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ADISAYA RAAGATHIL ABOOVARAMANA SANGADHIGAL

 
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Tue Dec 30, 2008 5:13 pm    Post subject: ADISAYA RAAGATHIL ABOOVARAMANA SANGADHIGAL Reply with quote

DEAR FRIENDS

WE ALL KNOW ABOUT THE SONG ‘ADISAYA RAGAM AANANDA RAGAM’ COMPOSED BY THE LEGEND MSV IN THE MOVIE ‘ABOORVA RAAGANGAL’.

MOST OF US ARE ALSO AWARE THAT THERE IS A STORY BEHIND THE COMPOSITION OF THIS SONG. WE SHALL SEE AGAIN WHAT THE STORY IS.

25 YEARS BACK I READ AN INTERVIEW GIVEN BY MSV STATING THAT HE HAS COMPOSED THIS SONG BASED ON A RAAGA CALLED ‘MAGADHI’.

WHILE I WAS GOING THROUGH THE CONTENTS IN MSVTIMES THERE IS A RADIO PROGRAMME WHICH MSV GAVE SOME YEARS BACK. THE PROGRAMME WAS AIRED IN THE ALL INDIA RADIO. IN THAT PROGRAMME MSV DESCRIBES ABOUT THE RAAGA OF SOME OF THE CINEMA SONGS IN SPECIFICA RAAGAS AND SHARED HIS EXPERIENCE ABOUT THAT.

THIS SONG ‘ADISAYA RAAGAM’ HAS BEEN MENTIONED BY HIM. I SHALL REPRODUCE WHAT MSV TOLD ABOUT THIS SONG.

DIRECTOR BALACHANDER TOLD MSV THAT THE THEEME OF THE MOVIE (APPORVA RAAGANGAL) IS ABOUT A LOVE BLOSSAMING IN A YOUNG MAN’S HEART TOWARDS AN ELDERLY LADY (VERY RARE AND RISKY SUBJECT INDEED) AND HE WANTED TO CONVEY THIS IN THE MOVIE BY A SONG. SINCE THE THAT KIND OF LOVE IS A VERY RARE PHENOMENON, THE SONG HAS TO BE COMPOSED IN A VERY RARE RAAGA. MSV SAID HE WAS BREAKING HIS HEAD FOR 2 MONTHS BUT COULD NOT COME UP WITH RAAGA TO HIS SATISFACTION. SO HE DECIDED TO APPROACH DR. BALAMURALIKRISHNA WHO IS A LEGEND IN CARNATIC MUSIC. IT WHAT WAS THEN DR. BMK SUGGESTED THE RAAGA ‘MAGADHI’ TO HIM. IN THE RADIO PROGRAMME MSV SUNG THE RAAGA.

THE AAROHANAM OF THE RAAGA MAGADHI IS
‘SA’, ‘GA2’ ‘PA’ ‘NI1’, ‘SA’ (HIGHER SCALE)

THE AVAROHANAM IS
‘SA’ (HIGHER SCALE), NI1’, ‘PA’, ‘GA2’, ‘SA


MSV THEN SAID THAT HE HAS COMPOSED THE SONGS AND SAID IF AT ALL THE PRAISE FOR THE SONG SHOULD GO TO DR. BMK.

WHY IS THIS RAAGA ‘MAGADHI’ BEING AN ‘ABOORVA RAAGA’?

I HAVE EARLEIR MENTIONED IN MY POSTING (MSV COMPOSING STYLE PART 1 TO PART 4) ABOUT MSV COMPOSTION STYLE. I HAVE MENTIONED THAT THE RAAGA CONCEPT IS NOTHING BUT PRESET MELODIES CREATED BY OUR PREVIOUS GENERATION SO THAT WE CAN SET THE TUNE FOR NEW LYRIC IN THAT PRESET MELODIES. SO IN THAT SENSE THIS RAAGA ‘MAGADHI’ IS ALSO A PRESET TUNE. BUT WHY IS IT THAT IT IS ‘ABBORVA RAAGA’ AS TOLD BY MSV. THE REASON IS WHEN OUR PREVIOUS GENERATIONS HAVE GIVEN VARIOUS RAAGAS (OR PRESET MELODIES) THEY ALSO GROUPED THEM IN SOME ORDER.I SHALL EXPLAIN.

