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Naan pesa ninaipadhellam nee pesa vendum - Paalum pazamum
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S.Balaji
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PostPosted: Wed Feb 14, 2007 10:28 pm    Post subject: Naan pesa ninaipadhellam nee pesa vendum - Paalum pazamum Reply with quote

When it comes to perfection…..or someone to be certified as a PERFECTIONIST…it should be none other than Nadigar Thilagam only

Countless number of roles that Shivaji had played ….were all with perfection…but somehow I am fascinated since my school days…by seeing the role of a Doctor in Paalum Pazamum…. There are several traits that a Doctor normally possess….absolute professionalism, warmth, kind heartedness….gentle…..mild approach…..

Shivaji exhibited all the traits of a Doctor in this movie….

Like …going for morning rounds along with nurse and fellow staff….having a courtesy chat with the patients….casually browsing the chart of every patient and giving instructions to the Doctors who follow him….

Or for that matter….showing utmost respect for the Senior Doctor ( Nagaiyah the veteran ) while talking to him…..

- while coming across Sarojadevi for the first time… showing a gentle surprise reaction and appreciation for her timely support and quick understanding of an issue….

-even in the beginning of the movie…when SV Subbaiah and Balaiyah ( who will bring him up in life….the movie will briefly touch Shivaji as somewhat an orphan but was nurtured by Subbaih’s family ) and for all the praises heaped on him..Shivaji will respond well by saying that its all due to the care they had taken to guide him…that he has reached this level in life… etc etc..

- the love and affection that he pours on his brother Prem Nazir

Even while talking to a typical M.R.Radha character in this movie….Shivaji will display the same mild mannered approach…..except during the final scenes….when he has to burst out with frustration…and while singing Ponaal pogattum podaa….. ( why not…when someone loses his wife….all emotions will have to come out and noone is an exception to this )

I am quite fascinated by the gentleness shown by Nadigar thilagam…for the song…NAAN PESA NINAIPADHELLAM NEE PESA VENDUM……

Time and again….it was the MOST FORMIDABLE COMBINATION OF …….SHIVAJI , SAROJADEVI, KAVIGNAR, TMS, SUSHEELA, MELLISAI MANNARGAL…MSV WITH TKR, AND THE ONE AND ONLY BHEEMSINGH….

The song appears soon after they get married ….. Starts with a beautiful tabla ….followed by the famous duo’s customary Violin support, flute….. and then…PS starts with Naan pesa ninapadhelaam nee pesa vendum…..Shivaji will look absolutely majestic with a cap…. And half shirt ( will also look a bit bulky ?? ) while Saro will be in a lovely saree …

….. another beauty of this song is that TMS just sang the words…. NAAN KAANUM ULAGANGAL NEE KAANA VENDUM…. NEE KAANUN POZUDHAAVUM NAAN AAGA VENDUM…NAAN AAGA VENDUM…..
After this , for every end of a sentence..TMS will support by saying Oom Oom…and it will be a lovely support…flow for the song to maintain the continuity…. It will be like Shivaji saying yes yes to all Saro sings…..


Lets go through the words in depth …so that we will realize the beauty of this eternal melody….and evergreen hit…

-Paalodum pazam yaavum unakaaga vendum…unakaaga vendum….

-Paavai un mugam paarthu pasiyaara vendum …pasiyaara vendum ( here the duo’s penchant improvisation when PS stretches the words )

-Manadhaalum ninaivaalum thaayaaga vendum….naan aaga vendum…

-Madi meedhu vilayaadum seyaaga vendum…neeyaaga vendum….

-Sollendrum moziyendrum porulendrum….illai…porul endrum illai….

-Solaadha sollukku vilai yedhum illai villai yedhum illai….

-Ondrodu onraaga uyir serndha pinnay uyri serndha pinnay…..

-Ulagangal namaiyandri veraydhum illai… veryadhum… illai…..

The interludes are rapid fast as the violin & flute play active role & a smooth shift to the charanam through the crisp tabla !

The tabla support will be consistent through the song .

Quite amazing that with minimum instruments , MSV had created an absolute magic . Superb tune , a lilting melody !

Also, the composing style , the tune, the ludes all speak volumes about the etiquette supposed to be followed between a cultured couple ! Look how much of homework , the duo have done those days !

