the usual <...oh idhula ivvaLO vishayam irukkudhA :bow: >
Printable View
the usual <...oh idhula ivvaLO vishayam irukkudhA :bow: >
genesis and others: I didnt mean to be condescending abt the overall musical sensibilities of ppl beyond the VIndhyas
even when SDB or a RDB were complex, their musical complexities did not include jumping totally from one genre to another within a span of a minute in an interlude! thats another part of IR that goes hand in hand with his tune discontinuity - somehow our collective musical taste buds have gotten used to that - for instance, while the pallavi of 'roja ondru muthham ketkum neram' if tweaked a bit cud have easily suited NI tastes, the prelude of the same song as it is wud have sounded 'weirdly' complex for them!
another example from MP is'vaanengum thanga vin meengal' kind of pallavi-anupallavi was understandably changed in tune structure to something totally different - http://www.youtube.com/watch?v=M-jXMmuN5qI - barring the initial flute rendering plus the guitar usage, when Asha Bhosle starts humming 'la la', its composed a la RDB-style, particularly the guitar that accompanies this portion when Asha hums is very reminiscent of the way RDB used the guitar is films like 'Hum kisi se kam naheen' or some of the songs in Kamals 'sanam teri kasam' etc to suit the RDB-induced palate!
IR did not do several Hindi films - had he done that, say around 20-25 in a year, he wud have easily grasped the spirit/needs and gradually infused his own 'genre' and made it acceptable to NI audiences as well!
given that he did very few in Hindi, the popularity of SADMA is quite stunning!
its a matter of someone like Roger Federer or a Sampras getting adjusted to the clay court of the French Open, after having played mostly on the Wimbledon grass courts! or a Sachin, playing more on minefields of pitches to get a feel and then conquer - IR never had a chance to get that 'feel' by doing a series of films in Hindi one after the other!
"Jaane Do Na" - It failed because of its complexity. idha naan yendha court la venaalum adichu solluven!
ஷ்ரேயா ஒரு இந்தி இன்டர்வ்யூல இத சிலாகித்துப்பாடினாங்க, தோல்வின்னு நான் ஒப்புத்துக்க மாட்டேன் :)Quote:
Originally Posted by crajkumar_be
Shreya namma aalu :)
Naan kelvi patta (paditha) varaikkum, Cheeni Kum la matha paadalgalukku kedacha varaverppu "Jaane Do Na" ku kedaikkala. Online reviews, air time etc...
"sara yeh aalam" - Shiva.. idhellam Abishek Bachanukku pidikkalaam.. ethana perukku pidikkum? Check out any song which they even lift from Raaja, they will be dumbed-down versions.
"Neele Neele Ambar", "Rakkamma Kayya Thattu", in fact after listening to "Vaanengum", the Hindi version sounds like blasphemy - Why is IR forced to do this, i wonder! And i agree with irir.
irir123,
What you say is quite true. I am also stunned by the complexity Raja was able to bring into Tamil Film Music field and yet make everyone accept it. That is just amazing. He has definitely made a generation understand these complexities. The music directors who came in after him did reduce the complexity and nowadays you need to ask, "Complexity? What is that and how much does it cost?" :)
I can understand Malayalees taking up Raja's tunes easily because the ground was prepared by people like Dakshinamurthy Swami and later by Raveendran. (The tunes of Sarath nowadays are quite complex too.) Telugu was a different matter altogether, with the very tepid tunes of Chakravarthy ruling the roost and Raja again introduced all the complexity there and at the same time ensured everyone loved his music.
a_e,
Shreya infact starts off by saying she is not going to sing "Chenni Kum Hai" showing that it is the more popular song and people expect her to sing it!!
hi all - here are some interludes of IR which wud have and WILL NEVER work with North Indian audiences, but which were very popular down South!!
http://www.mediafire.com/?sharekey=e...4e75f6e8ebb871
the reason ?? their complexity! even though they were all hip, smooth and very state-of-the-art, they were way too sophisticated and complex for an audience who have never been exposed to such nuances before!
I agree Sharath's tunes are pretty complex.. but I felt "jerky" when listening to few of his songs as if the complexities were forcefully incorporated. I never got that kind of feel with IR.Quote:
Originally Posted by Sureshs65
Folks..good points on IR's song complexity. Let me share some of my thoughts as well. I think if it is just tunes for the human voice I am sure other MDs whether in north or south (say MSV) would have probably done equal or better than IR. I think where IR differs is, breaking the tune out for the whole orchestra either parallelly (in harmony layers) or sequentially with fills and line endings (brighas ?). irir123 had a good explanation/example of the sequential breaks in the tune for the instruments. Another example I think is en iniya pon nilavE. He has also a good point, given time, IR would have prepared his audience for this.
Please note, IR always thinks "parallel" - in the 3 note composition in Italy he says, "this is how it will sound if I split it for the orchestra" in tamil "pirichchu koduththa".
(BTW, in general I feel malayalee MDs tunes are very strong and free flowing, probable thanks to the raagam based composition approach (and I like a large % of random malayalam songs than in tamil). If some song does not sound good, in my case, it happens to be one of our guys like vidyasaagar).