aNNan pAlA garthig-ai pala nAtkaLAga kANavillai?
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aNNan pAlA garthig-ai pala nAtkaLAga kANavillai?
http://www.thiraipaadal.com/albums/ALBIRR00070.html
Hey mama from Azhagiya kanne.
true blue erotica...
One of the most romantically beautiful songs is 'Yem Debba Teesavura' from 'Ashwamedam'(telugu).
The orchestration, arrangement and the tune transport us to a surrealistic world.Janaki is at her best(and SPB of course!).
A melodious Dharmavathi shifts to Chakravagam in the charanams.
Please read this post where I have tried to describe 'Isaiyil Thodanguthamma'(another erotic number) and 'Yem Debba':
http://rajamanjari.blogspot.com/2009...nonpareil.html
nee paartha... is the ultimate erotica in HEY RAM.
The piano, humming, chanting, flute and the strings....sets the SLOW, SMOOTH mood.
(Ilayaraja did not pay attention to Asha B. She should be singing அகலாத நினைவு சொல்லும் நன்றி நன்றி .. NOT aganaadha)
http://www.oosai.com/oosai_plyr/playerWin.cfm?list=126
some days... like this morning,
joyous ilayaraaja is more special to me than yearning ilayaraaja with lust(ஆத்தாடி பாவாடை.....that bell sound is lust ) THIS ILAYARAJA STAYS IN MY BLOOD LONGER சுகமா ! :musicsmile:
the strings, guitar strumming, the flute and humming/chorus.... ever caressing LOVERBOY entices in ilamaiyenum poongkaatru....is joyous erotic ilayaraaja.
Prelude ding ding along with wind and the strings.. the பரவசம் he sets , I got it even today .
http://www.raaga.com/player4/?id=103...18043489073795
to bring out the 16yr old in me...
சோலை பூவில்......வெள்ளை ரோஜா
lilting tune and the strings... FOREVER LOVE BALA
http://www.youtube.com/watch?v=T3RxQPaY0d8
vinatha. :)
"etri vacha neruppinile" from Aalapiranthavan - the lyrics are bad but vintage IR melody
moham ennum - sindhu biavi
Carnatic singer in erotica...
This is Raaja....
nice no.
http://www.youtube.com/watch?v=FJp2KqnGg4w
"en uLLil engo" from "Rosaappu Ravikkaikaari" will find its pride of place as a timeless
classic among TFM lovers. As this was my last song heard, I thought of posting it in the
relevant thread, but then felt it more appropriate here .
"ManjaLai poosiya megangaLe
Malligai mullai maalaigaLe" - all metaphorically indicating her at the brink of springtime bloom with its fragrance all over her.
She desires to quench her longing that runs as a musical strain , a torment , deep down her heart, which she alone could hear. Unable to find solace in the arms of the man they chose for her, her husband , she is not sure even if the new friend could provide her the succor. Her vacillating mind is aptly brought out in the prelude "tun tun" strum , guitar lead , stream of violins and then the flute lead. The second bgm is particularly the handiwork of a genius . That grahabedham foretells her treading the road less travelled , breaking away from the shackles of fidelity in pursuit of pleasure. The deluge of sitar following that ,
depicting her unbridled emotional fervour, passion, that threatens to engulf her .
Raja opts for Dharmavathy for another erotica "meendum meendum vaa", but somehow this Dharmavathy with so many sublayers of intrigue and anticipation interwoven is more captivating than the act itself
there is 'ri' in the avarohanam in this song. so it is not suddha dhanyasi. it is a rare raga agnikopam.Quote:
Originally Posted by Bala (Karthik)
i wrote this in my blog 2 yrs back.
http://narayananswaminathan.blogspot...narration.html
//
you cud have heard raja talking abt s.d.burman. raja narrated how dada (sd) wud ask for details before composing a tune. the tune so composed will have all the details the director told for the situation.
u cud have even heard director mysskin talking abt raja asking for the details before composing a tune for nandlala. that is how great composers work. they can tell the entire story in a song with just music.
swathi muthyam - 'sippikul muthu' the story of the movie goes like this.
there is a simpleton in a village. he comes across a widow with a child. he cud not bear her pathetic situation. out of childlike love and sympathy he ties a marriage knot to her. surprised at this first, the woman slowly understands his love for her and makes a man out of him. the man narrates this story in flashback to his sons and daughter-in-laws after her demise.
in this movie, there is a song 'manasu mayangum'. this song comes when the woman accepts the simpleton, who is just like a grown up child, as her husband and they mingle.
the song first starts with a humming in high pitch, denoting the high of emotions. followed by a beautiful stream of swaras played in the veena in the raaga abheri, very apt for love, indicating the flow or harmones. then the song starts.
'manasu mayangum mouna geetham paadu' sung by the woman. here comes raja's genius. usually in love man makes the first move. the woman accepts it. this is universal. eventhough the woman has feelings towards the man she does not explicitly advance. it is the job of the man to make the first step. the rest will be taken care by the woman.
in this story, the man does not know anything. so the woman makes the first move, indicated by the first line sung by the woman. he follows suit. here also he sings the same line as the woman. that is, she teaches him, he learns.
vairamuthu also aptly understanding the situation, has written some beautiful lyrics. the teacher instructs the learner, 'idhazhil thodangu enakkul adangu, sugangal iru madangu'.
the first interlude, has violins, tavil , flute and veena. tavil used for auspicious beginning. the violins narrate the happenings ' so it happened u know'. then the flute and veena have some dialogues. denoting the words of lovers.
the charanam begins. 'maarbil undu panjanai, madigal rendum thalaiyanai' is sung in the madhya sthayee by both female and male voices. 'neeril neruppin vedhanai, anaithu konden thalaivanai' still each line is repeated by the male voice after female voice.slowly the song travels to higher notes, phrase by phrase, indicating lovemaking.
'idhayam mariyadho ellai meeriyadho' is still higher on the scale. 'pudhiya paadam, viraha dhagam' is sustained in the higher notes. 'bodhai yaeriadho' reaches the highest note in the range and is sung in a beautiful crescendo only by the female voice, indicating the climax, leaving silence for a while. wow!!!
now, the best part comes. the male voice resumes the song with 'manasu mayangum', and the female voice follows indicating the simpleton has become a man, he has learnt about life, understanding its nuances and how nature works and is ready to support his wife leading from the front.
vairamuthu shines in yet another line 'kaadhal inge pala vagai, unaku mattum pudhu vagai' explaining the supracited.
wow! what a composition, i have never heard such a song rich with subtext. after the initial veena in aberi, it is mostly in sudha dhanyasi. raja raja daan.
this is how a song shud be composed. summa nakku mokka, mooku dokka-nu paatu panravanga shud notice.
abheri and agnikopam are very similar ragas. the slight difference is given below.
abheri s g m p n s / s n d p m g r s
agnikopam s g m p n s / s n p m g r s . dha missing. both from karaharapriya.
actually i thought the initial veena was in abheri. after playing the sequence, i came to know that it is agnikopam.
http://www.dishant.com/jukebox.php?songid=25715
http://in.youtube.com/watch?v=iOoy6pWoujI
//
priya32,
yaar music by v.s.narasimhan.