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kaiyodu kai pesum kaalangale

 
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Tue Jun 22, 2010 5:27 pm    Post subject: kaiyodu kai pesum kaalangale Reply with quote

Dear Friends,
A long time has passed since we took a song for analysis. It so happened that for the past few days the song ‘Kaiyodo kai serkkum kaalangale’ from ‘Kaaviyathalaivi’ was haunting me.

Looking at closely this song is equivalent to radioactive uranium waiting to release energies.

How beautifully the pallavi,anu pallavi(do we really call it as anu pallavi?) and charnam been clustered to a homogeneous unit when all the three are in different rhythm setting.

First of the way the song starts with a short humming (aalaabana) brings a sense of expectation from the character who is to sing the song but not before a string of violins gives the thrust but ensures it stays there along with the aalabana and nicely hands over to pallavi.

The pallavi rhythm is set mainly with dolak/tabla which is new as this is not something of an over joyous love duet. But the dolak is very sensitive to the mood of the songs and played very softly.

Look at the anupallavi phrasing which is quite different from the pallavi style

‘Aili raani silar velli deebangalai kaiyilendhi varuga
Aasaoyodu silar nannum devadaigal nadanamaadi varuga’

Amazing piece of melody for these lines as it takes twist and turns to an unimaginable level.

Just hear the staring chord of the rhythm guitar when the pallavi starts again.

The first interlude has a string of violin piece after the accordion in which MSV takes the melody to his as usual ‘da1’.

Look at the charanam in which MSV brakes the sandham to many parts and infused life in to that.

‘kaalangal sendraalum neeya deivam
Kallaga nindraalum neeye deivam
Deiveega panbu namm kondaadum anbu
En ullam pon endru ennaalum nambu’
Aha.. aha.. laala aha.
Then the same anu pallavi style phrase with different lyrics. Just see how dynamic the charanam is.

But the best is yet to come!

Look at the second charanam
‘pen vaazhvil selvaakum than maaname
Than maanam thaan kaakum kalyaname
Naan kanneerai vellum oru pennaga vendum
Naan ponnodu pottodu thaayaga vendum’

A great lyric writing indeed if you known the situation.

Especillay see the line

'Naan ponnodu pottodu thaayaga vendum’

She utters these words as her expectation but very pity that quite contrary to that would happen to her when she would be bearing an illegal child that too without her consent. MSV understood the importance of this line and he wanted to infuse emotive value to this. He could have very well repeated the line to make this as important line like the way he did in the song ’malarthum malaraadha’. Instead he allows the girl to get sucked in the emotions and make her attain the ‘oneness.(ekaandham). How could he do that? Well unexpectedly he uses only one word out of the line ‘vendum’ as hif she has already forgotten the reality and after repeating the word second time she is gone. Now no more words! There is a mere ‘m… hum’ ‘m … hum’.

Just recollect it again. The sentence fades in to a word (as she starts dreaming about her longing for a proper marriage and carrying the child) and she attains the oneness immediately and the word itself ceases and only murmuring happens.

Just to add some technical detail the hum which after the two times ‘vendum’ is in a different note which is ‘ma2’ (pradhi mathyamam) which gives that feel of oneness(ekkandham).

It is really amazing for us when we decipher these intricate details after 40/50 years but all these could have happened to MSV in a few seconds. The reason is when he sits for a composing he forgets himself and becomes the character and hence he could bring about without much fuss. But keep your ego intact then you have to lock yourself alone in room and start scratching your head for ideas.

N Y MURALI
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parthavi



Joined: 15 Jan 2007
Posts: 705
Location: Chennai

PostPosted: Wed Jun 23, 2010 7:30 am    Post subject: mellisai mannarum kavignarum kaiyodu kai serkkum Jaalam! Reply with quote

Dear Murali,

As usual, your posting in insightful, with an incisive analysis of both the lyrics and the music. This song would stun me for a moment whenever I heard it. MSV's instant foraying into another realm with the 'Anupallavi - Alli raani sila velli dheepangalaik kaiyilendhi varuga,' immediately after the two short lines of pallavi, with no time even for breathing in between would astonish us momentarily but he would effortlessly return to the pallavi, even before we realize what intrigued us. It is like an astronaut from a lunar rocket stepping out of the vehicle, walking a few steps on the moon and safely stepping back into the rocket, apparently defying gravity, while a layman observing the scene with his heart pounding fast will be wondering how the astronaut could defy gravity.

