attractive trumpeting, violin passage - female vocalist has no sahithyam.....strategy 5.

Nee varuvaai ena naan.... Superior composition with strategy - 4.... jadhi increase with a breathlessness...

that entertained my lunch hr driving.
vinatha.

[S.Balaji]

Hi Vinata

As regds. Oruvar meedhu, as per Valee, MSV had corrected the Pallavi ! he also mentioned couple of other songs like ...Ennai eduthu thannai koduthu....vandhaalum varuvandee

Karpanayo kaivandhadho..... the variety he sets for SUGAMO SUGAM is worth a research material .

[Vatsan]

A behemoth of a song, a tiny aspect of it taken for common discussion. Hope you all like it.....


Shri TK Ramamurthy had rendered a soul stirring speech elucidating how several ragas get contained in a MSV tune. The example he quoted was ‘pArthha gyAbagam illayO’ starting with Natabhairavi, starting the charanam with Gowri Manohari traversing through a couple other other ragas and ending up in Sudhha Saveri !!!
Have we all listened to a song having its first line set to Mohanam, suddenly traversing through the latter half of charukesi in its lower registers, exuding the warmth of kalyani sometimes, Pahadi on other occasions, giving you a taste of the Behag charm, having a line of Valaji but wait……..what about G1 that he brings in, in the pallavi ?!!!? Lets call that MSV-Kurunji !!! The sustained alaap at “vA veNNilA” (P Susheela) at the pallavi is the point I am talking about. Any guesses about the song ? MS Ghazal Viswanathan composed the number for a ‘Sivantha maNN’……. Oru nALilE urvAnathu…nammudan…….intha pAdaludan yevvalavuthAn uravAdinAlum salippathillai…….the amazement seems to only grow…exponentially. The completely non-plussed poetic meters see stars with their tongues hanging out in bliss with their eyes partially shut, grateful as the tuneful treatment takes them soaring into the musical skies. Now, it’s the listener’s turn to see stars

Let the “Melody negotiation “ aspect be in its place, ruminating over the prelude is as important as the prelude itself. Waltz greets the listener, played using the drum brush and the rest and the mallet, as the Violin and the Sitar engage in a musical hide and seek play of sorts. Two rounds of that and then comes in the piece, a piece that could have been played through a single instrument, be it an accordion, a Sitar, a flute, a whatever. But apportion the piece to each of the above mentioned instruments and what you have the “path paving” phrasing for the Pallavi. The accordion let loose, the Sitar gently sliding down for the flute to blow the dried leaves, dust away for the Pallavi to start. MSV’s prompts for the pallavi/ charanam warrant a separate thread to characterize the nature of prompts..paving the way, announcing the arrival of the pallavi, a coaxing, cajoling prompt and many more. I am sure the listeners remember the sitar prelude phrase that tenderly tucks itself under the chin, lovingly lifting the face and caressingly allows ‘mounamE pArvayAl oru pAttu pAda veNdum’ to happen. Please classify the prompt as you please

TMS starts ….

oru nALilE uravAnathE

oru nALilE starts with traversing the swarams of Mohanam . “uravAnathE” is a “bolt out of the blue” phrase which delivers the “Ahha” moment !!! A plunge into the previous scale into D1 and what a dip it was !!! Here is a case of squeezing in a ......melody reconciliation act and so innovatively, where MSV needn’t have !!! Other composers could have settled for a singular phrase for the line !!!

kanavAyiram ninaivAnathE

A similar sustenance act at “kanavAyiram” and a reconciliation act at “ninaivAnathE”, but with a difference….”ninaivAnathE” has a wedged in, savory musical tone awaiting consonance, an answer.

MSV now composes for the damsel in love, a response that never sounds like the original call, puts forth a different tune for lines that could have well devoured the tune composed for its preceding, parent lines. A response, a melody reconciliation and a new start ….

vA veNNilA isaiyOduvA

The moon would spurn any poetical advances after having tasted the tune that takes it to areas unchartered hitherto, the musical attendance accorded to it, here. Metaphorical references will be alright, but direct references, a strong “No, no” . The moon wouldn’t accept it:) Class, sums it all up !!!! The sustenance at “veNNilA” takes the tune back and through the unexpected and releases it through the lucid birka friendly vocals of P Susheela. Traversals through M1, G1 and a few others, where did they all come up from ? And how savory !!! First of all, cheers for MSV to have created the opportunity for melodic sustenance where he could have rushed through the line without it. Furthermore, most unexpected flow through most unexpected notes….and sumptuous for a musical gourmet.