IF A RAAGA CONSISTS OF 7 SWARAMS IT IS CALLED ‘SAMPOORNA RAGA’ THE MEANING IS ‘COMPLETE’ AS THERE CANNOT BE AN 8TH SWARAM IN OUR CARNATIC CONCEPT OF RAAGA. IT IS ALSO CALLED AS MELAKARTHA RAAGA. THERE ARE TOTALLY 72 MELA KARTHA RAAGAS CATALOGUED BY SRI VENGADAMAGI. FOR EXAPMLE RAAGA KARAHARAPRIYA IS THE 22ND MELA KARTHA RAAGA IN VENGADAMAGIS CHART OUT OF THE 72.

THE AAROHANAM OF RAAGA KARAHARAPRIYA IS
‘SA’, ‘RI2’ ‘GA1’, ‘MA2’, ‘PA’, ‘DA2’, ‘NI1’, ‘SA’ ( HIGHER PITCH)

THE AWAROHANAM IS
‘SA’ (HIGHER PTICH) , ‘NI1’, ‘DA2’,‘PA’,‘MA2’,‘GA1,’‘RI2’, ‘SA’
SO RAAGA KARAHAPRIYA IS A ‘SOMOPOORANA RAAGA’. THE SAMPOORANA RAAGAS ARE ALSO CALLED AS ‘THAI RAAGA’ MEANING ‘MOTHER RAAGA’.

NOW IF YOU REMOVE ONE SWARAM FROM THIS THAI RAAGA YOU GET A DIFFERENT MELODY. FOR EXAMPLE LET US REMOVE ‘PA’ FROM THE RAAGA KARAHARAPRIYA. SO WHAT WE GET IS

THE AAROHANAM OF RAAGA IS
‘SA’, ‘RI2’ ‘GA1’, ‘MA2’, ‘DA2’, ‘NI1’, ‘SA’ ( HIGHER PITCH)

THE AWAROHANAM IS
‘SA’ (HIGHER PTICH), ‘NI1’, ‘DA2’,‘ ‘MA2’,‘GA1,’‘RI2’ ‘SA’


THIS IS CALLED RAAGA ‘SHRI RANCHANI’. MSV HAS COMPOSED A SONG IN THIS RAAGA WHICH IS ‘NADHAMENUM KOYILILE’ IN THE MOVIE ‘MANMADHA LEELAI’.THE RAAGA ‘SHRI RANCHANI’ IS CALLED AS JANYA RAAGA OF THE THAI RAAGA ‘KARAHAPRIYA’ BECAUSE IT TAKES BIRTH FROM THE THAI RAAGA WHICH IS KARAHARAPRIYA. BECAUSE THIS RAAGA CONSISTS OF 6 SWARAMS (DO NOT TAKE ‘SA’ 2 TIMES) IT IS ALSO CALLED AS ‘SHADAVA RAAGA’

NOW LET US GO FURTHER. WE SHALL REMOVE ONE MORE SWARAM FROM THIS LIST. WE SHALL REMOVE SWARAM ‘NI’. WHAT WE GET IS

THE AAROHANAM OF RAAGA IS
‘SA’, ‘RI2’ ‘GA1’, ‘MA2’, ‘DA2’, ‘‘SA’ ( HIGHER PITCH)

THE AWAROHANAM IS
‘SA’ (HIGHER PTICH) , ‘DA2’,‘ ‘MA2’,‘GA1,’‘RI2’ ‘SA’


THIS IS CALLLED AS RAAGA ‘ABOOGI’ AND SINCE THIS RAAGA ALSO TAKES BIRTH FROM THE THAI RAAGA KARAHARAPRIYA THIS IS ALSO A JANYA RAAGA OF KARAHARAPRIYA. SINCE IT HAS GOT 5 SWARAMS IT IS CALLED ‘OWEDAVA RAAGA’. AGAIN MSV HAS COMPOSED A SONG IN THIS RAAGA WHICH THE VERY FAMOUS ‘THANGA RADHAM VANDHADHU VEETHIYILE’ IN THE MOVIE ‘KALAIKOYIL’ SUNG BY THE SAME GREAT DR. BMK.