For every shot by shot while Sarojadevi will be singing with full of grace…Shivaji will exhibit his DOCTOR’s class… by reacting with all gentleness…
At one shot , he will casually throw the saree on the face of Saro and will cover her…..and even that will look terrific….to show that fondness and affection that they share…the mutual love and the respect for each other…admiring each other….

Idhai vida menmayaaga oru kanavan manaivikkul irukkum oru sondham, bandham oru kaadhalai veru yaarum azagaaga kaata mudiyaadhu…..
Idhu ennudaya thaazmayaana karuthu…..

Bheemsingh..should be appreciated for having shown Nadigar thilagam… in various characters and was the karta of the famous Paa series….. Paalum pazamum, Padikaatha medhai, Paarthaal pasi theerum, Paasa malar, Paar magalay paar, Padithaal mattum podhumaa …etc etc……

Coming back to the movie…. Its not that this is the only song which is a beauty….. every song is all class and one can write a posting for each other song..as they are all precious gems……

IMHO, the songs from this movie still hold good having survived the test of times !

KAALATHAAL AZIYAADHA ORU PAADAL…ORU PADAM .
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Srinivass NV
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PostPosted: Fri Feb 16, 2007 7:50 am    Post subject: Hats Off! Reply with quote

What a song to pick up?!...and...fantastic run-through.

This is another monument created by MSV. Any other Music Genius would have been subdued by the powerul Lyrics of Kannadasan, deep rendering of TMS/PS.

To me, it appears that the first FAN of MSV would be none other than that greatest poetical Legend himself!... Am sure, Kannadasan would always have been positively jealousy of MSV.

Back to the Music : This song is basically a MINOR song; I am not a Specialist in Western Classical... I prefer to go by my own logic as under :

A Chord is just a representation of Sa Ga Pa, irrespective of whatever Scale or Aadhara Sruthi; If Ga1 is used in the above progression, it gives a sense of pathos (Minor); If Ga2 is used, its joyful (Major). It is an essential Grammar of Music that the divine Nature naturally prohibits usage of both the 'Gas' within a same musical progression for the sheer fact that these two are complementary and hence highly disHarmonious!....

Ofcourse, all these disHarmony are for all of us...and for all the Peanuts producing noise... Certainly not for the Greatest Human Form of Music!...

This is yet another Technically monumental Song, where the Song is basically on a Pathos (Minor) Chord (Based on Siva Ranjani) but there are quite a number of phrases where the Genius 'Flows' out to "Major" progressions based on Ga2!!!!! without even giving us a Clue of the Deviation!...

Ofcourse, this has also been done (followed) by others like Genius Illayaraja, RD Burman...etc... but never they have done this without even giving an apparent clue...

Classic place is : "Naan Kaanum Vulagangal Nee Kaana Vaendum!..."

The theme of his intuition never permitted to use Fully MINOR (pathos) progressions for this song as this song is supposed to represent a NEGIZHCCHI not SOAGAM! The natural Algorithm inside the Genius could probably detect, a mix up of MAJOR and MINOR in a proper ratio could represent NEGIZHCCHI... and has done this deceivingly Harmonious again!...

Are we not blessed by the mere fact that we Love this Genius?

With Love

NVS
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S.SAMPAT
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PostPosted: Fri Feb 16, 2007 7:52 am    Post subject: Reply with quote

Dear Balaji,

Though you used to say "nan rasikan mattumae", I simply amazed at your rasanai". What a in-depth study of the song sequence. I appreciate your great reverence for Nadigar Thilakam and What lyrics!!! With ur explanation of the lyrics, Kannadhasan has come alive once again Sir.

IMHO, you are unmatchable in narrating the storyline, sequence analysis!!

Great indeed!!

I am sorry!!!! you made me forgot to mention about the melody atlast gentleman!!! Friends, what a song and what a melody!!! As rightly pointed out by Mr.Balaji, these songs are evergreen in our memory as the music,lyrics and sequence of the songs are very much apt for the situation.

regards.

Sampat
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S.SAMPAT
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PostPosted: Fri Feb 16, 2007 8:12 am    Post subject: Reply with quote

Dear NVS,

Shall i take up the chord analysis for this song?? I do not have the song in my library as of now. If Mr.Vaidy includes this song in our site it would be better.

Are you talking about the chord progression in which both Gas are used simultaneously or you are talking their usage as Ga1 after Ga2 or vice versa in our carnatic system of classical music?? Kindly clarify. If the later is true kindly permit me to differ from ur views. If u permit me I will share my views.

