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MSV COMPOSING STYLE PART 4

 
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Thu Dec 25, 2008 6:35 pm    Post subject: MSV COMPOSING STYLE PART 4 Reply with quote

MUSIC COMPOSITION IS AN ART LIKE COOKING. THE BASIC FUNDAMENTALS IN COOKING IS THAT WE SHOULD KNOW AT WHAT PERCENTAGE WE SHOULD MIX THE INGREDIENTS. THIS IS FUNDAMENTAL.

IN THE SAME WAY A LIGHT MUSIC COMPOSER SHOULD KNOW HOW MANY SWARAMS AND WHAT SWARAMS SHOULD BE USED. HE MUST ALSO KNOW AT WHAT TEMPO THE SONGS HAS TO BE SUNG AND IN WHAT SCALE. BASICALLY THE SCALE OR THE SHRUTHI OF A SONGS IS DETERMINED KEEPING IN MIND ABOUT THE SINGERS ABILITY TO PRONOUNCE THE SWARAMS.
I MENTIONED IN MY PREVIOUS POSTINGS PART 3 THAT MOST OF THE COMPOSERS BEFORE AND AFTER MSV HAVE USED THE TECHNIQUE OF RAAGA BASAED COMPOSITION. I ALSO MENTIONED THAT WE CAN ALSO ADD SOME OTHER SWARAMS THAT IS NOT IN THE RAAGA WHICH ARE CALLED SHARP NOTES WITH REFEREENCE TO THAT BASIC MELODY THAT IS THAT PARTICULAR RAAGA.ADDITION OF SHARP NOTES IN NOT MANDATORY. IT IS YOUR OPTION.

MUSIC DIRECTORS DURING LATE 40S AND EARLY 50S HAVE ADOPTED THIS METHOD INCLUDING MSV. SOMETIMES THEY WANTED TO SHOW THEIR INNOVATION SO THEY TRY DIFFERENT THINGS FOR CHANGE. I WILL GIVE AN EXAMPLY.

WE ALL MUST HAVE HEARD THE SONGS ‘VAADA MALARE” IN THE MOVIE AMBIKAPATHI. ONE OF THE GREAT MD SHRI G RAMANATHAN DID THE MUSIC FOR THAT MOVIE. THE SPECIALITY OF THE SONGS IS IT IS COMPOSED FOR A LOVE SEQUENCE. BUT THE COMPOSER HAS USED A RAAGA MUGARI. MOST OF US KNOW THAT RAAGA MUGARI IS ALWAYS USED FOR SORROW SITUATION. BUT THE COMPOSER WAS BOLD ENOUGH TO CHANGE THAT TRADITION OPINING AND WANTED TO CHALLENGE US THAT THE MELODY MUGARI CAN BE USED FOR HAPPY SITUATION. LIKE THIS IF YOU ANALYSIE EACH SONG THERE COULD THOUSANDS OF STORIES.

THE POINT IS THEN WHAT METHOD DID MSV ADOPTED THAT HE WAS LATER ON FONDLY CALLED AS MELLLISAI MANNAR. THE FACT IS MSV NEVER APPROACHED A SONG WITH A RAAGA IN MIND UNLESS IT WARRANTS SO. THERE IS A LISTING OF MSV’S SONGS GIVEN IN THIS SITE ABOUT MSV SONGS AND IN WHICH RAAGA THESE SONGS ARE COMPOSED.

HE APPROACHES THE SONG COMPOSITION AS A MELODY WITH REPECT TO THE SEQUENCE OF THE MOVIE. MSV HIMSELF TOLD ABOUT THIS DURING HIS PROGRAMME IN MEGA TV “ENDRUM MSV” TELECASTED ON 21.12.08.

THE INTERVIER ASKED MSV HOW HE COMPOSED VERY DIFFERENTLY FOR SIVAJI AND MGR. MSV REPLIED THAT HE NEITHER COMPOSED FOR MGR NOR COMPOSED FOR SIVAJI BUT HE COMPOSED THE SONG FOR THE CHARACTER. THE REASON THAT HIS COMPOSTION OF SONGS FOR SIVAJI OR MGR WAS BECAUSE OF THE CHARCTER OF MGR AND SIVAJI IN THEIR RESPECTIVE MOVIES WAS NEVER ALIKE. IT IS BECAUSE OF THIS THAT WHEN YOU HEAR THEIR SONGS YOPU FEEL IT IS DIFFERENT.

