"MSV CLUB" - The Discussion Forum of MSVTimes.com
Official Website of M.S.Viswanathan - Legendary Indian Composer
 
 FAQFAQ   SearchSearch   MemberlistMemberlist   UsergroupsUsergroups   RegisterRegister 
 ProfileProfile   Log in to check your private messagesLog in to check your private messages   Log inLog in 

INCREDIBLE 4-LINERS AT THE START OF A SONG

 
Post new topic   Reply to topic    "MSV CLUB" - The Discussion Forum of MSVTimes.com Forum Index -> Articles & Writings by Fans!
View previous topic :: View next topic  
Author Message
Venugopalan Soundararajan
Philiac


Joined: 12 Dec 2006
Posts: 533
Location: Mumbai

PostPosted: Wed Jul 08, 2009 7:58 pm    Post subject: INCREDIBLE 4-LINERS AT THE START OF A SONG Reply with quote

Hi,

As we all know, our Master has composed thousands of gems, which are still lingering in our memories and we still enjoy listening to them like fresh songs. The specialty of His compositions are that He had to do deep thinking and compose in such a way that it perfectly fits in to the situation of the story. Those days the songs had a close link with the story of the films and the lyrics were also written accordingly. But in today’s movies, you can write any crab and compose any “டப்பாங்குத்து” tune, many of which are trash or hits for few weeks or months and totally forgotten thereafter.

In the above mentioned scenario of the olden days, composing a proper Pallavi and Charanams with apt interlude music and with perfect usage of most suited instruments was a herculean task. But there were many songs, in which the “கவிஞர” came out with a 4-liner at the beginning of the song that spoke the situation for which our Master had to compose "ெமட்டுக்கள்" that were simply incredible and had a huge impact and big thrust on the whole song to follow. In many of such songs, at the end of the 4-liners, the Legend has composed such a mind-blowing music that it sounds like “explaining the situation” of the song.

Here are some examples of such compositions:

பழகி வந்த ப ுதிய ௪ு௧ம்
பாதியிேல முடிந்தாலும்
எழுதி ைவத்த ஓவியம்ேபால்
இரு௧்௧ின்றாய் இதயத்தில் நூ
at the beginning of
உரவு என்ெறாரு ெ௪ால்லிருந்தால்
பிரிவு என்ெறாரு ெபாருளிருக்கும்
from இதயத்தில் நூ

வானகேம ைவயகேம
வௗர்ந்து வரும் தாய௧ேம
ஆணுல௧ ேமைடயிேல
ஆைச நைட ேபாடாேத ஆைச நைட ேபாடாேத
at the sart of
மலருக்குத் ெதன்றல் பைகயானால் (எங்க வூட்டுப் பிள்ைள)

கர்ப்பைனக்கு ேமனி தந்தூ
கால் சலங்ைக ேபாட்டுவிட்ேடன்
கால் சலங்ைக ேபான இடம்
கடவுளுக்கும் ெதரியவில்ைல
at the start of
ெதய்வத்தின் ேதெரடுத்து ேதவிையத்் ேதடு (பாட்டும் பரதமூம்)

மாறி வரும் ேமகேம என் தாய் நாடு ெசல்வாேயா......
காதல் சிறைகக் காற்றினில் விரித்து வான வூதியில் ் பரக்கவா (பாலும் பழமும்)

ஆடிய ஆட்டெமன்ன.........
வூடுவைற உறவு வூதிவைற மைனவி (பாத காணிக்ைக)

உள்ளத்தின் தூக்கம் கைலயாேதா........
கைர ேமல் பிறக்க ைவத்தான் (படேகாட்டி)

உள்ளத்தில் இருப்பெதல்லாம் ெசால்லேவார் வார்த்ைதயில்ைல…….
நாலு ேபருக்கு நன்றி (சங்ேக முழங்கு)

தங்ைக உயிைரத் தன்னுயிராய்ப் பார்த்திருந்தான்.......
மலர்கைளப் ேபால் தங்ைக உறங்குகிறாள் (பாச மலர்) - ேசாக version

மந்தைரயின் ேசாதைனயால் மனம் மாறிக் ைகேகயி மஞ்சள் குங்குமம ்இழந்தாள்..........
ஒற்றுைமயாய் வாழ்வதாேல உண்டு நன்ைமேய (பாகப்பிரிவிைன)

ஒருவர் வாழும் ஆலயம் (ெநஞ்சில் ஓர் ஆலயம்)

As you willl notice, all the above are for "pathos" type of numbers. But our Master has composed 4-liners for some happy songs too, like -