NOW WE CAN EVEN GO FURTHER AND REMOVE ONE MORE SWARAM FROM THE ABOVE LIST. THAT SHOULD CONTAIN ONLY 4 SWARAMS. IF THAT RAAGA CONTAINS 4 SWARAMS IT IS CALLED ‘CHADURAVA RAAGA’. BUT I DO NOT KNOW THE CHADURAVA RAAGAS FROM THE THAI RAAGA KARAHARAPRIYA. PROBABILY DR. BMK MUST BE KNOWING THIS. IN MY OPINION THERE ARE NOT MANY RAAGAS IN THE CHADURAVAM CATEGORY. ONE REASON COULD BE BECAUSE IT IS VERY DIFFICULT TO CREATE A MELODY WITH ONLY 4 SWARAMS.

NOW COMING BACK TO THE SONG ‘ADISAYA RAAGAM’ AS SUJESSTED BY DR. BMK THE RAAGA ‘MAGADHI’ IS A CHADURAVA RAAGA’ WHICH IS A VERY RARE RAAGA FOR THE REASON MENTIONED ABOVE.

I SHALL ONCE AGAIN REPEAT THE SWARAMS OF RAAGA ‘MAGADHI’.

THE AAROHANAM OF THE RAAGA MAGADHI IS
‘SA’, ‘GA2’ ‘PA’ ‘NI1’, ‘SA’ (HIGHER SCALE)

THE AVAROHANAM IS
‘SA’ (HIGHER SCALE), NI1’, ‘PA’, ‘GA2’, ‘SA’


IF YOU NOTICE THAT THIS RAAGA CONSISTS OF ONLY 4 SWARAMS THAT IS ‘SA’, GA2’, ‘PA’, ‘NI1’ (WE COUNT SWARAM ‘SA’ ONE TIME ONLY)

HENCE IT IS A VERY RARE RAAGA OR ‘APPORVA RAAGA’ AND IT IS A JANYA RAAGA. WHICH RAAGA COULD BE ITS ‘THAI RAAGA’? I DO NOT KNOW. BUT I THINK IT MUST HAVE COME FROM THE RAAGA’HARI KAMBOJI’


MSV WAS VERY HAPPY THAT HE HAS GOT A PRECIOUS STONE FROM DR. BMK AND HE DEVELOPED THE FAMOUS SONG WHICH IS ONE AMONG THE MANY JEWELS FROM HIM.

MSV THEN SAID THAT HE HAS COMPOSED THE SONG BASED ON THIS RAAGA AND FURTHER SAID IF AT ALL THERE ANY ACCOLADES FOR THIS SONG IT SHOULD GO TO DR. BMK.

NO HOLD ON. THE STORY IS NOT OVER. NOW COMES THE CLIMAX. I DO NOT KNOW WHETHER MSV HIMSELF KNOW ABOUT THE CLIMAX OF THE STORY I AM GOING TO EXPLAIN NOW. IN FACT WE SHOULD ASK HIS OPINION.

I HAVE EARLEIR MENTIONED IN MY POSTING (MSV COMPOSING STYLE PART 1 TO PART 4) ABOUT MSV’S COMPOSING STYLE. I HAVE MENTIONED THAT THE RAAGA CONCEPT IS NOTHING BUT PRESET MELODIES CREATED BY OUR PREVIOUS GENERATION SO THAT WE CAN SET THE TUNE FOR LYRIC IN THAT PRESET MELODIES. SO IN THAT SENSE THIS RAAGA ‘MAGADHI’ IS ALSO A PRESET TUNE.