BUT AT THE SAME TIME WHEN WE SAY THAT HE DOES NOT APPROACH THE SONG COMPOSITION WITH A RAAGA BASED APPROACH THEN WHAT METHOD HE ADOPTS. SURELY THERE MUST BE SOME METHOD. HE JUST CANNOT GENERATE MELODIES WHIT OUT ANY BASIC STRUCTURE.

IN MY EARLEIR POSTING I HAD GIVEN SONE DETALS ABOUT CARNATIC, HINDUSTANI, FOLK AND MELLISAI. NOW IF WE WANT TO KNOW HIS COMPOSING STYLE WE NEED TO KNOW SOMETHING ABOUT WESTERN MUSIC.

THERE IS TERM CALLED “CHORDS” BEING USED IN WESTERN MUSIC. WITH OUT RAAGA THERE IS NO CARNATIC OR HINDUSTANI MUSIC. IN THE SAME WAY WITHOUT CHORDS THERS IN NO WESTERN MUSIC.THIS APPLIES THROUGHOUT WESTERN WHETHER IT IS RUSSIAN OR GERMAN OR ENGLISH MUSIC.

WHAT IS CHORD? I SHALL GIVE THE EXPLANATION FROM MY YAMAHAA KEYBOARD MANUAL. IT SAYS THAT
“2 OR MORE NOTES PLAYED TO GETHER CONSTITUTE A CHORD.THEY ARE CREATED BY PLAYING MULTIPLE NOTES (SWARAMS) AT THE SAME TIME. THEY ARE THE BASIS FOR HARMONIC ACCOMPANIMENT. EACH CHROD HAS ITS OWN COLOUR (TONE). IT HAS A HUGE INFLEUNCE ON THE OVERALL FEEL OF THE MUSIC PLAYED.

SO THE CHORDS ARE COMBINATIONS OF 2 OR MORE NOTES PLAYED TOGETHER TO ACCOMPANY THE LEAD NOTE. IT HAS TO BE MINIMUM 2. BUT THE MOST POPULAR CHORDS ARE 3 NOTES CHORDS WHICH ARE ALSO CALLED AS ‘TRIO CHORDS’

NOW WE SHALL SEE ONE EXAMPLE OF MSV SONG.

WE SHALL PLAY A NOTE IN SHRUTHI 1 OR IN WESTERN TERM C NOTE.

I EXPLAINED ABOUT THE 12 SWARAMS (NOTES) AND ALSO GIVEN THE NAME OF THE SWARAMS WITH NUMBER TO IDENTIFY. WE NEED TO USE THAT INFORMATION HERE IN ORDER TO UNDERSTAND THE STYLE OF MSV COMPOSTION.

STEP 1
LET US NOW PLAY SA, GA2, PA TOGETHER.
IT GENARATES A SOUND. THAT SOUND IS CALLED ‘C MAJOR’ CHORD.

NOW LET US PLAY THE SAME ABOVE NOTES ONE BY ONE. THAT SI WE PLAY LIKE SA – GA2 – PA . IT GENERATES A MELODY.

LET US GIVE A LYRIC FOR THE ABOVE MELODY.

THE LYRIC IS “ANBE VAA”

STEP 2
LET US NOW PLAY RI1, MA2, DA1 TOGETHER.
IT GENARATES A DIFERENT SOUND TO THE EARLEIR ONE. THAT SOUND IS CALLED ‘C’ ( C SHARP) MAJOR’ CHORD.

NOW LET US PLAY THE SAME ABOVE NOTES ONE BY ONE. THAT SI WE PLAY LIKE RI1 – MA2 – DA1 . IT AGAIN GENERATES A DIFFERENT FROM THE MELODY AS PER STEP 1.

LET US GIVE A LYRIC FOR THE ABOVE MELODY.

THE LYRIC IS AGAIN “ANBE VAA”
STEP 3
LET US NOW PLAY GA1, PA, NI1 TOGETHER.
IT GENARATES A VERY DIFFERENT SOUND TO THE EARLEIR TWO STEPS. THAT SOUND IS CALLED D’ (D SHARP) MAJOR’ CHORD.

NOW LET US PLAY THE SAME ABOVE NOTES ONE BY ONE. THAT IS WE PLAY LIKE GA1 – PA – NI1 . IT AGAIN GENERATES A DIFFERENT FROM THE EARLEIR MELODY.

BUT THE LYRIC GIVEN BY THE WRITER IS “VAA’ ONLY. SO IT PERMITS USAGE ON ONE SWARAM
SO WE PLAY NI1


STEP 4
LET US NOW PLAY GA1, PA, SA (HIGHER PTCH) TOGETHER.