Great appreciation of Balaji's writing Mr.NVS.

regards.

Sampat
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vaidymsv
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PostPosted: Fri Feb 16, 2007 10:46 am    Post subject: PAALUM PAZHAMUM!!! Reply with quote

Dear Balaji,

Paalum(your write - up) Pazhamum (NVS's analysis) sernthu, panchamridhamaga mari, virundhu onrai alithamaikku mikka nanri. One of the greatest duets of our Master Creator tuned to perfection, tuned to last till the world lasts!!!

MSV SCORES!!!

CHEERS
VAIDY
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Srinivass NV
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PostPosted: Fri Feb 16, 2007 2:03 pm    Post subject: Dear Sampat, Reply with quote

Dear Sampat,
1. Great!… it would be our pleasure if you would kindly take up the Chord Analysis for this Song…

2. Where does the question of ‘me permitting my dear Sampat to differ with me’ arise when I love MSV-Loving Technocrats like you as much as I love the Genius himself!.. Go on… I would take this as a blessing to learn from you.

Now!… A small prelude about my mediocre background and some basic assumptions with which I wrote my views on the song; This would help you to assess me and hence guide me in such a way I could understand :

Although I was extremely fortunate to be blessed with a Carnatic Guru (by name Mr.M.R.Srinivasan) who is a highly devoted Musician, if I should honestly confess, my association with him has been very synonimous with that of the Dialogue in ThiruVilaiyaadal : “Paanapatthiraridam Paattu Katthukka Poyi 'Chee!..Thoo!.. vunakku Sangeethamae Varaadhu’-nnu solli Thoratthi Vittuttaar!”

With my half-cooked awareness on Carnatic and a Self-evaluated Truth Table of how Music is composed in Cinema, I started framing my own point-of-views, which to a fair extent, appeared convincing…atleast to myself;

The perceived Truth Table (??) is as follows :

My Basic Assumptions :
1. The Scale which we refer from now on would be C-G-C (Sa-Pa-Sa)

2. There are only 2 Notations which play the most crucial role in deciding the mood of any Raga : D#, E; as referred to this scale (Ga1, Ga2); Raagas with E, invariably sound more Joyful than their D# counterparts; Of course, all the other Notations contribute to modify the Mood, to represent various colors of life; They do not have the power of changing the Basic Mood

3. For sake of simplicity, I would prefer to exclude some Ragas where both D# & E are existing together (Like Naattai); My Vote is always for Ragas which have either D# or E as ‘Ga’… not together, because, for a preliminary like me, it is easy to Handle it and at the same, they have the ability to produce distinctly clear Basic moods.

4. To substantiate,…it could be only because the Notation ‘Ga’ is so deterministic of the mood that even Westerners have included it together with Sa & Pa (Sa-Ga-Pa) to pronounce as a Chord.

5. Now, as I understand, a Raga with D# as ‘Ga’ (and having ‘Pa’ in its framework), has a C-Minor as the fundamental Chord…and one with E as ‘Ga’ has C-Major as the fundamental Chord.

6. All the other Chords within this ‘C-G-C’ Scale are basically nothing but Sa-Ga-Pa when viewed individually… (For Eg: a D-Minor Chord in the above Scale is nothing but ‘Sa-Ga1-Pa’, imagining D as the Fundamental Note ‘Sa’…and so on)

7. Now, while composing using the above ‘C-G-C’ Scale, the Music Director must naturally look for whether all the concerned Notations (D-F-A) find a place in the Raga he has chosen to compose. If even one of the three is not existing in the Raga, it could sound absurd to use D-Minor Chord anywhere in the song.

8. Probably in this case, a C4th or C6th Chord (Sampat, bless me with your opinion here) could come handy.

9. Whenever referring to a Major or Minor, it is essential that I donot refer to Major Scale & Minor Scale as referred by the Western Classical. I restrict myself to a Major Chord or Minor Chord because, to me, the rest of the Chords & Notations depend on what Raga is under Scrutiny.