As I remember the story, the heroine marries an unscrupulous person and delivers a child, but runs away from him to protect the daughter. (In fact, the husband often harps on the legal term 'restitution of conjugal rights.')

Kavignar, as he often does, weaves the future developments into the lyrics in a subtle way, using the concept of irony.

1) The heroine tells the hero:
'en ullam pon endru ennaalum nambu'
But, the hero ends up suspecting her, misled by his friend.

2) She wills, 'pottodum poovoodum thaayaga vendum.' But as a mother, she is forced to give up her 'poovum pottum' by killing her husband, to protect her daughter from him.

3) She avers 'naan kanneerai vellum oru pennaaga vendum.' She sings the song when she is at the height of ecstacy, with her marriage with the hero almost confirmed. Yet she talks about overcoming her sorrow. I once heard Pulavar Keeran mentioning that in Silappadhikaaram, when Kannagi got married to Kovalan, the couple was blessed using negative phrases like, 'neengal iruvarum piriyaamal, thunbam illaamal vaazha vendum' etc signifying that the duo was going to be separated and undergo suffering. In the same way, Kavignar writes 'kanneerai vellum' but it turns out that the heroine has to live with tears, ever flowing from her eyes. (kanneerai vellum pennaaga illaamal, kanneer vellaththil neendhum pennaaga vaazha nergiradhu!)

4) As you have brilliantly pointed out, the emphasis on 'vendum' by MSV is classic. The singer (the heroine) utters the word 'vendum' four times. It is almost a desperate cry asking for the impossible. People in sorrow often do this more out of desperation and out of a sense of inability to reconcile to the situation than out of expectation. This girl does this, though she is happy and has no reason to expect any problems. But the creator feels the need to integrate the future developments in this song of joy. So, he introduces a subtle magic!

MSV is more than a creator. He is a thinking composer!
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msvramki



Joined: 18 Dec 2006
Posts: 418
Location: Chennai

PostPosted: Wed Jun 23, 2010 2:47 pm    Post subject: Reply with quote

Dear Murali,

Excellent analysis of an out-of-the world song of MSV !
In fact, I must have a seen Kaviyathalaivi, may be a dozen times,
primiarily for the music, songs, rerecording and ofcourse for the story too.

THis "Kaiyodu Kaiserkum kAlangale' is a master piece of our master
and mesmerises to you for ever.

From the time I heard this song for the first time during my college days,
some of the nuances of the song which thrilled me are :

1. The multiple rythms that too running soft through out the song.
2. The 'meter' of the Anupallavi - can any composer other than MSV
even give this even in dream ?
3. The Sangathis for different words in the complete song, stressing and adding appropriate emotional factors so aptly to allign with the scene.
4. PS's rendering of the song
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Wed Jun 23, 2010 3:28 pm    Post subject: Resp. Reply with quote

Mama, now I know why you kept talking about this song over the weekend !!!
This song somehow in the mood and feel aspect takes me down the "Alayam enbathu veedAgum Asai vaithhAl' lane, another number from a KB movie , "thAmarai nenjam" !!!
Dont know why, but each time the preludes for these songs start, I get a little sentimental and joyous at the same time. Guess, that is the MSV magic at work.

The anupallavi is little tributary from the river that splashes through joyous undulations, as if taking a detour for the sheer joy of it before finally submitting to its master. Fun filled shrieks from the flute greet the bounce of the tune here, only adding to its lustre.

Murali, you touched some unlocked but potent part of my memory while writing about the "vENdum" extension. How is it that MSV is able to bring out the longing melodiously...... that eventually sucks the protagonist into that very mood, when all that is left is the gentle sigh of a humming..ofcourse melodiously so !!! Remarkable ability to empathize with the character...this fellow MSV has. We atleast have the faculties to appreciate this facet of MSV.