சில்ெலன்று பூத்த சிறு ெநறுஞ்சிக் காட்டினிேல......
அவள் ெசந்தமிழ் ேதன் ெமழியாள் (மாைலயிட்ட மங்ைக)

௧ால் கட்டுக் ைககட்டு இல்லாத ெபண்களுக்கு.......
பட்டுப் பாவாைட எங்ேக கட்டி ைவத்த கூந்தல் எங்ே௧ (பறக்கும் பாைவ)

உள்ளத்தில் துணிவிருந்தால்......
ஒன்ேற ெசால்வான் நன்ேற ெசய்வான் அவன்தான் அப்துல் ெரஹமானாம் (சிரித்து வாழ ேவண்டும்)

நல்ல மனதில் குடியிருக்கும் நாகூராண்டவா (அைணயா விளக்கு)

For நிலேவ என்னிடம் ெநருங்காேத (ராமு), the starting 4-liner "நித்திைரயில் வந்த........" by PS is very soft and in a totally different pitch, when suddenly the Sitar vibrates followed by the mermerizing Flute and the ேதன் குரல் of PBS. What a song!

In மதன மாளிைகயில் மந்திர மாைலகளாம் (ராஜபார்ட் ரங்கதுைர), the initial 4 lines are same as the Pallavi, but in a totally different ெமட்டு in a Carnatic base, followed by the melodious "அன்ேப அன்ேப அன்ேப" by PS.

I am sure there will be many more additions to the above, to be listed by our friends.

Long Live MSV and His mesmerizing Music!

Thanks and regards,

Venu Soundar
Back to top
View user's profile Send private message Send e-mail
parthavi
Philiac


Joined: 15 Jan 2007
Posts: 704
Location: Chennai

PostPosted: Thu Jul 09, 2009 7:26 am    Post subject: Reply with quote

Dear Mr.Venugopal,

You have hit the nail on another speciality (shall I say, exclusivity)
of MSV. These lyrical preludes are called "thogaiyaraa" in Tamil. Though, the thogaiyaraa is mainly the handiwork of the lyricists, this serves as handy tool for our Mastero, who would not only compose the lines in a beautiful tune but would also add an enchanting orchestral prelude between the thogaiyaraa and the pallavi.

We find these thogaiyaraas only rarely in songs composed by other MDs ('Mannavan Vandhaanadi' has a thogaiyaraa.) Perhaps, these thogaiyaraa is created by the lyricist at the suggestion of MSV, who, based on the song situation would have sensed that the song could be enriched by the thogaiyaraa.
_________________
P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/
Back to top
View user's profile Send private message Yahoo Messenger
msvramki
Fanatic


Joined: 18 Dec 2006
Posts: 418
Location: Chennai

PostPosted: Thu Jul 09, 2009 11:32 am    Post subject: Reply with quote

A Very Nice thread for us to enjoy !!
Ramki
_________________
isaiyin innoru peyar thaan emmessvee.
Back to top
View user's profile Send private message Send e-mail
madhuraman
Devotee


Joined: 11 Jun 2007
Posts: 1226
Location: navimumbai

PostPosted: Fri Jul 10, 2009 6:23 am    Post subject: Articles &Writings by Fans Reply with quote

Dear Friends,
Nice indeed to have brought out the sane preludes expressed as 'THOGAYARA' in TFM. Quite often Thogayara has a verbal layout free of music, though set to some tune pattern. Also, the thogayara tune would be far removed from the tune pattern that follows in the song. As Mr.Parhavi had put it, I perceive that the lyricist is inspired to comeout with this 'bale out' of thought that takes a lead in poet's mind to explore the the concept further, exploring the idea to obey the requirement of honouring the tune and musical embellishments that make a song. The 'Thogayara' culture has vanished from songs in TFM. Quite a few things emerge for our consideration of TFM if not its uninspiring state of cacaphony. Well, chronologically if we watch the trend, 'Thogayara' has had a dominating existence in the period 1950s to late 1960s and there after it figured in songs on certain occasions. No doubt the 'Thogayara' was a challenging piece to set tunes to. It is a harbinger of the tone of the emotion to follow. Despite its value, the phraseology used has always been of a different order even as compared to the ones in lyric. But an emotion is an emotion and all TFs of the times under review were built on the firm pedastal of human emotions. Naturally it placed heavy demands on lyricists' prowess. The then work being a true team work, the lyricists' emotions were respected because the MDs felt it the right opportunity to reveal their prowess as grand composers undaunted by couplets that had to be treated in a different level. My inference here is, MDs and Lyricists operated as Legislative and the Executive, each respecting the domains of the other. Slowly things changed in the very concept of the songs and to-day there are no songs to be named so.