Now…to the Song “Naan Paesa Ninaippadhellaam” :

With the above Self-evaluated basic assumptions, I look at the Song (assuming the Song is in C-G-C Scale) :

1. The Basic Raga (Since this is MSV’s creation, I would say, the most sounding Raga) behind this melody is ‘Siva Ranjani’ : C-D-D#-G-A-C (Sa-Ri2-Ga1-Pa-Da2-Sa);

2. Hence, the Fundamental Chord of this Song is C-Minor; The Prelude starts at ‘Sa’ of the higher Octave (Sa-Ri-Sa) and the Melody dominantly starts at D#; (C-Minor Chord)

3. Now, the point which I made is, the moment we say D# is ‘Ga’ for a Song, it is highly unlikely that E will sound Harmonious as it represents the Complementary ‘Ga’. (Uniquely, Sivaranjani permits gelling of E & D# with a comparitively greater acceptability than other Ragas)

4. Although, there are people like Genius Illayaraja, RD Burman,…who have used both these ‘Gas’ in Sivaranjani their based songs (much after MSV), I would say the way they all have used will be apparently sounding when such a deviation occurs.

5. In the case of this Melody, the Progression (Naan Kaanum Vulagangal : by TMS) starts at a Dominant E (C-Major Chord)

6. The wonder again here is, the shift is never as apparent as it would be with others.

This was what I have referred to as the mixture of both the ‘Gas’ resulting in C Minor & C Major within couple of Progressions, still sounding deceivingly Harmonious.

Now,… Please bless me with your views; I am immensely eager to learn from the Sishya of the Great Shri.TNS

With Love,

NVS
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S.Balaji
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PostPosted: Fri Feb 16, 2007 6:53 pm    Post subject: Reply with quote

Vow ! the song has gone into a technical analysis now . Great to see the exchanges on tech. aspects which 2 specialists Sampath & Srinivas are into Very Happy

The website is growing from strengths to strengths now with experts pouring in with their FUNDAMENTAL analysis Very Happy I am really happy .

Now who will take on the eternal melody AALAYAMANIYIN OSAYAI ?!

Dear Vaidy, can you pls ?
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S.SAMPAT
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PostPosted: Fri Feb 16, 2007 9:36 pm    Post subject: Reply with quote

Dear NVS,

1. What a sound knowlege of music u have! It is not at all mediocre.
I extend my appreciation for ur methodical way of analysis.

2. As understood by me, u are only talking about the chords and not
about the rages with both Ga1 and Ga2.

3. Only in Western music , the 3rd note is very deterministic to classify
the scale as Major or Minor.

But in our music, as we do not have the chord progression , the
3rd note need not be deterministic of any mood. Our classical raga
are so intense and rich in gamakas, dextrous Composer/ Music
Director can bring in any type of mood choosing any raga. (e-g)
Vadaa Malarae Tamizl Thaenae ( by the great G.Ramanathan), a love
song in Mukari and Tunindha Pin Manamae Thuyaram Kollathae, a
pathos in Kalyani ( major??) by the greatest T.R.Subaraman. (Here
I have one doubt. T.R.Subaraman died before he could finish all the
songs for the movie Devadas and MSV and TVR who were his
assistants then were in charge of the completion of the songs after
senior's death. Is this song composed by MSV???. Mr.Vaidy, Kindly
clarify). What a composition.

What a contrast to western music which has only minor/major
scale. They have only Sankarabharanam, Kiravani, Natabhairavi
and Gowri Manohari. But our music is flooded with ragas.
Mr. NVS, as u are aware, in our classical system Ma is deterministic
for the proper and scientific classification of the parent ragas. IMHO,
Ragas with Ga1 and Ga2 ( as u mentioned , nattai for eg) and R1,R2
and Dha1,Dha2 and Ni1,Ni2 are very melodious and still
unexplored in films.

Mr.NVS, kindly let me know, if Naan Pesa Ninapathellam is in the raga
Pilu as madhayam and Kakili Nishadam apart from Ga2
are appearing in this song. I have a feeling raga pilu is more apt.
Kindly reply.

Where is the question of this little fellow to bless very knowledgeable
NVS. Sir, I am too small a fellow !!!! Kindly do not write like this. It
hurts me. It is only sharing of thoughts thats all.