The request at “isaiyOduvA” is followed by

mazhai mEgamE azhagOduvA

magarANiyin madi meethil vA a final closure to the pallavi as the Sitar, waiting to start, starts off with alacrity and serves in helping the charanam to roll out.

As a simple experiment please read through the lines for the charanam banishing the tune temporarily, and then the tune we are used to hearing…..Please do pass on your observations as a feedback.

nALai varum nALai ena nAnum edir pArththEn
kAlam idhu kAlam ena kAdhal mozhi kEttEn
bOdhai tharum pArvai enai mOdhum alai mOdhum
pOdhum ena koorum varai poove viLaiyAdu


“ena nAnum edir pArththEn” , successive spreads across “nAnum edir” on the ascent is “MSV stamped” alright. The phrasing takes one back to something similar at

nee AdachhonnAl nAn AdugirEn
athai thanE thEdugirEn in the song “ninaithhAl sirippu varum”. “athai….” line is swayed through with a painter’s brush as successive ascending expansive strokes on the canvas lead the song to the fruitless search at “thEdugirEn”.

Needless to say, a magnificent listener’s delight and ORIGINAL !!!! Taking stock of such phrasings churned out by MSV is akin to counting the number of droplets of water in the Pacific…that was for the lady that haunts us from the Pacific coast

As the tuneful linger at “kAlam” brings in the vision of a singer, thoroughly interiorized, at one with the melody, “idhu kAlam” dances to the lusciousness of the tune woven around it, a most tuneful process of accentuation, re-emphasizing. Improvisational abundance, deft, “statement making” strokes take us through to the topic of discussion.

As we would all have noticed, “metered” lyrics, stems from the same “Sun” flower pot, except that the blossomed flowers steal glances at the sun at varying degrees from varying angles, facing the sun being the common motive. Such is the tune, the paths the latter half of the same meters take on this musical journey is an analyst’s delight.

pOdhum ena koorum varai poove viLaiyAdu

“Metered” lyrics once again but camouflaged by the elaborateness, variations in the tune. Time to end the charanam, last line of the charanam, same meter, except the melody here has the aura of being definitive, the sharp rise at “podhum” underlines the melody conveyed until now, as the leader of the flock summarizing a final, unanimous resolution for the group, as the watchful singer needs not to miss a single figurative beat at “poovE viLaiyAdu” , the gentle curves need to be timed to perfection…to experience déjà vu and for “varum nALellAm” to enjoy the fruits of a great instance of negotiating melody !!! Clearly a case of wreaking havoc with the melody, making it soar sky high, plunging it into an abyss, pulling it up and getting it into talking terms with the pallavi most artistically. Was it the same composer who could display the very same characteristics albeit in a different way in the very second line of “enna enna vArthhagaLO” ……with a very simple and yet charming “chinna vizhi pAthaiyilE” retrace ? A chameleon like composer whose musical repertoire contained melody negotiation forms for any genre of music !!!!

Other aspects of “oru nALilE” like the jazz like chord movements in the second interlude, variations of the pallavi, the postlude etc cannot be covered in one post, but certainly can be mentioned. Completeness is what we have all come to expect from MSV in a land where tilling and cultivating a corner of vast field is considered fashionable as opposed to having the stamina and skill to put the entire field to good use.

[tvsankar]

Dear vinatha,
Thendralil adai pinna padalai ketka link...

song no 1176

http://psusheela.org/tam/list.php?offset=1170&ord=song&cos=solo

[baroque]

yeah, I checked out the MSV-VAALI composing video in the collection, Balaji. thanks.

thanks Usha for the link.

I get back to your post, SL!
Can't get enough of Oru naaliley.... for yrs...when I saw the visual first time with kanchana...

Speaking of ghazals, HEAVENLY indha mandrathil oodi varum....Policekaran magal is immortal. For yrs, I celebrate the composition. Different situation - anna & thangai.
Vinatha.