All that is portrayed as songs is vulgar pistoning of the pelvic zone irrespective of the gender, keeping pace with the beats deafening the ear and defying logic simultaneously.

All I wish to say is with MSV, even 'Thogayaras' had VAGAYARAs [variety about them]. Seeing the discussion on the thread, I broke loose to say something that came to mind. Kindly pardon me for intrusion, if the observation is wrong.

Warm regards Prof.K.Raman Madurai
_________________
Prof. K. Raman
Mumbai
Back to top
View user's profile Send private message Send e-mail
ragasuda
Specialist


Joined: 17 May 2007
Posts: 1532

PostPosted: Fri Jul 10, 2009 9:09 am    Post subject: Reply with quote

தொகையறா வரிசையில் மற்றொரு சிறந்த உதாரணம்
ஓடி வந்து மீட்பதற்கு உண்மைக்கோர் காலமில்லை ...
... மேகங்கள் இருண்டு வந்தால் மழையென சொல்வதுண்டு
...
நான் ஆணையிட்டால் படத்தில் இடம் பெற்றுள்ள இந்தத் தொகையறா மிகப் பிரபலமானது.
ராகவேந்திரன்
_________________
Visit my website for Viswanthan-Ramamurthi
http://mellisai.tripod.com
My blogs:
http://msvquiz.blogspot.com/
http://oldtamilfilmsongs.blogspot.com/
http://oldtamilfilms.blogspot.com/
http://mellisaititle.blogspot.com
Back to top
View user's profile Send private message
parthavi
Philiac


Joined: 15 Jan 2007
Posts: 704
Location: Chennai

PostPosted: Sun Jul 12, 2009 9:17 pm    Post subject: Reply with quote

Dear friends,
Every time, a thoughtful thread is started by one of our resourceful members (what they do is real research), as I keep listening to MSV's songs (one of the routine things I do every day!), I have been able to spot more and more examples. This happened in the case of the threads on clapping and pause (both started by Mr. Srikumar, if I remember correctly), I have been spotting more and more songs with claps/pauses. So, is the case with Thogaiyaraas.
Two more thogaiyaraas I came across are:

Kannaa Vaada........ in the song Kannan Vauvaan from Panchavarnakkili

Nambinoer keduvadhillai, naangu maraith theerppu..... in the song Kannan Vandhaan from Ramu

Both Kannan songs by coincidence, one says varuvaan, another says vandhaan!

I am struck by the feeling how appropriate the thogaiyarra is, for the song Kannan Vandhaan. Apart from serving as a prelude for the main song, this thogaiyaraa also adds depth and solemnity to the song.
Hats off to Kavignar and Mellisai Mannar.

Mr. Shankar has dug out a thogaiyarra (if the term can be used) from the middle of a song (Aayirram kangal from Vazhkkaip padagu) Great observation.
_________________
P Rengaswami (9381409380)
MSV, Un isai kettaal puvi asainthaadum, idhu iraivan arul aagum.
http://msv-music.blogspot.in/
Back to top
View user's profile Send private message Yahoo Messenger
Venugopalan Soundararajan
Philiac


Joined: 12 Dec 2006
Posts: 533
Location: Mumbai

PostPosted: Thu Jul 16, 2009 7:43 pm    Post subject: Reply with quote

Thanks to every one for the eager participation in this thread.

I remembered one more "Thogayara",
"குத்துவிளக்ெகறிய
குடெமங்கும் பூ மணக்க
ெமத்ைத விரித்திருக்க
ெமல்லியலாள் காத்திருக்க"
which is for the great song "வாராதிருப்பாெனா வண்ணமலர்க் கண்ணனவன்" from "பச்ைச விளக்கு".

Then, how should we categorise the following from a great number sung by none other than our Master -
"ேநரான ெநடுஞ்சாைல
ஓரிடத்தில் இரு கூராகப் பிரிவதுண்டு
கூராகப் பிரிந்தைவ
ேவரிடத்தில் மிண்டும் ேசர்வதூண்டு"
from KB's epic movie "காவியத்் தைலவி"

Probably, this is the only song without a specific Pallavi. What a song and what a powerful singing!!


Regards,
Venu Soundar

P.S.: I have a request to all our friends. Please do not address me as "Venugopal". Kindly address me as Venu or Soundar. Hope you will not mistake me.
Back to top
View user's profile Send private message Send e-mail
Display posts from previous:   
Post new topic   Reply to topic    "MSV CLUB" - The Discussion Forum of MSVTimes.com Forum Index -> Articles & Writings by Fans! All times are GMT + 5.5 Hours
Page 1 of 1

 
Jump to:  
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum


Powered by phpBB © 2001, 2005 phpBB Group