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Madura Nagaril Tamizh Sangam

 
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N Y MURALI



Joined: 16 Nov 2008
Posts: 920
Location: CHENNAI

PostPosted: Wed Mar 11, 2009 1:40 pm    Post subject: Madura Nagaril Tamizh Sangam Reply with quote

“Madura Nagaril Thamizh Sangam”

I bought ‘Paar Magale Paar’ DVD recently. The first thing what I did was to hear the songs of the movie. This song is one of my favorite from my young age. I also heard the other songs in that movie.

The greatness of this song is that it takes us to the unknown divine territory even though it is a love song. I do not know why? This may be due to the fact that the characters come as Rama/Sita and Krishna/Radha in the dream situation.

The song is definitely a raga based melody only. I think this is raga ‘Kaapi’. I read in a book about ragas where it is mentioned that the raga ‘Kaapi’ has 10 swarams (except Sudha Rishabam (ri1) and Pradhi Madhyamam (m2)). This raga is a Hindustani raga which has been adopted in our carnatic music. This raga is very much suitable for light music as it involves sa,ri2, ga1,ga2, ma1,pa, da1,da2, ni1 and ni2 so total 10 swarams. So it is possible for us to provide many variations within this raga. One could use the swaram ‘ga1’ and bring the swaram ‘ga2’ as a sharp note. Like this the other combinations involving da1 and da2, ni1 and ni2 can be made. Mahakavi Barathi has used this raga to great extent for his songs. Other composers have also used Bharathi’s song in this raga. Example is the song ‘Yenna Thavam Seidhanai’. MDs like Ilayararaja used this raga for the song ‘Yeh Paadal Ondru’ in the movie ‘Priya’. ARR used this raga for the song ‘Kaadal Rojave’ in the movie ‘Roja’. MM himself used this raga for many of his song notably ‘Kaadal Siragai Kaatrinil Virithu Vaana Veedhiyil Parakkavaa’.

But there is a difference between these songs melodies compared to other songs mentioned above. The reason is the melody is in a Hindustani style. A close comparison to this song is ‘Manjal konda Niram Mari’ in the movie ‘Karnan’ which is also in the Hindustani style. Why should MM compose this in the Hindustani style?

The reason could be the situation which involving the puranic characters in the song. This is a semi dream song. That is the characters go on to a dream during the song itself. We can understand this if we see the picture.

The first 2 charanams are in the dream situation. The first charanam involves the character Rama/Sita and the second charanam involves Krishna/Radha. The costumes lyrics clearly explain this aspect. This could have influenced MM to set the tune in the Hindustani style.

The third charanam involves with the real situation. That is why the lyric starts as ‘Andha Katchigal Mariyadhenoo’. Exceptional work by Kaviyarasar.

But see what MM does in the interludes. Normally in MM style if a song involves 3 charanams the interlude for the first and the third charanam would be same. The interlude for the second charanam would be different. But here there is a difference. The interlude for the first and the second are same and the interlude for the third charanam is different. Why? This is because the first 2 charanams are in the dream situation whereas the third charanam is in the normal situation. How minutely our MM has approached a composition. There is more information about the interlude. The first and the second interlude consist of a chorus humming making it to a divine dream situation. There is a topic in which we discuss about the chorus in his songs. In this song the chorus is not like a church choir style. That is in the church choir style which is western the chorus singers could form in to 2 or 3 group. If one group that is the main lead voice group sing one note the other 2 groups would sing the relative 3rd and the 5th note like the notes used in the western chords. We can feel this in the song ‘raajavin paarvai’ ‘enge nimmadhi’ etc.

But here in this song the chorus is not like the church choir. They are like the traditional Indian group singing. The entire chorus singers sing the same note.

There is further information. The chorus singing is used only for the first and the second charanam since they are used as the angels for the dream situation for the 2 charanam. The interlude before the third charanam is totally different from the 2 earlier.
There is a humming involved in that interlude also but this has been sung by the singers PBS/PS. This show how MM has looked in to the minutest details.

This song is in a happy situation. But even then there is a slight soberness in this song. That comes from the shenai piece in the first and the second interlude where the shenai touches the swaram ‘da1’ (sudha daivadham) which in most cases MM uses for the sober effect. I wanted to find out why he did like that.

I called up our friend Mr.Vatsan and shared my feeling? He mentioned that once he was discussing with MM about the song composition. At that time he asked about why MM composed the song ‘Neerodum Vaigayilee’ in the raga ‘Sivaranajani’ (Partly sivaranjani) which is a sober raga for happy situation involving the lullaby. He said MM mentioned that any way as per the story the two girls are going to get separated and hence he kept a little amount of soberness in that composition.
Now if we see the same interpretation then we can understand why he kept that little amount of soberness in this song also especially in the shenai piece. Because the lovers also would get separated as per the story.

I remember TKR once told about how they will compose the songs for the movie. He said first and foremost both MM/TKR would hear the complete (I mean complete) story of the movie. This will help them to understand and give the aura for all songs as well as the rerecording.

The fundamental reason why these songs are immortal is basically because of the involvement of the MM in understanding the story, tuning his ‘Athma’ to that of the character and hence the creativity flows on its own.

Regards,

N Y MURALI
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parthavi



Joined: 15 Jan 2007
Posts: 705
Location: Chennai

PostPosted: Wed Mar 11, 2009 8:55 pm    Post subject: Reply with quote

Dear Mr. Murali,
MSV's meticulous efforts to integrate the story into his songs is well-known. During Naiyaandi Dharbaar in Vijay TV, a few years before, the moderator Yuhi Sethu asked MSV, " In Pudhiya Paravai, there is an undercurrent of pathos in all songs. Why is it so? Is it because the story has a tragetic end. I asked the same question to TKR. What is your reply."

MSV as usual gave a general reply about how a song should reflect the story. Of course, Yuhi Sethu himself has answered the question. I didn't watch the TKR episode. Perhaps TKR would have given a more detailed explanation.

You have, , as usual, given a brilliant analysis of this song. I have always felt a unique feeling of divinity, love and exhilaration on hearing this song. The orchestration is beyond description (at least as far as I am concerned. ) But you have analyzed the orchestration also in a technical yet simple and intelligent way.

Pl continue your great job with other songs also.
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