ONCE I FINISHED HEARING HIS INTERVIEW IN THAT RADIO PROGROMME, AS USUAL I COULD NOT RESIST MY TEMPTATION. SO I IMMEDIATEL SAT AND PLAYED THAT SONG IN MY KEYBOARD. ONCE I FINISHED PLAYING THE FULL SONG, SUDDENDLY SOME THOUGHTS STUCK ME. I THOUGHT I HAVE ALREADY HEARD AND PLAYED THAT PRESET MELODY SOME WHERE BEFORE. SO I WAS PONDERING OVER THAT FOR MANY DAYS AND FOUND THE ANSWER. I WANTED SHARE WITH YOU WHAT I LEARNT FROM MY EXPERIENCE.

I AM AGAIN REPEATING THE SAME INFORMATION I HAD GIVEN EARLIER ABOUT THE RAAGA CONCEPT.

I HAVE MENTIONED THAT THE RAAGA CONCEPT IS NOTHING BUT PRESET MELODIES CREATED BY OUR PREVIOUS GENERATION SO THAT WE CAN SET THE TUNE FOR LYRIC IN THAT PRESET MELODIES. SO IN THAT SENSE THIS RAAGA ‘MAGADHI’ IS ALSO A PRESET TUNE.

WHAT I FOUND WHILE PLAYING THIS SONG AFTER LISTENING TO THE RADIO PROGRAMME IS THAT MSV HAS ALREADY USED THIS PRESET TUNE (OR RAAGA) IN EARLIER OCCASIONS.

AM I KIDDING? NO CERTAINLY NOT. OF COURSE HE HAS NOT COMPOSED THIS PRESET MELODY AS A SONG (MEANS THAT THE MELODY HAS NOT BEEN CONVERTED WITH LYRICS AS A SONG. IF THAT BE THE CASE THERE IS NO NEED FOR HIM TO GO TO DR. BMK AND THIS STORY IS REDUNTANT).

BUT HE HAS USED THIS PRESET MELODY AS A BGM. SURPRISING INDEED. I SHALL QUOTE SOME EXAMPLES.


EXAMPLE 1
SONG ‘NAALAI INDHA VELAI PARTHU OODI VAA NILA’ IN ‘UYARNDHA MANIDHAN’
THERE ARE 2 CHARANAMS FOR THIS SONG. BEFORE BOTH THE CHARANAMS 2 DIFFERENT BGMS COME. BUT THERE IS A BASE FLUTE MELODY COMES IN BOTH THE BGMS. ONCE THE BASE FLUTE MELODY IS JUST OVER THEN THE CHARANAM IS TAKEN OVER BY P SUSHEELA. IF YOU DECODE THAT BASE FLUTE MELODY THE SWARAM COMES AS BELOW.

SAA-NI1-PA-GA2-PA-SA-PA.

THE SAME SWARAMS OF THAT OF RAAGA MAGADHI.

EXAMPLE 2
SONG ‘THEDINEN VANDHADHU’ IN ‘OOTY VARAI URAVU’
AGAIN THE BGMS BEFORE 2 CHARANAMS. THE SAME FLUTE MELODY. AGAIN IF WE DECODE THE FLUTE MELODY PLAYED BEFORE THE CHARANAM IS

SA-NI1-PA-GA2-SA

LITERALLY THE AWAROHANAM VERSION OF RAAGA MAGADHI.

EXAMPLE 3
SONG ‘PARUVAM ENADHU PADAL’ IN ‘AYIRATHIL ORUVAN’
THIS IS THE MOST AUTHENTIC PROOF. AGAIN THE BGM BEFORE 2 CHARANAMS. IF YOU NOTICE THIS SONG THE STARING BGM IS A CHORUS BY P SUSHEELA AND CHORUS SINGERS. ONCE THAT CHORUS MELODY IS OVER IT IS FOLLOWED BY 2 INSTRUNMENTS WHICH IS A LEAD GUITAR/RHYTHM GUITAR CHORDS FIRST AND FOLLOWED BY THE FLUTE.