IT GENARATES A VERY DIFFERENT SOUND TO THE EARLEIR TWO STEPS. THAT SOUND IS CALLED D’ (D SHARP) MAJOR’ CHORD.

NOW LET US PLAY THE SAME ABOVE NOTES ONE BY ONE. THAT IS WE PLAY LIKE GA1 – PA – SA (HIGHER SCALE). IT AGAIN GENERATES A DIFFERENT FROM THE EARLEIR MELODY.

BUT AGAIN THE LYRIC GIVEN BY THE WRITER IS “VAA’ ONLY. SO IT PERMITS USAGE ON ONE SWARAM
SO WE PLAY SA (HIGHER SCALE)

WHAT WE ACTUALLY PLAYED ABOVE IS THE SONG ANBE VAA. F YOU NOTICE FROM THE ABOVE THE MELODY FOR THE PALLAVI WAS DERIVED FROM THE INSPIRATION OF THE CHROD.

THIS IS HOW HE COMPOSED MOST OF HIS SONGS. IF YOU NOTICE THE CHARANAM OF THIS SONG YOU WOULD NOTICE THERE IS NOE ADDITIOANAL CHORDS WHICH COMES IN TO PLAY WHICH IS B MINOR. WITH THESE 5 CHORDS HE BUILT UP THIS MELODY.

NOW LET US EXAMINE FROM THE RAAGA ANGLE. CAN WE CALL THIS BY ANY RAAGA NAME? IF YOU NOTICE FROM THE ABOVE THE SWARAMS THAT ARE USED IN THIS SONG IS SA, RI1, RI2, GA1, GA2, MA1, PA, DA1, NI1. WE CAN PROBABLIY CALL THIS SONGS IN RAAGA SINDHU BAIRAVI, BECAUSE IN SINDHU BAIRAVI YOU WILL HAVE ALL SWARAMS MENTIONED ABOVE EXCEPT GA2.

THE SONGS ITLESF BEGINS WITH A NOTE SA – GA2 – PA. SO HOW CAN WE CALL THIS AS SINDHU BAIRAVI?

IN THIS REGARD I ALSO WISH TO STATE ONE ILLAYARAJ ASONGS “POONGATRU PUTHIRANATHU” IN MOONDRAM PERAI. IF WE NOTICE THAT SONG ALSO HAS THE SAME SWARAMS LIKE THAT OF ANBE VAA. BUT THE IMPORTANT DIFFERENCE IS WHILE ANBE VAA IS CHORD BASED MELODY THE OTHER ONE IS RAAGA BASED.

WHY CANT WE CALL THE CHORDS ITSELF A RAAGA? AFTER ALL WHAT IS RAAGA? IT HAS A SET OF SWARAMS FROM 7 OR 6 OR 5 OR 4. WHY CANNOT THE CHRODS WHICH HAS 3 SWARAMS IN IT BE A RAAGA? YES WE CAN IF WE WANT. BUT THE PROBEM HERE IS WHILE A RAAGA BASED SONGS WILL HAVE ONLY ONE RAAGA, HIS CHORDS BASED MELODY HAS MULTIBLE CHORDS IN ONE SONG ITSELF. SO IF WE NAME THE CHORDS AS RAAGA THEM WHAT RAAGA NAME YOU WOULD CALL FOR SONGS WHICH CONSITS OF 5 CHRODS LIKE THIS SONG ANBE VAA.

I HAVE BEEN PLAYING HIS SONGS FOR OVER 25 YEARS AND I WOULD HAVE ATLEAST PLAYED NOT LESS THAN 2000 SONGS. I WISH TO TELL YOU THAT 2 OUT 3 SONGS WOULD BE IN THIS STYLE. SO HIS COMPOSTION IS NOT RAAGA BASED.
THEN HOW CAN WE CALL HIS STYLE? MAY BE BY NAME CHORD BASED STYLE OR “CBM”.

IT IS ONLY MSV WHO CHOOSE THIS STYLE AND I NEVER FOUND OTHERS USING THIS CONCEPT. I AM SURE ABOUT THIS BECAUSE I HAVE ALSO PLAYED HINDI SONGS, KVM SONGS AND ILLAYARAJA SONGS.

