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What makes MSV pleasantly different?-VIII

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PostPosted: Tue Sep 09, 2014 3:06 pm    Post subject: What makes MSV pleasantly different?-VIII Reply with quote

Dear Friends
In this piece let us look at some more instances of MSV's calibre.

Percussion- Not a ritual with MSV

To be very honest, in a vast majority of songs, MSV stands out by the exceptionally dexterous arrangement of percussion components as well as the chosen beats which appear to have been crafted exclusively for that song. What makes his orchestration unique is the Divine coherence in the way voice, brass or any other string instruments follow one another or “all in the fray” mesmerism that is enjoyable without suggesting a mess –quite imminent unless precisely commanded into play. In this game, MSV chooses to use his brand of percussion by aligning instruments that may not be traditional by use. This brief opening has to be tolerated as we try to recognize how MM hands out melody through harmony on a platter. Without the Grace of Divinity, and sincerity of purpose from a composer, such pieces can never stay in eternal grandeur. That MSV’s pieces stay enviably youthful is proof of his absolute grasp of the complex process- “Composition”. Some of the following cases reveal how genuine in spirit has this man been all through his life.

The Drum game
‘Anbulla mAn vizhiyE’ -“kuzhandhaiyum deivamum”. This duet has both a version of elation and one of gloom; ironically for both, MSV has nearly availed of the same tune. But, the mood of each is vastly different as between Elation and Gloom. All that MSV has availed of is varying the mood by pace and percussion.

The happy number is peppy too with a soft beat Drum strokes which come to play just after the lyric words ‘anbulla mAn vizhiyE’ are rendered in voice and again after ‘AAsaiyil ore kaditham’ and also after every lyric stretch of pallavi; the Drum is the mainstay for pallavi and is noticed only when pallavi lines are rendered.
For all the ‘charanam sequences, it is the proverbial MSV Bongo with its majesty in controlled play.

For the gloomy number it is just Tabla doing the impactful rounds through the song.

‘VeLLI kiNNam thAn’ “uyarndha manidhan”
The song has several niceties, of which percussion is an element of specialty. Yes, when the pallavi opens on ‘veLLikkiNNam thAn’ the brush gently caresses the Drum not to ‘hurt’ the latter. But, after the I interlude when the pallavi phrases are rendered in Aalap –ah ah ha haa aa aa aa by PS the Brush sweeps over the Drum in measured haste to raise the tempo and the Bongo is too finely squeezed in to make it a seamless bonanza which drops to its dip at ‘innum sollavO’ and PS’s lala laa la la that run the mesmerism in voice. In all the song show cases the art of Drum play in swift and soft touch and runs down to low gear when the tune drops to low pace –all in a brilliantly timed orchestration /singing.

‘Nenjathil iruppadhu enna enna’ “vAzhkai vAzhvadharkE”
Though not much heard these days, the song is a rare breed by its tune shifts which are ably answered through percussion beats on Bongo. Literally, the bongo in this song matches every syllable rendered by the singers and keeps the song and self alive. Considering the age of the song [1963-64], the setting of tune and the tapping of Bongo in close synch to tune is a novelty in thought. The style of percussion is exclusive to this song and is not noticed in most other songs by MSV himself.

‘othayadi pAdhaiyilE’ “nimirndhu nil”
Folk style songs are not the domains of a few folks in TFM as is made out to be. This number of 1967 throws up an arrangement soaked in humble nativity. Yes, watch the total of just about 2 elements of orchestra –a flute, a string strum to sound like percussion and tabla in specific spots. These three elements race with the voices –TMS, PS to showcase folk rendition at its best with just no fuzz! A remarkable piece of a song for its totality even in simplicity.

More to come.

Warm regards K.Raman Madurai
Prof. K. Raman
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Joined: 08 Nov 2006
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Location: Madras, India

PostPosted: Tue Sep 09, 2014 9:18 pm    Post subject: SHEHNAI - THE MAJOR DIFFERENCE Reply with quote

Dear All,

While the Shehnai instrument is predominantly used by many MDS to depict a sad situation, MSV is the lone, gutsy creator who went one step further to use this instrument in many happy situations. One of the note worthy tunes where Shehnai played it's happiest role is in the song Pottu Vaitha Mugamo in the first interlude.

Now, let's come to this song Anbulla Maan Vizhiyeh pathos version. The major difference is the usage of Shehnai in the first interlude that literally depicts the sad mood in every note it has been used. How does he manage to convert / convey this sad feeling all the way till the end of the song through instruments is something that neither do we know nor does Kalaivaani know. One thing we all know is just by the mere touching of Harmonium, an avalanche of melodies get generated and the rest is what else, but history!!!



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