IF YOU DECODE THE SWARAMS OF THE MELODY PLAYED BY GUITAR COMBINATION

SA-GA2-PA-NI1 (LITERALLY THE AAROGANAM VERSION OF THE RAAGA MAGADHI)
THE FLUTE WHICH FOLLOW THE ABOVE GUITAR MELODY IS

NI1-SA (HIGHER PITCH) – NI1- PA – GA2 – SA (LITERALLY THE AVAROHANAM VERSION OF THE RAAGA MAGADHI)

IN ONE PIECE OF MELODY ITSELF HE HAS SHOWN THE AAROHANAM AND AVARHONAM VERSION OF THE RAAGA ‘MAGADHI’. THE FACT OF THE MATTER IS THAT HE KNEW THIS MELODY, ONLY AS A PIECE OF MELODY. HE NEVER KNEW THAT IT COULD BE A RAAGA WITH A NAME.


ONE OF THE REASONS HE KNEW ABOUT THIS MELODY, COULD BE THAT THIS MELODY CONSISTS IS A NATURALI FLOW OF A COMBINATION OF 3 CHORDS. AS I HAVE REPEATEDLY MENTIONED IN MY EARLIER POSTINGS THAT MSV USES THE NOTES OF THE CHORDS ITSELF TO PRODUCE MELLISAI MELODIES. SO IF YOU DECODE THE RAAGA ‘MAGADHI’ AS A COMBINATION OF CHORDS THEN WE SHOULD GET THE FOLLOWING CHORDS. IF THIS MELODY IS PLAYED OR COMPOSED IN SCALE 1 OR ‘C SCALE’ THEN THE CHORDS ARE

C MAJOR – SA – GA2 – PA
E DIM CHORD – GA2 – PA – NI1
C 7TH CHORD – PA – NI2 – SA.


SO THE ENTIRE RAAGA SUGESSTED BY DR. BMK, ITSELF FALLEN IN A NATURAL WAY OF CHORDS EXPRESSION WHICH IS MSV’S FORTE.

MSV USED THIS CONCEPT TO A GREAT EXTENT DURING AND AFTER 1960S. IT IS A VERY UNIQUE CONCEPT

“APPURAM ENNA. PUGUNDHU VILAYADU”

HE PLAYED WITH SWARAMS SO BRILLIANTLY THAT WHEN IT WAS SUNG BY JESUDOSS, WITH THE BGMS BY SITAR, FLUTE, VIOLIN, AND BELLS COMBINATIONS TOOK US TO HEAVANS. AND THUS HE GAVE US ONE OF HIS MASTER PIECE.

NOW TO CONCLUDE, I WANT TO CONVERY MY PERSONAL OPINION ABOUT MSV. I ALWAYS BELIEVED THAT GODESSES SARASWATHI DEVI TRANCENDS TO HIM THROUGH HIS HARMONIUM WHICH HAS GENRATED MANY MELODIES. HOW DOES GOD COME TO US? GOD NEVER COMES TO US DIRECTLY. GOD ALWAYS COMMUNICATES OR INSPIRES US THROUGH HUMANS. ONLY QUALIFICATION IS THAT WE MUST BE ELIGBLE FOR RECEIVING THE COMMUNICATION AND SHOULD ALWAYS BE IN THE RECEPTIVE MOOD.

THERE IS A SONG “IRUKKUM IDAITHAI VITTU, ILLADHA IDAM THEDI ENGENGO ALAIGINDRAR GNANA THANGAME’.

MSV WAS STRUGLLING TO GET THE RAAGA AND HE WAS GOING FROM PILLAR TO POST EVEN THOUGH IT ALREADY CAME FROM HIS HARMONIUM ATLEAST 3 TIMES AS A PIECE OF MELODY AS QUOTED BY ME. YET HE COULD NOT IDENTIFY IT AS A RAAGA BECAUSE HE ALWAYS APPROACHED THE SONGS AS A MELODY ONLY AND NOT AS A RAAGA. SO HE COULD IDENIFY THE LABEL NAME OF THAT MELODY. THE ‘GNANATHANGAMANA MSV ‘IRRUKKUM IDAITHI VITTU ILLADHA IDAM THEDI ENGENGO ALANDHAR’

BUT GODESSES SARASWATHI COULD NOT BEAR THE HARDSHIP FACED BY HIS DEVOTEE. SHE TRANCENDED THROUGH DR. BMK AND GAVE HIM THIS PRECIOUS STONE WITH WHICH HE PRESENTED THIS JEWEL TO US.

