V-s, precisely because it isn't mediocrely devotional despite being named sri rama rajyam, the natl award will not be given to this one.
V-s, precisely because it isn't mediocrely devotional despite being named sri rama rajyam, the natl award will not be given to this one.
Jai , Congratulations on the new arrival ..
Ah yes Jai, pAttu mummurathula matter-ai maRandhuttEn. Congrats!
Congrats Jai :)
Here are the mandatory requirements for this project:
1. Lyrics were already written for 15 songs.You have to compose tunes for the written lyrics. :shaking:
2. Orchestration prowess should not be shown, even if it is your special skills, as everything should ride on the lyrics and no time for this, as the story/film should progress as the songs progress.
3. This is a historical/classical/devotional film, but it should cater to all the three. No compromise there.
4. There are more story oriented themes, so tunes should not be boring and also tunes should have the depth as in yesteryear songs. Always it should keep the audience in check.
5. All songs should be based on Indian classical/Indian folk. Most preferably South Indian.
6. Rap, pop, rock, jazz etc genres are ruled out. Even WCM is not allowed. :frightened:
7. Need to use only live instruments with occasional synth is permitted, but should be hidden.
8. Singers should sing to perfect diction, no compromise there, as this uses pure language and the film is historical. No screaming allowed. :twisted:
9. Most of all we have only couple of days to meet the deadline.
10. Once the film is shot completely again we have just a week to complete the score. All above requirements are valid for the score as well.:cry2:
Any one can do?
Ada pongappa, Ithu enna manushan seyyara kaariyama. Remba aniyaayama irukku. Kaalam kethudichu. Naan intha vilayattukku varalai.
V_s - perect except that change indian folk to telugu folk. That seems to be the target
Thanks Plum. I agree. :smile: This one suddenly struck me as I was listening to Sitarama charitam/DevuLLe mecchinde/Sri Ramayanamu. Maestro's hands were really tied, no scope to show his mastery over orchestration/interludes. Only scope he had here was to get the perfect tune for the lyrics utilizing various indian classical raagas with some amicable background. Since this these three songs were story driven, that too in those classical days, absolutely nothing else in it for Maestro. Comparing this one to 'Annanmaar Kathai' which had similar theme of story narration through the song, where he showed all his WCM/Opera/folk skills, here pulls up a blinder without all this. What a contrast!! Absolutely stunning!
See, V_S, that's why rAsA needed SPB/KSC/ShreyA to do a significant part of the now-big-hit Telugu SRR album.Quote:
Originally Posted by V_S
In aNNamAru kathai, he could play around with a hopeless (IMSO) Madhu B :-)
வாழ்த்துகள் ஜெய் :d
I completely agree App. Raja utilizes even a minute opportunity to sneak through in and he eagerly looks for it everytime. That's where the difference lies. Here he needs his best singers to prove his skills and he utilizes at the right time.
Still, he even used new singers to the best possible extent.I cannot stop applauding Anita for her brilliant performance both in Annanmaar kathai and in Sitarama Charitam. Again what a contrasting song and she nailed it perfectly in both the innings. Keerthana though her voice is similar to Shreya, she was too amazing in the same song.
Raja keeps changing the tracks/rhythm and scales in that song every 30-40 seconds. At two places he almost brings the song to a halt (one when sita was taken by ravana, and another when sita was asked to agni pariksha) and picks it up again effortlessly. I could sense around 9-10 rhythm/scale/raaga changes. And those cries from Rama when he searches for Sita, and the shout of soorpanaka when her nose was cut by Lakshmana. How brilliantly he sneaks those pieces in. No time either, he cannot insert it later, everything has to go along with the story. Classy stuff by Thalaivar!!