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thumburu, I have given up on this discussion. But to answer you one last time, MSV did'nt appear in films and serials in the 60s when he was the numero uno MD and when he could have gained something by appearing in films(like how IR did in the 80s). I dont care what he does now. He isnt active in TFM any more and you know that. He probably has time to explore his other talents. If you pretend not to understand my point or arguing just for the sake of it then live in your own delusional world.
Vijayr
Digression!!!
Pl participate in the tabla discussion on IR songs in the right spirit!!!Now you discuss on THIS subject.This is the good way of discussion.
The outcome of the discussions should identify the GEMS of IR for the valuable readers!!! Not a junk one!!!!!!!!!!!!!!!!!!!!!
With Love.
Usha Sankar.
tvsankar, OK here are a couple for you
pudhiya poovidhu from Thendrale ennai thodu had a nice "tabla tarang" complementing the main melody lines. Its an instrument where there are different pieces of tabla drums that can be tuned to different notes of the scale and can be used as a melody instrument even though its percussion. IR had used it as a sort of counter to the pallavi. You can hear it distinctly during the pallavi
Kaalai nera kaatre from bhagavathipuram railway gate had a different rhythm pattern that I hadnt heard in any other song. Usually in IR's songs the first table beat that you hear coincides with the start of the melody line. But here the tabla waits till about 2 time measures(or aksharas as they call in carnatic) before it starts off and merges seamlessly with the main melody line.
Recently, Ganashyaama from Kochu kochu santhoshangal has a rhythm pattern that changes every line - a rare characteristic for an IR song. Although the thala is misra chaapu(7-beat cycle) throughout, IR changes the nadai every other line.
In the second version of "kurangu kayyil maalai" from Mumbai express you hear a small prelude with just percussion and little else. Its difficult to decipher/notate where the beats fall in the first two or three listens, it seems they are all over the place and dont fall in the usual places where you expect them to(although the overall timing of each cycle works out to be the same), but its been purposely done that way probably to represent the chaotic situation the song conveys.
The last 2 examples in above post does not necessarily refer to tabla but more towards percussion usage in general.
I am listening to another song which has eluded me a for a long time. sandhanamittu sadhirradum from Ruchi kanda poonai uploaded by a kind DFer
http://web.music.coolgoose.com/music/song.php?id=186491
A melodious tune with an interesting rhythm pattern
Vango, Vango, Vango VijayR!!! See, you have so much to offer positively. Very kind of you,share your knowledge with us!!! Great Day! Vinu
Vijayr
I saw ur post!!! You told good nos.Thanks for the nice write up !!!! Indha azhanga skillai ellam vittutu epadi kupai mails panna manasu vandhadhu adhuvum niraiya page ku!!!
Kiru
Thank u for ur postings!!!!
Indha post ellam padtihu nichayam enjoy panraen.
Guys, keeping aside IR's composing technique, as a layman who loves IR's creations, I am deeply disturbed by the lack of spontaneity in IR's music nowadays - just listen to a "Madai thiranthu" from Nizhalgal, and then listen to "yenna paattu" from ONOK - you will know what I am saying
I was listening to "KALKANDAM Chundil" a Malayalam song by IR - omigosh!! sweet, invigorating,groovy bass lines and a vintage IR breezy meldoy with complex flowing interludes - that is the IR I want to hear - sob, sob, sob!!
"meldoy ' should read as "melody"
MASSIMO SIMONINI (Composer & Founder of ANGELICA forum, Italy) - The music of ilaiyaraaja, besides containing many forms, is a good object of reflections and meditations on the form, on its consume, for an eventual, possible expansion. It shows models & rare formulae, unthinkable for the western music song world or western cinema. His film songs feature a metrics that is strictly linked to the images, to the atmospheres of the movie, while the movie itself appears to be composed by a myriad of narrative video clips, which in turn give the song an opening towards other musical forms - A moving open form, that is strictly linked to the inspiration of the moment, ready to welcome anything in a surprising structure, enriched by a, still so strong, indian tradition, where rhythm, melody, devotion and surprise travel together. These entities are seen moving in places where style and form can be continually re-discussed, while still following a logic, a narration. Itıs almost like a kaleidoscopic song, full of rules, but also rich in expressive possibilities...keeps moving...truly vedic .
Recently I have been listening IR albums a lot (I mean almost 9 hours at work, 2 hours during commute and 1 hour at bed!) and the more I listen, I completely agree with IR that music is just a "sitthu velai". Since I have been listening a lot, I could easily figure out which song resembles which other song. This came to my mind recently and want your opinion.
Neramidhu Neramidhu Nenjiloru and Snegithanae Snegithanae Ragasiya Snegithanae - is the latter one inspired from the formar?