SEE YOU AGAIN

N Y MURALI.
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Vatsan



Joined: 20 Jan 2007
Posts: 352

PostPosted: Tue Dec 30, 2008 7:45 pm    Post subject: Resp Reply with quote

Murali, that is brilliant post. Let's keep the 'chords driven melody' thing aside for the moment. Your observations are simply brilliant, about magathi being played at the end of the BGM of 'paruvam enathu', 'thEdinEn vanthathu' etc. How very true. And how very true again...about MSV's vision and perspective, about MSV seeing melody as a melody ...PERIOD. Infact, you would find quite a few interesting discussions in this site on this facet of MSV's composing repertoire......that about his kingdom of creativity commencing where the world of ragas end. This is the reason why he could deploy a raga (a scale) and yet make it sound so very different from the traditional characteristic imparted to it by the Carnatic trinity and its various exponents. A very enviable quality....this man has.

Just as an aside, take Tilang for example......a very heavy raaga , a raaga that today's composers would be wary of deploying...owing to its heaviness. To use it in the light sense, you need to be a composer like MSV, a composer who transcends raga consciousness. How light is Tilang's entry in 'nilavillA vAnam' (unnai ondru kEtpEn) and how subtle its presence is ...almost non-existent and yet lends the flavour of Tilang and disappears without leaving a trace. Even an extra atom of fat on an otherwise perfect face renders it imperfect and perfection cannot be attained through the limited human effort and strife.....perfection happens when the human disappears for something bigger and better to act through him. MSV's melody creation process is quite a perfect depiction of the above fact.

Continue posting and exciting us.
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tvsankar



Joined: 24 Jan 2007
Posts: 229

PostPosted: Wed Dec 31, 2008 12:12 am    Post subject: Reply with quote

Dear Murali,
Ungalai madhiri enaku technical details ellam
theriyadhu.

Anal, Layman ku puriyara madhiri MSV sir oda
technical details solli irukenga...

Thanks a lot Murali.
Elimaiyana vishayangal niraindha oru azhagana katturai - MSV in padalai pola.....

Niraiaya therindhu konden.. Nanri....

With Love,
Usha Sankar.
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tvvraghavan



Joined: 15 Dec 2006
Posts: 175

PostPosted: Wed Dec 31, 2008 9:26 am    Post subject: Reply with quote

DEAR Mr.MURALI,
Though late, I really want to extend a WARM WELCOME to you to this site !!!

I had been reading all your posts very closely. Every morning once am into office, first thing I do is to look for your enchanting posts. Smile. I really mean it. Brilliant could not be the right fitting adjective to appreciate your posts. It is more than that for laymen like me who can only enjoy the MUSIC of the Mellisai Maamannar without understanding the intricacies and the beauty of the composing style. Your postings really are an EYE OPENER and really really educative and of course as inspiring as the Master's music. With the current trend, it may not be surprising if I start learning music and get transfered back to Chennai so as to get enthralled more by personally meeting you !!! Smile

You have really made the site very vibrant with your entry and I am pretty sure everyone of us who visit the site regularly would love to read such posts from you every day and every minute !!!

Please continue enthralling and inspiring us !!!