Regards
Sampat
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S.Balaji
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PostPosted: Fri Feb 16, 2007 10:50 pm    Post subject: Reply with quote

Mr. Sampath

C.R.Subbaraman was hospitalised after being appointed as MD for Chandi Rani and Devadas & was confined to wards for a long time.
Then MSV was approached to complete the said 2 movies .
Incidentally, Mr. T.k.R was the lead violinist of CRS .
The 2 great personalities would have thought of joining hands during that moment I guess ! Very Happy

I wish to know whether MSV composed all the songs of Devdas, especially Ulage mayam
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S.SAMPAT
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PostPosted: Fri Feb 16, 2007 10:59 pm    Post subject: Reply with quote

Dear Balaji

Thank u very much for the correction. It is not T.R.Subbaraman and it is only C.R.Subbaraman. As of now I was thinking that MSV was also associated with the genius CRS alongwith TKR as the lead violinist. I stand corrected that MSV was not associated with CRS and it is only TKR.
As u said, I want to know from Mr.Vaidy that is it our MSV /TKR who composed all the songs of DEVADAS including "Thunindha pin Manamae" or not.

Regards
Sampat
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S.SAMPAT
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PostPosted: Fri Feb 16, 2007 11:42 pm    Post subject: Reply with quote

Dear NVS,

It is either Pilu (Kafi That) or our Kapi ( again Kafi That). Not a great variation between Pilu and our Hindustani Kapi. Kindly reply Sir.

regards
Sampat
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vaidymsv
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PostPosted: Sat Feb 17, 2007 12:01 pm    Post subject: Me Bala??? Reply with quote

Dear Bala,

I read thro' the posts of you & NVS on Paar Magaley Paar with great interest. All the songs in the movie are great but there's one song sung by MSV (title song Paar Magaley Paar) which is my most favourite- msv's voice would melt anything under the sun. Regarding the analysis for Aaalayamaniyin Osai- meeeeeeeeee bala????????????????? Aiyo naan oru periya rasigan avvalavuthan. I certainly cannot analyse to the extent of all of you and hence would only with that these are done by the elite - YOU , SAMPATH, NVS, SANKAR, SHARADHA & USHA. For my part, I would reply to all your posts (thank God you guys are not posing any questions to me!!!! Shocked ) and be very happy and contended with that. Enna Bala okvaa???

Cheers
vaidy
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PostPosted: Sat Feb 17, 2007 1:16 pm    Post subject: Reply with quote

'நான் பேச நினைப்பதெல்லாம்' பற்றிய மிக அருமையான அலசல்கள். நடிப்பு, மெட்டமைப்பு, ராகங்களின் சங்கமம் என்று அனைத்து ரீதியாகவும் மிக அற்புதமாக அலசப்பட்டு இருக்கிறது. ஒரு முழுமையான அனாலிஸிஸாக அமைந்திருக்கிறது.

நன்றி பாலாஜி, சம்பத் மற்றும் ஸ்ரீநிவாஸ், அருமையான விருந்து படைத்ததற்கு...

இந்நேரம் நான் படித்த ஒரு விஷயம் நினைவுக்கு வருகிறது. ஒரு கல்லூரிப் பேராசிரியை சொன்னது. அவர் சொன்னதை அவர் வாயிலாகவே தருகிறேன். அவர் சொல்லியிருந்தார்:

"ஒரு முறை சென்னை வானொலியில் 'இலக்கியங்களும் திரைப்படப் பாடல்களும்' என்ற தலைப்பில் ஒரு உரை நிகழ்த்த என்னை அழைத்திருந்தார்கள். நான் உரை நிகழ்த்தியபோது, இலக்கியங்களில் சொல்லப்பட்ட பல விஷயங்களை கவிஞர் கண்ணதாசன் எப்படி தன் பாடல்களில் எடுத்துக் கையாண்டிருந்தார் என்பதைச் சொல்லி விளக்கி, கிட்டத்தட்ட கண்னதாசன் பணடைய இலக்கியங்களில் இருந்து நிறைய காப்பியடித்துள்ளார் என்கிற ரீதியில் என்னுடைய உரை நிகழ்த்தினேன். ஒலிப்பதிவு செய்யப்பட்டு இரண்டு நாள் கழித்து என்னுடைய உரை வானொலியில் ஒலிபரப்பானது. ஒலிபரப்பாகி சுமார் அரை மணி நேரம் கழித்து எனக்கு ஒரு தொலைபேசி அழைப்பு வர, எடுத்துப்பேசினேன். மறுமுனையில் "நான் கண்ணதாசன் பேசுகிறேன்" என்று கேட்டதும் எனக்கு கையும் ஓடவில்லை, காலும் ஓடவில்லை.

