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

[Ram N Ramakrishnan]

The “Waltz” is a ballroom and folk dance in a beat of ¾ timing, done primarily for dancers facing each other in a “closed position”. The Waltz came about the 1780s from Vienna but perhaps was altered all the way. In its tampered state it emerged in different forms as Vienesse Waltz, International Standard Waltz, American Style Waltz, Cross step Waltz, the Peruvian Waltz, the Mexican Waltz, the Venezuelan Waltz and the Country Western Waltz.

As is usual, it always surprises me of how, MSV in his heydays spending 24/7 x 365 in the recording studios had the time to listen to the vagaries of Waltz. Creativity in music composition is given, but adapting a known standard to different situations is the hall-mark of a film music director – a trait which MSV mastered in equal combination to his creativity. That musical genius in him enabled MSV to give his own interpretations of the Waltz. Lets see how the legend both in his duo days with TKR and his solo days, interpreted the out-of-beat ¾ Waltz and introduced this into the realms of Tamil Film music.

The straightforward representation of the Waltz is the famous "Yarathu, Yarathu Thangama”.Though he begins the composition with “ 1&2&3&4&”, the strumming of the guitars introduce the Waltz with the 1-2-3 beat, the strings set in and the song begins with the dialogue to the beat. Anyone listening to the song can teach himself the waltz – just count 1-2-3 and sing along “yaarathu, yarathu thangama! The Waltz in most occasions is linked to a romantic interlude, and to bring that in, MSV intelligently deploys the snap (the sound of your thumb clicking the middle finger) and the brush drums with the strings strengthening the chord progressions. In true blood of a closed dance, he also introduces the “la ra rum pum” as the interlude (music between stanzas).” Listen to the use of clarinet, mandolin and pizzato strings, which lead to the stanza – “Kallurum malarenna….” closing it with that wonderful whistle (whose distinct sound is omnipresent in all MSV whistle tunes). The seal of his mastery was the use of the flutes and the strings crescendo which takes you into the third stanza “anaithalum anayatha ….” Towards the end of the song, the feeling is that the Waltz is losing its beat due to the increased tempo– but that is just due to the introductions of the bongo – the 1-2-3 still remains in the same tempo as begun! Now watch the fun, MSV converts the Waltz to the regular 4 beat bongo rhythm with clarinet finishing of his Waltz tune. Let me tell you no musician can teach anybody Waltz better than this – you listen to this number and let me assure you will always pick up the distinct 1-2-3 beat of the Waltz, anywhere, anytime.

Chronlogically, I would rate that the first interpretation of MSV’s Waltz came through in his 1961 block-buster “ Paava Mannippu” in the song that made inroads into the Indian light music history – "Athan ennathaan". Many a times I would think this is not a Waltz and not that typical 3-beat rhythm but I would still put it in the pedestal of the best of an all-time Waltz interpretation in music. Folklore says that Kannadasan’s famous lyrics went un-tuned for a while and finally when it reached MSV’s baton he had the forethought to set the tune to a Waltz! Numerous and varied are the accolades this song fetched that a naïve music-buff like me should refrain from adding any further. But to my heart this is Waltz adaptation in its best. Remember, when you get to this song, take a step back after being carried away by the Suseela’s solo rendition, rewind and hear the waves of strings behind the solo – and you will stand up to honour the maestros!

Male duets are a rarity and if one thinks of such duets the first one that comes to our mind is the TMS-PBS “Pononru Kanden” from Padithaal-mattum-poduma”, which to me is the next waltz of chronological rank order in MSV’s hits. But as we move on in time we hear the Waltz again with “Yennai Thottu Sendarana Kangal” by PBS or “Pillaikku Thanthai Oruvan” by TMS which are both based on the 1-2-3 beats, but we will eventually land in probably the best waltz of all times rendered in Kalangarai Vilakkam – "Kan Pona Pokkile Kaal Pogalama". If I remember right, in his Legends album MSV picks this one to talk about the “absence of takes” in a song-recording and the need to get it done right in one go. I doubt if anyone has the guts to take this on a stage-show, unless he hires the entire Madras Choir to go behind – which is what MSV did to get this Waltz to our hearts forever.

Moving with times, I hear the waltz again in “kalayana naal paarthu” by TMS and Suseela, but finally what comes trumps in the list, is the song which fetched Suseela the national award – "naalay enra velai paarthu" – where MSV again used the Waltz to get his singer the coveted honour. To me, it is always a battle to decide on which is the better Waltz, kanpona pokkile or naalai enra velai paarthu.