MSV Rules !!!
Venkat
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Wed Dec 31, 2008 11:04 am    Post subject: Reply with quote

DEAR M/s VATSAN, TVSHANKAR, VENKAT AND TO ALL FRIENDS,

I THANK YOU VERY MUCH FOR THE APPRECIATIONS SHOWN TO ME FOR MY POSTINGS. BUT BEING AN MSV FAN I FEEL THAT THE KNOWLEDGE OF MUSIC IS NOT SUFFIECIENT ONLY TO EVALUATE A PERSON. IN FACT I STRONGLY FEEL THAT MY KNOWLEDGE ABOUT MUSIC IS 0.00000000001 % OF WHAT MSV KNOWS. AND OUR MASTER HIMSELF SAYS THAT HE IS A 'SIRU THULI' IN THE 'SANGEETHA SAGARAM'. I ALSO FEEL THAT WHEN WE COMPARE AS TO WHO WOULD BE THE BETTER RASIKAN BETWEEN A RASIKAN WITH THE MUSIC KNOWLEDGE OR A RASIKAN WITHOUT THE MUSIC KNOWLEDGE. I WILL SELECT ONLY THE LATTER. THE SIMPLE REASON BECAUSE OF THE POWER OF MUSIC.

AT THE SAME TIME MY PURPOSE OF SHARING MY LITTLE KNOWLEDGE WHATEVER I LEARNT IN THE PAST 25 YEARS ONCE I STARTED PLAYING IN MY KEYBORAD IS TO PRESENT A DIFFERENT PERSPECTUVE OF HIS MUSIC. I ALWAYS HAVE A FEAR WHETHER I AM GOING TOO MUCH TECHNICAL. IF ANYBODY COULD NOT UNDERSTAND THE TECHNICAL DETAILS THEN IT SHOULD BE MY FAULT ONLY.


CINE MUSIC IS IN COMA NOW.TECHNOLOGY HAS SWALLOWED THE INDIANESS OF OUR CINE MUSIC. NOWDAYS MDS BOAST THEMSELVES THAT THEY ARE GIVING POP STYLE MUSIC. FOR GIVING A POP STYLE MUSIC THERE IS NO NEED FOR INDIAN MDS. YOU OPEN THE 'V' TV OR M TV CHANNEL IN OUR TV YOU WILL GET THOUSANDS OF THEM. OFCOURSE I DO NOT HATE POP MUSIC. IN FACT THEY WOULD FARE BETTER THAN US. BUT IF WE ALSO FOLLOW THAT STYLE WHO WILL GIVE OUR INDIAN MUSIC WHICH TOUCHES THE 'ATHMA' OF A PERSON. SANGEETHAM IS ALSO ONE WAY OF ATTAINING GOD WHICH IS CALLED 'NAADHA UPAASANA'.

MY REASON FOR WRITTING IS THAT BY ATLEAST SEEING THIS CAN SOME NEW MUSIC DIRECTOR USE THE IDEAS AND REVIVE OUR CINE MUSIC FROM COMA

REGARDS,

N Y MURALI
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parthavi



Joined: 15 Jan 2007
Posts: 705
Location: Chennai

PostPosted: Fri Jan 02, 2009 10:00 pm    Post subject: Reply with quote

Dear Mr. Murali,
Your brilliant tecnical analysis is beyond my comprehension. But I sometimes discover some similar notes in different songs and I confuse these notes with the raagaas.T he song Madhana Maaligai has been discussed in this forum. I forgot the raagaa attributed to this. But in the charanam, I find semblances of Rita Goulai. Ilayaraaja's 'Chinna Kannan azhaikkiraan (Kavikuyil)' and 'Thalaiyaik kuniyum thaamaraiye (Sridhar's Ninaivellaam Nithyaa)' being commonly mentioned numbers based on Rita GouLai. In fact, a recent popular song from 'Subramanyapuram' 'kaNgal iraNdaal..' composed by debut MD James Vasanthan (who was a populat TV Compere in Sun, Vijay and in Makkal TV) composed in Rita GouLai has charaNam almost on the lines of the charaNam of 'madana maaLigaiyil' (or, so it seems to me!) But, after reading several posts in this forum by people well versed in raagaas and after witnessing your amazing demo on the keyboard on a fine Sunday evening, I have realized (rather belatedly) that MSV is not bound by raagaas. He is like a 'kaattaru' ( a wild river) that will traverse its own path. His only commitment is to melody and excellence in creation.

Incidentally, 'irukkum idaththai vittu' is from APN's Thiruvarutchelvar and the MD is KVM.

Kudos for your enlightening and interesting posts.

P R Swami (parthavi)
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