SO IN NUTSHELL WE CAN SAY THAT HE APPORACHED EACH SONGS WITH A MELODY LIKE A BUILDING ARCHITECT.
WHEN AN ARCHITECT CONTRUCTS A BUILDING HE RAISE PILLARS. THEN HE CONNECTS THE PILLAR WITH BEAMS AND BRICK WORKS. HE FINSHES THE BUIDING WITH PLASTERING AND DECORATE IT WITH ELEVATION ETC.

SAME WAY MSV SELECTS MULTIPLE CHORDS FOR A BASIC MELODY. THESE ARE HIS COLUMNS. HE COONECTS THIS WITH INDIUAL MELODY NOTES WHICH IS HIS BRICK WORKS. AND HE DECORATES IT WITH PRELUDES AND INTERLUDES.

ARE WE SURE ABOUT OUR CONCLUSION? I AM PRETTY SURE. THE REASON I AM SAYING IS THAT I CAN QUOTE THOUSANDS OF HIS SONGS IN THIS STYLE.

NOW WHAT DOES MSV SAY ABOUT HIS COMPOSITION STYLE? I REF TO ONE FROM THE HINDU KERALA EDITION DATED 25TH MAR 2005. TO THE REPORTER Mr. K SANTHOSH HE SAYS,

“I've composed songs, comprehending the strength and weakness of each singer. Hence, I could bring the best out of the likes of Trichy Loganathan, M. M. Mariappa, Ghantasala, Shamshad Begum, Talat Mehmood, Lata Mangeshkar, T. M. Soundarajan, Seerkazhi Govindarajan, Balamuralikrishna, K. J. Jesudas, S. P. Balasubramaniam and P. Susheela. Save the case of semi-classical songs, I never have a raga in mind when I compose. The tune simply takes shape. Once the sthayi (basic piece of melody) is ready, the antara (improvised phrases) falls into place. There have been occasions when I took long to create a piece of melody. I worked hard for five months to get the right tune for "Nenjam Marappathille,'' Mr. Viswanathan says.”

HE SAYS THE WORD STHYI WHICH IS THE BASIC MELODY? THAT BASIC MELODY COMES FROM SELECTION OF A GROUP OF CHORDS. EVEN THE SONG NENJAM MARAPPATHILLAI IS ALSO IN THIS STYLE ONLY.

THIS STYLE WAS TOTTALLY AN UNIQUE AND NEW CONCEPT. JUST TAKE YOUR THOUGHTS AS A FLASH BACK BY 50 YEARS FROM NOW AND IMAGINE YOUR SELF HOW TAMIL MUSIC INDUSTRY WAS OPERATING AT THAT TIME. COMPOSITION USED TO BE IN RAAGA OR AT THE BEST WITH SOME SHARP NOTES. HE NOT ONLY CHANGED THE COMPLEXION OF THE COMPOSITION BUT ALSO CHANGED THE WHOLE SYSTEM OF ORCHATRISATION. WITH THIS NEW METHOD CAME NEWER INSTRUMENTS LIKE PIONO, ELECTRIC GUITAR, AND VIOLINS. AND IN THE RYTHEM SECTION BANCOOS, TRIPLE CONGO, TUMBA WAS ALL NEW TO THE INDUSTRY. WITH THE STYLE OF COMPOSTION TO THE INSTRUMENTS THERE WAS A TOTAL FACE LIFT.

SO IN EFFECT WHAT HE HAS DONE WAS HE LOOKED AT MUSIC COMPOSTION FROM THE TRADITIONAL STYLE WITH A MODERN ONE. THAT IS HE LOOKED AT INDIAN MELLISAI WITH A WESTERN TOOL WHICH IS CALLED CHORDS. BUT WE CANNOT CALL HIS SONGS ARE BEING IN WETERN STYLE. THERE WILL EVERY BIT OF INDIANNES WE WILL FIND WHEN WE HEAR HIS COMPOSITION. HOW MANY US WOULD BOTHER TO HEAR CLASSICAL WESTERN MUSIC. WE DO NOT EVEN HEAR OUR OWN CLASSICAL MUSIC CARNATIC. WE ARE ALL MASS PUBLIC. ONLY RANCHAGA MUSIC APPEALS TO US. REMEMBER G S MANI IYER CALLED HIM AS RANCHAGA RAJA. LIKE A MOTHER WHO HIDES THE VEG IN FOOD WHICH THE CHILD DOES NOT LIKE TO EAT HE HAS UTILISED A WESTERN CONCEPT TO PUT FORTH HIS MELODY. I NOTICED ONE INFORMATION FROM OUR SITE THAT HARWARD UNIVERSITY IN THE US HAS TAKEN HIS COMPOSITION FOR RESEARCH. I DO NOT KNOW WHAT RECEARCH THEY ARE DOING? CAN ANY ONE GIVE MORE INFORMATION?