Amongst most music directors who have used the Waltz what distinguished MSV from others was his interpretations. So friends the next time you hear a song tuned to the beat of 1-2-3, 1-2-3, be rest assured that the song you are hearing is another one from MSV, for I don’t think any other music director has used the Waltz as he. My search of MSV’s hidden Vaultz (sic) continues!

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[ravikumar]

Dear Ramakrishnan,

An excellent review of Shri. MSV's compositions on Waltz. You were so right in mentioning how MSV can adopt and blend it so well to TFM - at that time of a period. Amazing and complete mastery over his skills!!
It was so nice of you to explain the waltz arrangements in detail to better understand his compositions. Great writing !!

Ravikumar.
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Ravikumar

[Ram]

It is really great to see the site growing with amazing set of people, who seem to astonish every one here in their very first post!!! I think this has become a typical TRADE-MARK of MSVTimes !!!!

Dear Ram.N.Ramakrishnan, amazing information poured out from your first post... Enlightening!

Hearty welcome to the website of a Legendary Composer, true Master of Melodies - "M.S.Viswanathan"!

Many more please...!!!
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Ramkumar

[vaidymsv]

Dear Ramakrishnan,

Absolutely informative analysis. What really astonishes me about our EMPERROR is that he mastered most of the styles of music sitting in Santhome!!! The classy examples on waltz done by our Legend is a great way to show to the world that here's a man who's finished scoring all kinds of music you can think of in the 60's itself!!!!!!!!!!! What is that he has left untouched for that matter. The world of Indian film music is at his feet and it is time the contemporary MD's realise this fact and start refraining from making undue claims / publicity that they have innovated something. In plain language I would go to the extend of saying / writing that there can be nothing new for another 5 decades and our Legend has already contributed his Might for the next millennium!!! Great piece of work by you Ramakrishnan. And by the way the song Kan Pona Pokkiley is not from Kalankarai Vilakkam and it is from Panam Padaithavan. What I liked most about your writing is that the superb song selection you had done to highlight the waltz of MSV!!! You made my day Ramakrishnan. Please enlighten us more on these rare compositions from the rarest of our Master Creator MSV!!!

CHEERS
MSV WALTZ, BELIEVE ME!!!
VAIDY
CO-MODERATOR
MSV TIMES.COM
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vaidymsv

[s.r.sankaranarayanan]

DEAR RAM.S.RAMAKRISHNAN ,

LOVELY WRITE UP.WALTZ AKA THISRA NADAI IN ITS MIDDDLE TO HIGHER TEMPO BECOMES MOST SUITED FOR DRESSING UP KOOTHU PATTUS TO ITS PRESNT DAY INCARNATION THE "KUTHU PATTU".ALTHOUGH MM IS A DEFAULT CHATUSRAM MAN, OMNE POINT TO NOTE IS WHENEVER HE CHOOSES THE THE WALTZ ,HE HAS USED IN SLOWER TEMPOS BRILLIANTLY SO THAT THE RHYTHM DOESNT CHOP OF THE MARVELLOUS MELODY CONTENT,RATHER I WOULD SAY ,HE TRANSGRESSES ONE STEP FURHER TO ENHANCE THE MELODY CONTENT.
AND RHYTHM INTERPRETATIONS,WOW ,CAN THERE BE AN EQUAL. FOR ME IT SOUNDS HE USES "PERCUSSION CHORDS " IN PLACE OF RHYTHM.

CAN ANYBODY IMAGINE "PONNEZHIL POOTHATHU PUTHUVAANIL" AND "NAALAI INTHE VELAI PAARTHU" IN WALTZ.

BYE,
S.R.SANKARANARAYANAN

[baroque]

Yaaradhu yaaradhu thangama....

Classical Prowess exudes sensuality & elegance in a refined manner!

http://www.youtube.com/watch?v=v374eSR9HLM

Suave rhythm & slow musical movements make you dance inside even if you are not dancing outside.
melody gives me the craving for thuyilaadha pennondru kanden.... as the song progresses to charanams!

Great work, Sir!

[msvramki]

Dear Ramakrishnan,

Sixer in the first ball of your opening innings !

Great writing !

You have been mentioning to me whenever we met during our morning walks that you were amazed by MSV's Waltz presentations but I never, even for a fraction of moment, had thought that you have been doing such an extensive analysis of his work !

Your writing is defnitely a big learning forward for many rasikas like me who can only enjoy MSV's music for its 'Bhava' .

Pl continue your contribution for the benefit of MSVyans and other budding musicians, who will be able to realise the sort of wonders done by MellisaiMannar half a centuray ago for the next centuries !

Regards
Ramki
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isaiyin innoru peyar thaan emmessvee.