Does the "vENdum" phrase evoke a sense of overprotectiveness towards this woman ? It does, in me.

Murali, thanks to you now, the tune is running in my mind constantly, and I feel a little sad too !!!! Damn this MSV !!!!

Great posting !!!!
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ragasuda



Joined: 17 May 2007
Posts: 1532

PostPosted: Wed Jun 23, 2010 5:40 pm    Post subject: Reply with quote

காலங்கள் சென்றாலும் நீயே தெய்வம்
கல்லாக நின்றாலும் நீயே தெய்வம்
தெய்வீகப் பண்பு நாம் கொண்டாடும் அன்பு
என் உள்ளம் பொன் என்று என்னாளும் நம்பு

இந்த வரிகளிலேயே நாயகியின் உள்ளக் கிடக்கையினை வெளிப்படுத்தியுள்ளார் கவிஞர். ஆனால் அந்த வரிகள் மெல்லிசை மன்னரின் ஆளுமைக்கு வந்த பிறகு நமக்குள் அது ஏற்படு்த்தும் பாதிப்புத் தான் ஒரு படைப்பாளியின் வெற்றியை உறுதி செய்கிறது. இந்தப் பாடலின் ஒவ்வொரு வார்த்தைக்கும் ஏன், ஒவ்வொரு எழுத்துக்கும் உயிர் கொடுத்துள்ளார் மெல்லிசை மன்னர். முதன் முதலில் 1970ல் இந்தப் பாடலைக் கேட்ட நாள் தொட்டு நெஞ்சைப் பிசையும் உணர்வினை இன்னும் நாம் அனுபவித்துக் கொண்டு தானுள்ளோம். நாயகியின் உள்ள வேட்கையினை பிரதி பலிக்கும் வரிகள் - நான் பொன்னோடும் பொட்டோடும் தாயாக வேண்டும்... இந்த இடத்தில் பொன் மாங்கல்யத்தினையும் அதன் மூலம் அவளுக்குத் தேவைப்படும் சமூகப் பாதுகாப்பினையும், பொட்டு சமூகத்தில் அவளுக்குத் தேவைப் படும் அடையாளத்தினையும் அங்கீகாரத்தினையும் குறிப்பிட்டு அவள் இல் வாழ்க்கை வாழ வேண்டும், அவளுக்கு ஒரு குடும்பம் வேண்டும், நல்ல கணவன் வேண்டும், அதன் மூலம் ஒரு குழந்தை வேண்டும், அதன் மூலம் தான் தாயாக வேண்டும் என்கின்ற அத்தனை உணர்வுகளையும் இந்தப் பாடலில் கவிஞரும் மெல்லிசை மன்னரும் கொண்டு வந்துள்ளனர் என்றால் சுசீலா அவர்கள் அந்தப் பெண்ணை நம் கண்முன்னே தன் குரலால் உருவகப் படுத்திக் காட்டிவிட்டார் எனலாம்.

காலத்தால் அழியாத காவியப் பாடலை அலசலுக்கு எடுத்துக் கொண்ட முரளி அவர்களுக்கு பாராட்டும் நன்றியும்.

ராகவேந்திரன்
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Wed Jun 23, 2010 6:03 pm    Post subject: Resp. Reply with quote

Well said Ragasuda.
We have observed in this forum several times that MSV's melodies have a personality, a character. This time around, the melody has the feelings and yearnings of a typical house wife material. And the joy and that elusive shade of heaviness within the confines of the beingness of a "house-wife to be". No garish or loud proclamations of joy, the feelings are all so tender and so feminine....ever so apt.

Ragasuda clearly states that the song did "things" to him, things that a plain, joyful song wouldn't. That magical, evasive, "something else" is what MSV is capable of slipping into a melody that slots itself perfectly within the folds of the melody. Masterly work, quite speechless !!!
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S.Balaji



Joined: 10 Jan 2007
Posts: 772

PostPosted: Fri Jun 25, 2010 12:12 pm    Post subject: Reply with quote

Murali Sir,

No words will be adequate to praise your writeups Very Happy

The song is a class apart. Loads of melody.

