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MSV and His Inspirations

 
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ragasuda



Joined: 17 May 2007
Posts: 1532

PostPosted: Fri Jul 16, 2010 7:58 pm    Post subject: MSV and His Inspirations Reply with quote

தமிழ்த்திரையுலகில் வேறு எந்த இசையமைப்பாளருக்கும் இல்லாத பெருமை மெல்லிசை மன்னருக்கு உண்டு. அது தான் காப்பி அடிப்பது என்பது அவரது அகராதியிலேயே கிடையாது.

அதே சமயம் தான் ஒரு சிறந்த ரசிகன் என்பதை அவர் பறை சாற்றியுள்ள பல வகைகளில் ஒரு வகை, பல மற்ற இசையைப்பை தமிழுக்கு ஏற்றவாறு மாற்றித் தருவதாகும். அப்படிப்பட்ட பாடல்களை அலசுவதே இத்தலைப்பின் நோக்கமாகும்.

இதைத் தொடங்கும் விதமாக கீழ்க்கண்ட பாடலைக் கேளுங்கள்
http://bousculade.free.fr/musique/tom_dooley.mp3

உடனேயே பல்லவியைக் கண்டு பிடித்திருப்பீர்கள். நாடோடி படத்தில் உலகமெங்கும் ஒரே மொழி பாடல் நினைவுக்கு வந்திருக்கும். பல்லவி மட்டுமே நினைவுக்கு வரும். பாடலின் சரணங்கள் ?

அது தான் எம்.எஸ்.வி. பல்லவியைக் கூட தாளம் மாற்றி தமிழ்ப்படத்துக்குத் தக்கவாறு, படத்தின் சூழ்நிலைக்குத் தக்கவாறு, கதாபாத்திரங்களின் தன்மைக்குத் தக்கவாறு மாற்றித் தந்திருப்பதை நாம் கவனிக்க வேண்டும்.

இந்த ஆங்கிலப் பாடல் டாம் டூலி என்கிற மேற்கத்திய இசையமைப்பாளர் 1958ல் உருவாக்கி அந்த ஆண்டிற்கான கிராமி விருதைப் பெற்றுத் தந்த பாடல், அந்த ஊர் நாட்டுப்புற பாடலை அடிப்படையாகக் கொண்டதாகும். இப்போது நாம் கேட்பது கிங்ஸ்டன் ட்ரையோ என்கிற குழுவினர் பாடிய பதிப்பு.

நல்ல இசை எங்கிருந்தாலும் ஒரு ரசிகனாய் அதை அனுபவித்து அதை நமக்குத் தரவேண்டிய வடிவத்தில் தரவேண்டிய நேரத்தில் தருவதில் மெல்லிசை மன்னருக்கு நிகர் யாரும் உண்டோ?

அன்புடன்
ராகவேந்திரன்
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Sat Jul 17, 2010 8:10 pm    Post subject: Reply with quote

Dear Mr. Ragasuda,
You have started a very interesting topic. There is already a similar post written by our Dr. Arumainayagam Chakaravarthy about the same subject in which he compared 4 songs of MSV with a western music composition.

The important aspect here is whether this tune is an inspiration or imposition which needs to be unearthed. Many people who followed MSV during that period like Prof, RVS Mani, or Mr. Sundarajan can through some light.

As far as I have understood one story about how director Sridhar imposed his idea is about the song composition ‘anubavam pudumai’. That song was inspired from the song ‘Besame Mucho’. It was told that MSV first tuned the song ‘iduvarai neengal paartha paarvai idarkaaga thanaa’ for this situation. Because this tune represent the feel of the lovers which is ‘viraga dhaabam’ ie separation from the lovers.

But as usual Sridhar rejected the tune but he had a point. This tune does not represent the aristocratic nature of the singer. Very appropriate indeed. So MSV was suggested this tune and was asked to take the inspiration from this song ‘Besame Mucho’.

The fact is people like MSV always doest not want to copy other tune (He has been pressed many time like this to copy tune from Hindi song by Modern Theatre Sundaram to which the duo VR vehemently refused to oblige.) could have been a task to satisfy director Sridhar. And to add points to Sridhar’s opinion this new tune the ‘Besame Mucho’ also represents the ‘viraga dhaabam’.