[S.Balaji]

Dear Ramakrishnan,

Welcome to the hub

Fabulous writeup on Waltz and MSV in TFM. This concept again, IMO, was one of the many FIRSTS of MSV in tamil cinema !
See, even during the song Yaradhu yaradhu thangama, MGR and Saroja Devi will be doing a Waltz step movements only !
The Core team must have given the theme and the Master must have let loose his instrumental skills on Waltz beats.

IMO, the scintillating work is for ENNAI THOTTU SENDRANA KANGAL in Par magale par. Sadly , this song didnt feature in the movie
and other songs like Aval parandhu ponale, madura nagaril tamil sangam took honours while this song went behind.
This song is a typical Waltz beginning and MSV-TKR, in this own inimitable style switch over to conventional tamil music .

Kalyana naal parka ....is another Waltz wonder . ..... Kan pona pokile has Waltz written everywhere.

[msvramki]

Dear RamRamkrish,

Not fully satisfied with the depth to which I read your ariticle on MSV's Waltz, I went through the same with a lot of attention - Oh what a great analysis ! Hats off to you Ram Ramkrish !

Though I could understand and appreciate readily some of the songs mentioned by by you for 123 123 beats like KALYAANA NAAL PAARTHU, YAARATHU YAARATHU etc, I am pleasantly shocked to understand that the following songs too fall into that style :

* "ATHAN ENNATHAAN' from Paava Mannippu !!!!!
* "PONNONDRU KANDEN" Padithaal mattum pothumaa !!!!!!!!
* "PONNEZHIL POOTHATHU "l from Kalankari vilakkam !!!!!!!!!
* "NAALAI INDHA VELAI PAARTHU" from Uyarnda manithan !!!!!!!!

Now I make beats 1 2 3 1 2 3 and sing these songs one after the other ! Oh ! What a great surprise - I am amazed to see the Waltz style there !!

Thank you very much for your analysis and pls contiue your contribution without any break.

With warm regards
Ramki
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isaiyin innoru peyar thaan emmessvee.

[Ram N Ramakrishnan]

I am really overwhelmed by your replies....will keep me inspired on exploring more of MSV's works. Thanks for pointing out the error on Kann Pona Pokkile. I possibly think I have the entire collection of Viswanathan-Ramamurthy songs, barring a few old ones, so to those of you who are interested please get in touch with me at "notify.ram@gmail.com" and I will be too glad to share. It is a collection anyone will cherish.

I hope to write soon. Until then.........cheers,,,,,,Ram

[Ram]

Just struck me now... Two other songs with excellent slow-paced Waltz-based Thisram...here we go:

1) "Vellai KamalathilE" Beautiful female solo, soul-filling sangathis, musically over-whelming veena in the prelude.... The slow Thisram perfectly enhancing the Melody. (Listen: http://www.msvtimes.com/music/songs/v.html)

2) "Thamizukkum Amudenru Per"... No description needed for this beautiful song. The Interludes would speak volumes about Master's Mastery over Waltz!!!
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Ramkumar

[irenehastings]

Dear Ram Ramarkishnan and other fans...

When I read this analysis and followed replies, my mind jumped to an interview given by Gangai Aamaran some months (years..?) ago. During his interview, he told that his brother (IR) only introduced and developed Waltz based songs with 123...123... beats, in Tamil cine songs, and he gave some examples such as 'paruvamE puthiya paadal paadu' (nejaththai kiLLaathE) and 'Raasaaththi unnai kaanaadha nenju' (VaidhEgi kaaththirundhaaL).

On hearing that comment I get shocked. How dare he can tell this, when there are plenty of Waltz based songs already compossed by MSV sir, before 'their' entry...?!?!?!?!.

It is nothing but a planned 'sathi' to defame MSV and other MDs, and to create a 'maayai' to younger generation that they only introduced everything in Tamil cine music.

[s ramaswamy]

Hi,

Like everyone has said, great writing and interpretation of MSV's mastery of the Waltz. But what about the Periya Idathu Penn song 'Andru Vandadum Adhe Nilaa". Somewhere I read that only after this song became a hit did MGR agree to do such western dance nos. in his films.

[Ram N Ramakrishnan]

I type this when I am watching Enrum MSV today on Mega TV - Sunday 8 Feb - and in one of the classics of MSV, that depicted his pinnacle in innovative music compositions - "Antha Naal Gnabagam" (Uyarntha Manithan) was in Waltz!

The icing in the cake was the song's finish - which ended in that famous whistle - so there you go, a recital instead of a song, in Waltz, with piano accompaniment, brush drums and twin-whistles - simplicity at its best - we can never get anything better...........Ram N Ramakrishnan