[Vatsan]

intha mandrathhil Odi varum is heaven's delight. "en deivathhai kANbAyO" with the elaboration and sustenance at kANbAyO is a further testimony to that fact. There is a subtle variation in this sustaining act at the charanams....all charming. PBS and SJ let loose, "Odi varum" odippathu pol....how many sangathis, variations. If MSV gave PBS a free hand here, kudos to PBS. SJ is the first perpetrator and PBS having to ensure that he doesn't repeat SJ's versions. Great singing !!! Tender and tranquil composition all as usual with loads of listening pleasure. Exudes a lot of charm....Interludes....held on a tight leash as they should be, underplayed, stuttered flute starts, violins caress. Not a single phrase, sound, tone out of place yanking the listener's out of the mood. Great number !!!

[baroque]

that's a nice, short chunk of interesting write - up on my favorite musical.
vinatha.

[baroque]

SL, Composition full of improvisations & amazing orchestration.

May be you add few lines on the composition, makes it more attractive to Abhinav.

Extra special Aug 15, 2008.. Thanks to ABHINAV BINDRA.

Congrats Abinav, You brought fame to our great nation. Thank you!

I like to dedicate a SPECTACULAR musical from Shri.MSV musical factory to you.

Enjoy the fire & flair of NINAITHTHU PARKIREN....

Ultimate drums, guitar, trumpet, flute, mirudhangam lude with Lover boy's expressive vocal.
thanks for the audio.
love, vinatha.

http://www.esnips.com/doc/27803934-ec44-423a-bfb0-bfb7595d226e/ninaithu-parkiren.AVALTHANTHAURAVU/?widget=flash_player_esnips_blue

[Vatsan]

Yes, Vinatha but what about the write-up on "oru nALilE"...any comments.

[Vatsan]

Hi Vinatha, could you mail me at sriramlak@hotmail.com please. Vaithy and I need to pass on a message to you, if that is alright with you.

[S.Balaji]

Hi SL,

What a pick mannnn What a terrific writeup

Honestly, now only I am learning on how to understand MSV's concept of tune arrangement on reading your analysis ...

Appadiye anubavichu ezudhareenga ........God bless you Boss

MSV musicai rasipatharku oru thani taste vendum endru ninaipavan adiyen.....adhu ungalidam 500 % ulladhu Chief !

I AM JUST TYPING AS I LISTEN TO THIS UNFORGETTABLE ORUNAALILE URAVANADHE

THANKS TO OUR MSVTIMES. THE AUDIO IS SO SPLENDID THAT I COULD HEAR THE BASS EFFECT !!

WHAT A WILD INSTRUMENTAL ARRANGEMENT FOR THE PRELUDE

That Violin, Sitar , Flute and that sudden Accordion !! Susheela is just my hot favourite Kanchana

The extended Pallavi, anupallavi .....swift movement to Charanam by a sharp Sitar ! Speechless.......

The song has inconsistent rythm yet the Master rulez .......the shake to Ninaivanadhey by PS and finally the flute to take us to sleep mode

Paattu muzuvadhum different set of lyrics but Master ennavo oru magic stick vachu vela senja madhiri oru effect .....paattai thanudaya ishtathukku oru vilayaattu vilayadi irukiraar


Well well well......no words to describe the beauty.....Surrendering totally to you MSV sir.....


Thanks SL for the astounding pick fo the day


Dear Professor Sir, We need to patent the posts of SL for our project MSV

[baroque]

oru naaliley... I am keeping in my mind, I return to your post on Sunday.
Yesterday's crazy schedules with my baseball program 7-8:30 p.m I didn't read. I returned thinking Abhinav, dedicated the song.
seriyaa Vinatha.

[baroque]

Oru naaliley........Dreamy post, SL. Expected from you. You are too much.
No praises are enough to reflect my enjoyment.
My feelings fly high. What a song!
I don't want to listen one more time
boadhai tharum paarvai enai moadhum alai moadhum
boadhai tharum paarvai enai moadhum alai moadhum
poadhum enak koorumvarai poovae vilaiyaadu ... tonight, SL. I can't handle him. HE treats the woman like princess.
lots of love, Vinatha.