Here I want to add some of my individual observation that this so called ‘Besame Mucho’ is not a new raga hither to unknown to MSV. This tune after all closely resembles the raga ‘nada bairavi’ and ‘keeravani’. There is a mix of ni2 in the raga ‘nada bairavi’ would give the notes of this song ‘Besame Mucho’. And MSV used this scale even before this song and especially for the situation ‘viraga dhabam’. Take the list from me the song ‘ninakka therindha maname’ (aanandha jodhi), ‘uravu endroru sol irundhaal’ (idhathil nee), ‘ettadukku maaligaiyil’(paada kaanikkai) all represents this feel ‘viraga dhabam’.

But then why MSV did not suggest this kind of tune and instead presented the tune like ‘iduvarai neengal paartha paarvai’. We do not know. But this could be due to the reason that the other situations are all very sober as the lovers have been temporarily parted from their companion. But that is not the case in this situation in ‘kaadalikka neramillai’.

But however when MSV decided to satisfy the director Sridhar he took the idea and finally tuned the song ‘anubavam pudumai’ in the way we hear now. if you closely follow the song you will notice that the line ‘andha ponnana kai pattu punnana kannangale’ clearly taken from the song ‘Besame Mucho’ and the other is the humming comes after the pallavi ‘laa la la laa la la laa laa’ which is also taken from the western song.

Rest all are MSV’s ideas. Take the case of the Violin strings interlude which is very powerful with a counter by flute and ending with the bell sounds and finally with the flute piece which gives the feel of the night time. Take the idea of the violin strings counter when PBS finishes the line ‘thalladi thalladi nadamittu aval vandaal’. The tune now which is similar to the earlier songs like ‘ninakka therindha maname’ ‘uravu endroru sol irundhaal’ etc should have shown some heaviness of sobriety. But instead it shows a very light feel of the lovers who are new to this experience(anubavam pudumai) and since they can express such feel when others are not around this song was shot in the night sequence which is also revealed in the tune.

I have given an example of this songs composition for the topic which is about the other song ‘ulagamengum ore mozhi’. The point here is that this song also could have been imposed on MSV by MGR. There are some reasons for my assumption. First from Mr. Ragasuda’s information the original western version of the song is composed as a melody of a folk music expression. The term ‘nAdodi’ means folk men who move from place to place. MGR could have shown this tune to MSV and wanted a song form this inspiration.


And again if you compare the song from the original western you would notice that the pallavi of ‘ulagamegum’ alone represents the western version and the entire charanam is MSV’s improvement.

This is the reason why you will notice many twists and turns in the charanam. Now compare the original which is sung again and again with the 4 lines of the pallavi(which some how gives boredom) with MSV’s pallavi and charanam together. You will notice the MSV’s version has lot of vaiety.

But since the western version is the expression of their folk culture that is the correct way because many folk songs are always repetitive in tunes and gives more important to the lyrics which are seemed to be common concept be of Indian folk music or other part.

To conclude there are some songs composed by MSV which are very original chords progression and they could have been very novel to the western counter parts. Because MSV blended the gamaga (modulation) concept of Indian music with the chords progression and the westerners would not have got any idea about that.

Take for instance the song ‘oruvar oruvarai pirandhom’ from the movie ‘panathottam’. This is a typical western style composition based on the chord progression. But in the line ‘ulaga sugathile maranthom’ progression is very novel and that idea he got because of his acquaintance with carnatic music. This idea can never stick to others.

The fact is that how many westerners have listened to MSV’s song is not known to us. None of us in India have even understood MSV’s style of composition.
Many christens in Tamilnadu appreciates MSV’s music. The reason is that they since their childhood are exposed to music because of the regular church going. And hence when they hear his music they understand that his style is like a chords progression but since it involves gamaga is very different from western music. This is very novel to them and hence they appreciate. In the same way if his music is shown to a westerner what would be his reaction? But it never happened. See if the song ‘orivar oruvarai piranthom’ refered to the grammy award committee and the result could have been very interesting.


N Y MURALI
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Sai Saravanan



Joined: 10 Jun 2008
Posts: 630
Location: Hyderabad

PostPosted: Sat Jul 17, 2010 10:52 pm    Post subject: Reply with quote

Dear sirs,
This topic has brought out some lively analysis of MM's contribution by both of you. As MM says, he was many times 'imposed' by people to 'listen' and 'follow' the western tunes they bring back from their foreign tours, which he used to politely refuse. Still he says he used to accept a few such suggestions, and as beautifully described by you, the results of those experiments have been totally new.
One of the surprises expressed by Shruti Haasan on his style of composing may also be due to this aspect described by you.
Sai Saravanan
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