கண்னதாசன் தொடர்ந்து பேசினார். "சற்றுமுன்னர் வானொலியில் உங்களின் உரை கேட்டேன் மிக அருமையாக பேசியிருந்தீர்கள். ஒரு விஷயத்தை உங்களுக்கு தெளிவு படுத்த விரும்புகிறேன். பணடைய இலக்கியங்களிலும் இதிகாசங்களிலும் சொல்லப்பட்டிருக்கும் பல நல்ல விஷயங்கள், உங்களைப்போன்ற பேராசிரியர்கள், பண்டிதர்கள் மட்டத்தோடு நின்று விடுகின்றன. ஆனால் திரைப்படப் பாடல்கள் என்பது நாட்டின் கடைக்கோடியில் குக்கிராமத்தில், பள்ளிக்கூடமே போகாத, மாடு மேய்க்கும் சிறுவன் வரை சென்றடையக்கூடிய வலிமை பெற்றது. அதனால் இலக்கியங்களில் சொல்லப்பட்ட பல நல்ல விஷயங்கள் அவர்களையும் சென்று சேர வேண்டும் என்று அவற்றை எளிமைப்படுத்தி தருகிறேன்.

உதாரணமாக, திருமணங்களில் ஓதப்படும் சமஸ்கிருத வேத மந்திரங்களில், கணவன் மனைவிக்கிடையேயான மன ஒற்றுமையை எடுத்துக்காட்ட
'நான் மனமாக இருந்து நினைப்பேன்... நீ வாக்காக இருந்து பேசு'
என்று ஒரு வரி வரும். அது நம்மில் எத்தனை பேருக்கு தெரியும்?.

ஆனால் அதையே நான்

"நான் பேச நினைப்பதெல்லாம் நீ பேச வேண்டும்"

என்று எழுதியபோது பெரும்பாலான மக்களை சென்று அடைந்தது. இது தவறு என்று சொல்கிறீர்களா?" என்று கண்ணதாசன் கேட்டார். அவர் சொன்னதைக் கேட்டது முதல் கண்னதாசன் மேல் எனக்கிருந்த மதிப்பு பல மடங்கு அதிகரித்து விட்டது".

இவ்வாறு அந்தப் பேராசிரியை சொல்லியிருந்தார்.

கவியரசர் சொன்னது ஒப்புக்கொள்ளக்கூடிய விஷயம்தானே..!!.
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Saradha Prakash
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S.SAMPAT
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PostPosted: Sat Feb 17, 2007 3:24 pm    Post subject: Reply with quote

Dear Sister Saradha,

Idhai Yen Kankalil irundhu Kanneer urundoda Yaezhudhukiraen.

Yenna Naermai from Kaviyarasu Kannadhasan.
Idhanaal than Avarai Pondravarkal yellam Periyavaargal.

In this context, I wish to say onething about my Gurunathar Mr.TNS.
TNS Sir, was giving lec-dem on "Ragam Thanam Pallavi" demonstration.
He was explaining thala intricacies of Pallavi in raga Kamalamanohari.
Any Pallavi is child play for him. But on that particular day for TNS sir, it
was not coming correct for 3 times. What did he do you sister?
He said to the open public "Yennai Mannithikollungal". For laya Simham
like TNS sir, this kind of statement is not at all warranted. SEE HIS
NERMAI. That is why there are great


regards,
Sampat
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Srinivass NV
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Posts: 86
Location: Hosur

PostPosted: Sat Feb 17, 2007 7:48 pm    Post subject: Reply with quote

Dear Sampat,
To frankly tell this forum, I have been so happy for the past four or five days… the happiness, a stranded lonely Tamilian in Antartica would encounter if he happens to meet a Group of Tamilians!… That could be the reason for the overflowing emotions in my words… I am sorry…

Thank you very much for a very clear presentation… It was a very useful reply…

Regarding the Raga behind the song, as you have rightly said, Madhyaman (Nee Kaana Vaendum) and Nishadham (naanaaga Vaendum) are appearing during the progressions. Although I was aware of Madhyamam’s presence (which inwardly I have been attributing as the Genius’s ‘Flow’ out of the Basic Mood), only after you have told I could detect Nishadham. Yes…It appears. Thank you very much.

And as I told earlier, my knowledge is honestly primitive especially, when comes to knowing many Ragas; Frankly, I donot know the Swara Framework of Raga Pilu itself, neither I have heard it rendered. Can you please let me know the Aaroganam & Avaroganam of Pilu (Is this Sa Ri2 Ma1 Pa Dha2 Sa : Sa Ni2 Dha2 Pa Ma1 Ga1 Ri2 Sa)?