INCIDENTTALY WHEN ILLAYARAJA CAME TO SCENE PEOPLE USED TO SAY THAT MSV IS GOOD AT LIGHT MUSIC AND ILLAYARAJA IS GOOD AT WESTERN MUSIC. BUT IF THEY REALLY LOOK INTO THE COMPOSITION OF THE TWO MUSICAL GIANTS THEY WILL NOTICE THAT MSV’S COMPOSITION IS MORE TO DO WITH WESTERN SINCE IT USES THE CONCEPT OF CHORDS AND ILLAYARAJA IS MORE DO TO IN INDIAN CLASSICAL MUSIC BECAUSE TI IS MOSTLY ON RAAGA BASED. I AM NOT DENYING THE FACT ABOUT ILLAYARAJA’S KNOWLEDGE ABOUT WESTERN MUSIC. INFACT HE IS ONE MD WHO HAS STUDIED AND LEARNT THE CLASSICAL WESTERN. BUT IF WE SEE HIS COMPOSITION IT IS ONLY BASED ON INDIAN RAAGAS. THE WETERN MUSICAL METHOD HE TRIIED ONLY IN THE ORCHASTRITATIONS. IN FACT ILLAYARAJA’S FANS USED TO TALK THAT ILLAYARAJA HAS COMMPOSED SONGS IN VERY RARE RAAGAS LIKE POORVI KALAYANI. LALITHA ETC. AND EVEN ILLAYARAJA MAINTAINED THE MELODIES. IT IS ONLY AFTER HIS ERA TODAY WE ARE OFFERED JUNK. THE ARE BARTARING THE MELODY FOR THE TECHNOLOGY.

ONE OF THE REASON I AM WRITING THIS I HAVE A “YEKKAM” WHETHER ANY NEW MD COULD COME AND REDISCOVER THE LOST MELODIES IN THE TFM. WHY SHOULD NOT A PERSON TRY THIS METHOD WITH HIS OWN CREATIVITY AND PROVIDE A NEW VERSION OF MUSIC. WE ALL KNOW FASHIONS ALWAYS COMES IN CYCLE. SO WHY NOT MUSIC STYLE?

WE WILL ONLY PRAY THAT SOMEBIDY COMES TO THE EARTH WITH THAT MISSION IN MIND.

IF THIS IS MSV STYLE OF COMPOSITION, FROM WHERE HE COULD HAVE GOT THIS INSPIRATION TO COMPOSE SONGS FROM A WESTERN TOOL CALLED CHORDS. THERE IS A REASON FOR THAT. I SHALL SHARE WITH YOU IN MY NEXT POSTINGS?

TILL THEN GOOD BYE.

N Y MURALI
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parthavi



Joined: 15 Jan 2007
Posts: 705
Location: Chennai

PostPosted: Tue Dec 30, 2008 9:25 pm    Post subject: Reply with quote

A brilliant analysis, Mr. Murali. The same points were explained to me by you using your keyboard, when I visietd your hose this Sunday. I share your 'ekkam'. In fact my ekkam has been why MSV himself is not creating the magic now. I don't think his era is over. Now, we are hearing a lot about MSV, thanks to a great extent to the daily flow of Amudha Gaanam and the weekly Endrum MSV program of Mega TV.
I understand that MSV is composing music for a film called 'Vaalibhan Sutriya Ulagam.' I also read in The Hindu that MSV has composed a song sung by TMs and PS. This song has been recorded already! I hope (rather expect) that songs of this film will become hits and the new generation of film music lovers will discover the magic of the Masteroe.
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PostPosted: Thu Jan 08, 2009 8:56 pm    Post subject: Reply with quote

Dear N Y Murali,
I am so happy to note that I am not alone in my opinion on the compositions of MSV. This article is one of the best in this site. How do I get to the previous three parts?I play and listen to heavy dose of Western classical and light music as well as old TFM. and could appreciate the pains you have taken to explain the subject.In my opinion it is equivalent to teaching the basics of E=mc2 to non mathematicians and wanted an explanation. All the best and waiting to hear more.
Chakravarthy.
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Fri Jan 09, 2009 12:22 am    Post subject: Reply with quote

‘KANDEN CHAKRAVARTHIYAI !’

