"MSV CLUB" - The Discussion Forum of MSVTimes.com

[madhuraman]

Dear Mr. Baskar,
Anyone with an ear for quality can never brush this song aside under any guise. In fact, this number is such a grand melody that it enjoys an exceptionally ubiquitous acceptance and a rather unique lyric -tune ensemble outright. What do I mean?
Normally, lyrical frames get embellished by tunes. Only rarely a tune firmly adheres to the word and vice versa. The 'pallavi'statement being a universal truth , ably grips the listener for its sheer truth of eternity.This is a tune that right away catapults the song for all its glory even as the lead phrase is read out; speaks volumes of the MD's conceptual clarity.
Look at the way TMS gently reads out Paduvor pAdinAl [with indicative 'gamaks' suggesting what is in store ] just silently proclaiming that the singer holds the key to the life of the song- how true it is? The very next frame 'sedates' the singer with a subdued note 'pAludan thEn kani sEra vEndum' AND again the MD subtly calls attention by a speedier and elevated lift of the phrase 'kalaigaLai deivamAi kANavENdum' with a more pitch and vibration. Look at MSV's sophistication.
With 'pAduvor' as the central figure, MSV makes it a singer's domain in the first place and obviously kept the orchestra under tight shackles only to be let on rapid track right at the closing of pallavi. This time around MSV drives your adrenalin from the word go with Piano weaving its mesmerism all over.
While the number is rich with melody it has equal weightage for rhythm as the charanams flow. Though Piano tries to steal the show, MSV steals our zeal with his Tabla -Piano combo in an enviable fight for demanding attention through commanding play of dexterity. Who else but MSV can do all these and stay so cool as an 'unplayed instrument?
Incidentally, the lead phrase 'PAduvor pAdinAl' was given by MSV himself as he was discussing with the movie makers and the lyricist.
Paduvor padinal to me is a permanent declaration which firmly dictates that 'pAduvor' is a qualification to sing and not a label for any one who attempts to sing.
There are innumerable spots of sophistication in this number by the sheer handling of orchestral elements.
Thanks for the opportunity.
Warm regards K.Raman Madurai.
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Prof. K. Raman
Mumbai

[Sai Saravanan]

Dear friends,
A very beautiful description of the song by Professor. Anything more would look repetitive, but then the songs of our MM are so refreshingly new each time you listen to them and every time you get a new feel...
The combo that Professor narrated, no doubt, is the dominant one: the piano-tabla. Who else could surpass the wizardry of Tabla Prasad? Mr.Prasad also combines very effortlessly and seamlessly with the Congo section too. They merge into each other as the song progresses. You can feel this as each stanza climaxes and progresses to its ending. The violin section becomes only a fitting background allowing the piano, tabla and congo to dominate. Not much of focus on the interludes except that it leads us to the next level.

Not to be left behind, TMS also resonates with a fitting lyrics that aptly looks to have been fitted to the nuances of the tune. Look at the words falling appropriately into the rhythm as well as the tune! Look at the finish by TMS each time the stanza ends...A very crisp and lively song. Thanks for reminding us of such gems every time!
Regards,
Sai Saravanan

[N Y MURALI]

Great writing professor! I cannot resist adding some more points in the value of the composition that this man called Melody Synonym Viswanathan impregnated in to the song which will live forever.

I forgot the story line but vividly remembers that the lady character JJ is under the guise of physically disabled is induced to dance for the song. (I could be wrong. Please correct it if so).
There comes the opening line
‘paaduvor paadinaal aada thondrum’

The song has for the first time a combination of Piano and Mirdhagam as lead and rhythm instruments. It created wonders as I believe this is the first time such combination is used.

The idea is that there is going to be singing and dancing and not singing and acting.

The piano is used for the singing and the mirdhangam is used for the dancing. Why should a midhangam be used when he had other rhythm instrument like tabla?

The fact being that it would involve a dance situation and the mirdhangam is most apt for the situation would have forced him to think like that. That the dancing sequence is not the classical Bharadham makes it clearer that Jadhis are not used.

If you carefully notice the song the mirdhangam is used only in patches and not wholly. The idea is that the mirdhangam is used to arouse emotions for her to dance.

Now look at the way mirdhangam is used.

The pallavi starts with the singer singing the lines without any rhythm but with piano support.

Then the piano unleashes the full flow of melody. Now you can notice that the first piano piece followed by mirdhangam comes as a questions and answer. This is very important. The piano induces the dances to dance. We can notice JJ’s legs unable to control itself for movement.

Then the pallavi starts with a full flow of rhythm instruments this time with bongos, Congo and the drums. You can also notice that the dance also would have started in full flow.

‘Isai amaippor isai amaithal aadamal irukka mudiyaadhu”

Now see the interlude before the first charanam.
Here you can notice an important difference. Here the mirdhangam comes first as a question and it is answered with the piano lead. Meaning that the dancer has fallen pray to the song and now she is inducing the singer to continue singing.

No more mirdhangam after that. This is astonishing. Why should that instrument be used once the task is accomplished as the dancer has already started in full flow?

MSV’s MUSIC IS A LANGUAGE. IT CONVEYS A MEANING. IT IS NOT MERE ‘SA RE GA MA PA’ FITTED FOR THE LINES

Other percussion instruments.

MSV has also used other instruments. For example we can notice that the tabla being employed for the charanams.