Pls also recollect the splendid Sitar usage during the prelude just after the Violin and then PS's humming. Also while PS hums, there will be a lovely rhythm guitar backing with perfect chords !
Also dont forget the Accordion during the first & second interlude Very Happy

I bet , Allirani sila ..... must be the lengthiest Anupallavi set to tune . Imagine how the composing / lyrics would have happened then ! A vibrant MSV teasing Kavignar with a thalam & Kavignar's response >

Vendum each time gives an emotional feeling .

Lovely lyrics from Kavignar visualizing the situation and expressing in his own simple manner .

A query now : Is there a resemblence of Shankarabaranam raga ?

I would categorise this song under ' emotional '. Naan kanneerai vellum oru pennaga vendum ..... We will sympathise with that poor character .
Actually, the song while starts with a cheerful note ends on an emotional way.


Somehow, I always remember Sirippil undagum ragathile whenever I listen to this number Rolling Eyes


Mellisai Mannar uses L.R.Eswari for the junior character for Aarambam indre aagattum but picks PS for Oru naal iravu ! Lot of homework done for choice of a singer no ? Smile

நான் கண்ணீரை வெல்லும் ஒரு பெண்ணாக வேண்டும்..... இந்த இடம் வரும் சமயத்தில் ஏன் என் மனம் என்னையறியாமல் விம்முகிறது !! இதுதான் ஒரு சாதாரண இசையமைப்பாளருக்கும் உணர்வுபூர்வமாக நெகிழவைக்கும் ஒரு மேதைக்கும் உள்ள வித்தியாசமோ !

மாமன்னரின் மிகச்சிறந்த காவியப்பாடல்களில் இதுவும் ஒன்று
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Sai Saravanan



Joined: 10 Jun 2008
Posts: 630
Location: Hyderabad

PostPosted: Sun Jun 27, 2010 1:42 am    Post subject: Reply with quote

Dear all,
A touching melancholy by our master, stirring the nostalgic memories and tonnes of sadness in each one of us. Only god knows how he created MM, and the music that MM created...Every aspect of this song has been touched upon beautifully in these writings. The feeling still lingers on.
The other duet by SPB with LRE is diametrically opposite. It oozes with youthfulness.
Sai Saravanan
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Sun Jun 27, 2010 8:06 pm    Post subject: Reply with quote

Dear Mr. Balaji,
How to find raaga in MSV' s songs. I thing it would be in justice to him if we will find a raga name for his non classical songs. I shall explain why?

The song when starts with the pallavi is indeed floats through the notes of sankarabaranam but unlike sankarabaranam style because MSV never intened that raga in mind at the time of composition. So it is our understanding that it is sanakrabaranam. Because it goes through hormonic note flow of that raga and hence no flower at all of that raga sanakrabaranam.

Take the case of charanam.

kaalangal sendraalaum neye deivam

This line is in the notes of sankarabaranam.

The next line

kallaaga nindraalum neye deivam

In this line the melody goes through 'ni1' which is not sanakrabaranm and this happens only at this place of each charanam in the entire song. The raga sankarabaranam and harikambhodi is differentiated only with the variance of this note where in sanakrabaranam the note is ni2 and in harikambodhi it is ni1.

Is it possible for us to call this song as raga harikambodhi? There is practical difficulty because in all other places like pallavi, anu pallavi there is no shade of harikambodhi.

Then there is one more problem. Take the case of the repeat ion of the word 'vendum' 2 times and the thrid time humming which goes to a unknown foreign note ma2 which is in kalayaani raga. And it happens only at this place in the entire song. So can we cal this song as raga kalayani?

I thing it is better to call this as a music expression of a person who found sounds suiting to the situation beyond the raga concept.

It is very difficult for us to digest this point because we are all raga obsessed.

But give it to a foreigner who will understand and will come out with a statement that it is a good melody.

N Y MURALI
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