DEAR SIR, THIS IS HOW LIKE KAMABARAYANAM STYLE I WANT TO CONVEY MY EXCITEMENT WHEN I READ YOUR RESPONSE TO MY ARTICLE PART 4. INFACT I READ YOUR ARTICE MSV AND WESTERN MUSIC EVEN BEFORE I JOINED THIS CLUB. THE GOOD THING ABOUT YOUR ARTICLE WAS THAT THE LINK SITE FOR THE WESTERN SONGS WHICH YOU HAVE COMPARED WAS GIVEN SO THAT PEOPLE COULD HEAR AND MAKE THEIR OPINION.

I ALSO WATCHED CLOSELY ALL THE SONGS. AS RIGHTLY SAID BY YOU MSV HAS TAKEN ONLY THE INSPIRATION. INFACT AMONST ALL THE SONGS ‘ULAGAMENGUM ORE MOZHI’ SEEMS TO HAVE MORE CLOSENESS THAN OTHERS. EVEN THE ORIGINAL SONG HAS 4 DIFFERENT LINES COMING IN REPEATION. BUT MSV SONG GOES TO VARIOUS PLACES.
YOUR ARTICLE WAS VERY NICE AND I LOOK FORWARD TO HAVE MORE FROM YOU FROM THE WESTERN PERSPECTIVE.

THE REASON I JOINED THIS CLUB IS TO HIGHLIGHT THE COMPOSING STYLE. WHILE I APPRECIATE ALL THE OTHER FANS WHO ARE SIMPLY ENTHRALLED BY HIS MUSIC I ENJOY MYSELF BY PLAYING HIS SONG AND FINDING OUT HIS METHOD OF COMPOSITION. THIS I HAVE BEEN DOING FOR THE PAST 25 YEARS.

I WANT TO WRITE A RESEARCH PAPER ABOUT HIS COMPOSITION STYLE. THE REASON THE WORLD HAS TO KNOW THIS GENIUS. SO FAR I FEEL NOBODY SEEMS TO HAVE PICKED UP ANY CLUE ABOUT THIS. OTHERWISE THEY WOULD HAVE HONOURED HIM WITH AWARDS. SINCE YOU KNOW MUSIC SO IT IS EASY FOR YOU TO UNDERSTAND. BUT I DO NOT KNOW ABCD OF WESTERN MUSIC OR KARNATIC MUSIC.

YOU ASKED ABOUT THE OTHER 3 PARTS OF THE ARTICLE. IF YOU GO TO THE FORUM SECTION YOU WOULD FIND IN THE 1ST HEADING ‘MSV TKS COMPOSING STYLE. IN THOSE PARTS I TRIED TO EXPLAIN THE M,. C2, AND E ABOUT MUSIC.

BUT I HAVE WRITTEN PART 5 OF THIS ARTICE IN THE SECTION ‘PICK A SONG AND ANYLISE’ UNDER THE SUB HEADING ‘WHAT RAAGA IS MALLIGAI EN MANNAN MAYANGUM’ IN WHICH I TRIED TO EXPLAIN THAT THE SONG WAS NOT COMPOSED IN ANY RAAGA BUT WITH THE LINKING OF THE NOTATION OF 5 CHRODS. IN THE REPLY COLOUMN I MENTIONED ABOUT PART 5 WHERE APART FROM GIVING DETAILS ABOUT MSV STYLE OF COMPOSITON I HAVE ALSO GIVEN REASON HOW MSV COULD HAVE DEVELOPED THIS METHOD. THAT COULD BE INTERESTING FOR YOU.

NOW I NEED YOUR HELP. I HAVE AQUIRED A SOME KNOWLEDGE SINCE I HAPPENED TO BE AN AMATURE COMPOSER AND HAVING SOME KNOWLEDGE ABOUT CARNATIC MUSIC. I SAW YOUR PROFILE WHEN I READ YOUR ARTICLE.

I THINK WE COULD PUT OUR KNOWLEDGE TOGETHER IN THIS ENDEVOUR AND CAN MAKE OUT AN UNBIASED AND BALANCED RESEARCH ABOUT HIS STYLE AND SHOW TO THE WORLD ABOUT THIS COMPOSING GENIOUS. THIS WOULD BE THE FITTING TRIBUTE TO HIM. OFCOURSE MSVTIMES WOULD HAVE SERVED ITS PURPOSE IF THAT HAPPENS.

MY CELL NO IS 98409 08843. IF YOU WISH YOU COULD TALK TO ME.

REGARDS,

N Y MURALI
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