But if you mean Pilu is similar in framework as our Kapi & also in rendering, then my Vote is for Siva Ranjani than Kapi as one of the core Jeevans of Kapi is on Ni & Ga followed by Ri. (As I have seen) Stressing on Ni (Sanchaaram) & Ga followed by Ri are extremely essential to get the feel of Kapi. In this Song Ni is used as just a passby way to reach Pa (base) during the Phrase “Naanaaga (Sa)Vaendum(pa)”. There is no ‘Ni’ based Sanchaaram (dominance), nor the typical Kafi’s GaàRi Sancharam, I could detect (Pls correct me if I am wrong).

Also, Ga1 & Ga2 are dominantly encountered during all the phrases in a Aaroganam Pattern, also Pa Dha in aaroahanam @ "Paaloadu Pazham Yaavum"; Which to me, makes this song more nearer to Siva Ranjani as far as the Mood is Concerned though on paper, this song has more Notations nearer to Kapi. Probably, yet again, it could be our Genius’s natural Flow which could have used Ma & Ni to subtract the basic Mood of the Sivaranjani (Sogam) and convert it into “Neghizhcchi” which is needed for the situation.

Regarding your observation on having ‘Ma’ as the deterministic Swara in our Classical Music System, it is a perfect remark. Yes I agree very much.

Regarding the Song “Thuninda Pin Manamae” where the MD has made Kalyani (Major) speak out Pathos, I have the following observations to share :

1. I feel Kalyani is the mother of all Ragas as one can bring many Moods out of the Raga (viz., Neghizcchi, Bhakthi, Joy, Elation, etc…) without much of effort, relatively.
2. I also feel, a very good Music Director, together with a soulful Lyric Writer & a Rendering with Bhava, can bring out almost any ’Feel’ from Kalyani. In general, my observation is that, the Lyric Writer also holds half of the Key to the end result (for any Mood, from any Melody)
3. In this Song, the Lyrics and the rendering contribute a Lion’s share to the Pathos; I still prefer to believe, without much of effort a moderate MD can bring the sense of Pathos from a MINOR. It would require a Genius MD, as well as the help of a Lyric Writer and a Soulful rendering, to bring Pathos out of a MAJOR.
4. To confirm this, I did a small exercise where in, I redid the Lyrics myself (ofcourse as absurdly as it is written nowadays) for the same Melody “Thunindapin Manamae”. The situation I have assumed is identical to that of the Song “April Maeyilae Pasumaiyae Illae” from IDAYAM. I apologize to this Forum for doing this silly REMIX but I have done this only with a eagerness to understand the Concept better.
5. The Foulful (!!!) Lyrics are :

Semester Poayaahaatchu (Thunindapin Manamae…)
Leavum Vandhaatchu (Thuyaram Kollaadhae…)
Romba Boaraatchu!… (Soagam Pollaadhae!…)

April Maeyum… (Paayum Aatril…)
Ila Nenjam Kaayum… (Nee Veezhundha Pinnae…)
Leavirundhaa Paridhaabham…(Neendhvadhaal Payanaedhu…)

July Vandhaal (Seerum Puyalum)
Soagam Theerum… (Mazhaiyum Saerndaal…)
Chinna Manam Kooth^thaadum! (Chinna Kudai Thaan^Gaadhu!)


6. If I could use the following resources in the process of recording the same Melody, then I think I can successfully make it represent a Mischievous Joy!…
§ SPB of the late 80’s (who can render like he does in Vandhaal Mahalakshmiyae!…laughing intermittently)
§ A Chorus Recording pattern for the Melody, similar to that of “April Maeyilae”
§ Some western based BGM Progressions over and above the song.

Sampat, by the way, I have some questions to you :

1. Does the Song “Paar Magalae Paar” appear to be a typical Pathos based on Kalyani? (Of course, there is a Flash Flow out deviation at : “Punnagaiyil Vaattugirai” to Ni1)

2. If in a Song (based on for eg : Siva Ranjani), when the dominant Notation (landing notation) is Ri and Dha during some progressions, which could be the best chord to choose (on a C-G-C Scale)? Is it the C4th and C6th respectively or anything else?

With Love

NVS
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