You can also notice the Tharang tabla being used in the interlude before second charanam. That the Tharang tabla is always used for dance sequence is well known. (Mannadhi Mannan MGR playing the Tharang tabla).

Just see how judiciously MSV has used all these percussion instruments in patches and not over cooked makes him very unique. There will be temptation on the part of the MDS to over do this.

(I think the tabla is played by Hanumanthu and not Prasad as Prasad came to MSV in the 70s)

At charanam Piano is also used as the rhythm instrument for giving Chord punches.

Raaga
What raga this song could be? I strongly feel that as usual this melody does not fit in to any raga. But broadly if we want understand we can say that the melody is in the ‘harikamboji’ scale and the ‘sankarabharanam’ scale. The difference between these two ragas is the NI swaram. In the case of ‘harikamboji’ NI1 and NI2 for ‘sankarabaranam’.

But if you see it as a Chord based composition then we can say as following.

I do not know in what scale this song is composed. Assuming it in the scale C Natural scale then it would move through the following chords.

C Major(sa-ga2-pa)(common chord for harikamboji and sankarabharanam)
B flat Major(ni1-ri2-ma1) (the chord for harikamboji)
F Major(sa-ma1-da2) (common chord for harikamboji and sankarabharanam)
G Major(pa-ni2-ri2) (here the variation of chord for sankarabharanam the swaram ni2 )
C7th - sa-ga2-pa-ni1

The melody flows through the notes of these chords in general. However some variation happens. Especially at the line
‘Kalaigalai Deivamaai Kaana Vendum’
Where a touch note ‘m2’ (prathi madyamam) is employed. This feature is very special for MSV as he has done this concept in many songs like ‘chandrodhayam oru pennanadho’
‘thamizhukku seidhi solli azhaithu kolvoma’(in the song ‘kalayaana naal parthu sollalaama’) etc.

It also involves a chromatic orchestration the arrangement being

Pa-da1-da2

This happens after the line
‘keytkum isaivirundaal kaalgal thaalamidum’ and before the line
‘thathi nadandhadhu penmai’

Overall to recap this song is always remembered for
The fusion of piano and mirdhagam .
The mood of the song which is to induce the dancing.
Excellent orchestration arrangement which involves piano, violin, flute, pizzicato and in percussion mirdhagam, tabla,tharang tabla,dholak,bongos, cango,drums and so many other timing instruments like kapas etc.


N Y Murali

[Vatsan]

Good observations NYM.
The song is a blitzkrieg of a number....blazes through starting from the rivetting and arresting piano piece. I always used to feel that the left hand which was used to play the base and the right hand that was used to play the melody part interchanged their functions somewhere in between the prelude !!!

The raaga is MSV-raaga or varaagam !!! The self-created scale of convenience uses M1 and M2 and N1 and N2. Here M2 is used conspicuously as NYM stated at the line "kalaigaLai deivamAi kANa vENdum", the unmistakable 'P-M2-D2-P-M1' phrasing describing the Hamir Kalyani touch. This feature has been a part of several of our telephonic conversations, as a "MSV smitten" feature. So taken in was MSV with it, that he used it through a Sarangi in the prelude of "yAr antha nilavu" and ofcourse at "thalaivan thalaivi madimEl vizhunthAl pAvai" ("touche" if the wordings are wrong) in the "mella varum kAtru" number. With respect to alternating between N1 and N2, I think MSV used it pretty often for bringing about a change in the tonality. The first line "pAduvOr pAdinAl..." uses N1 and the second "pAludan thEnkani" courses through N2. This is easily discernable in the tune for the second half of the tune pasted on "pAludan thEnkani". Exiting the chosen scale through N1 and performing a grand re-entry through N2 is a MSV-esque flow of panache that finds itself pitchforked into several of his tunes. The notes traversal at "kalaigaLai" "G2-P-D2-N2-S" roughly is yet another oft repeated MSV swaram arrangement that seems to flow through MSV, spilling over into quite a few of his tunes. In this case however, the intervals or the length to which the swarams are sustained, may differ across songs.

[vaidymsv]

Dear All,

Paaduvor Paadinaal is one of my most favourite songs of the undisputed Emperor of Melodies.....The interlude before the 2nd charanam in which Our Legend unleashes the Piano into a breath taking rock & roll sequence embellished with the base karanai of the tabla (or tabla tarang????) is something that sets our Man apart from the rest of the composers whom we have heard (or trying to hear should I say??). This is precisely why many of us have become addicts of this Legend.

Apart from all these, who in the world had the forethought to use maximum instruments of different kinds and yet fuse them seamlessly.... (as if the instruments were waiting to be integrated with each other)....

Well, this is an art that is absolutely unique ONLY TO SHRI. SHRI. MSV and no wonder he is a real classy stuff as always!!!

HAIL MSV!! HAIL MSV!! WHAT A WAY TO GET ADDICTED!!!

CHEERS
MSV IS MUSIC
VAIDYMSV
_________________
vaidymsv

[ragasuda]

Dear friends,
Download the song from the following link. This song is unlike the other regular junk websites providing the songs. This song is uploaded in cooltoad by one of the millions of fans of Mellisai Mannar and has been treated and made crystal clear with each instrument audible clearly.

http://music3.cooltoad.com/music/download.php?id=247370

Thanks to he/ she for uploading this great number.
_________________
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