@ baroque - same tune? I thought the tune was diff.. Same raaga perhaps..
did u listen to the SPB song from the same album - very nice!!
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@ baroque - same tune? I thought the tune was diff.. Same raaga perhaps..
did u listen to the SPB song from the same album - very nice!!
IMPROVISATIONS IS THE SAME. sudhdha dhanyasi, I have mentioned.
chinna thurai, I must have some where, thinking will check out this evening. thanks.:)
see, i read your post, started with 1999(CT), moved to 1995-Rasaiya, went to 1992-mayilaadum thoppil, that's all, I will be trapped by 80s Ilayaraja with kaalaiyil kettadhu....1992 and before ... that's all impossible to climb up to current Ilayaraja for me!:-D HAPPY HAPPY JOY JOY.
Current IR, I buy the album whether I watch the movie or even crazy about the songs or not. Some day I will be in the mood to the ones I ignore earlier.
But Harris, Deva, Yuvan etc... I tumble down on the song while watching movies or rarely listen to see what's new, may be some day I make it assorted collection with the ones i like konja naal poru thalaivaa....,unnale unnale...,kaatrin mozhi... etc..
Last weekend I watched Cheran's Muran. Good work from Cheran. Fantastic ending. But I don't remember any songs. MD fellow yaarunnu kooda theriyaadhu, I don't care also. I will revisit the movie in future.
film makers like cheran, amir khan, vishal barathwaj are sensible fellows. I am curious about them.
IR belongs with Khaiyyam, S.D.Burman etc.
Khaiyyam's two albums coming, I may or may not watch the movie but albums Cd I look forward to and buy.
Hope they do justice to the great man's efforts like Bazar or Akhri khat etc.. Otherwise also Khaiyyam stands tall, sells his music quitely.:)
VINATHA.
I agree. This is similar to the discussions we had on 'sri rama'. For raga enthusiasts and those who've grown with IR for long, I think it's hard not to notice and feel this way..Quote:
IMPROVISATIONS IS THE SAME.
Interesting to read your likes, vinatha. Keep posting your hindi favorites in raj thread. I follow them regularly.
:)
vinatha
Getting back to the topic of the thread, I will try to post the various ragas Raja used late 90s and 2000s. These maybe the 'same old' ragas or newer / not oft used ragas. In any case we will try to see how Raja's technique has changed from the 80s wherever we can.
Today I want to post two songs based on the ragam 'Sivaranjani'. One is a Tamil song and another one a Malayalam song. The Tamil song is from the movie, 'Sakkara Devan' sung by Malaysia Vasudevan and S.Janaki. This was a bit popular when it was released. 'manjal poosum' from 'Sakkara Devan' here:
http://www.youtube.com/watch?v=_W1OfyWLtL8
Now, let us listen to 'ponnavani paadam' from 'Rasathanthram'. The same Sivaranjani ragam but checks how different it sounds in the charanam. (You can hear the similarity in the pallavi)
http://www.youtube.com/watch?v=ek5uLKxPDVs
'manjal poosum' is a typical 90s Raja melody. The usage of tabla, the real instruments (especially the flute), his favorite singers. Malaysia and Janaki. Raja evokes Sivaranjani very well in this song and gives it a romantic touch. The beats are also very nice. Doesn't follow the normal 4x4 structure. The beat gives the song a different quality altogether.
'ponnavani paadam': One contestant sang this in a reality show in a Malayalam channel. Hearing it Usha Uthup exclaimed, "What a flow!!! I am hearing it for the first time but you can clearly see it is a Raja song. Very high energy". That is true. The charanams especially flows as if they are rivers flowing down the mountains. Unlike 'manjal poosum' you have lot of synth in this. song. The beats again or unique. Synth pads combined with the thavil. The interludes a mix of real instruments and synth. The singers are new age singers, Madhu Balakrishnan and Manjari. Movie was released in early 2000s.
Honestly I don't have much to choose between the two. Both are excellent melodies with their strong points.
manjal poosum.... Vasu and Janu:musicsmile:
good job, Suresh.
I was listening to Shanmuga priya - MSS, this pongal morning, thinking...
last time Raja gave this rag in Tamil was MOGAMUL.
Janakiraman's Mogamul is a classic, the compositions are real stunners.
Veena, flute, violin, longing Janu's humming in Rag Shanmuga priya is a gem of a composition.:musicsmile:
Ilayaraja's shanmuga priya was 1995.
With this composition and rag, I can start with 1995, go down to salangai oli or aan paavam of 80s, still climb
up back with enthu and blast several times
No trouble 90s IR retaining me!http://www.mayyam.com/talk/images/sm...musicsmile.gif
http://www.paadal.com/album/tamilson...il-movie-songs
http://www.youtube.com/watch?v=-Kgyb_A86xk
I never seen this album in CD. One time, I was able to buy only cassettes of some Ilayaraja albums.
:roll:
PONGAL WISHES TO YOU ALL!
vinatha.
Suresh brought to my attention about this debate on Raja's new age work. On other Raja forums, I have been a torch bearer for both Raja's work on non-Tamil films as well as his work in the last 22 years (post 90s). I realized that the initial discussions in this forum was trying to fit Raja into the CCM box (various ragams, techniques from CCM). For almost 6 years, I have been trying to box him in three other boxes. The WCM box, the Techno-baroque box and more recently an arrangement box (choir, clever folk arrangements etc).
The long and short of most of my analysis has been one thing: you cannot box the man, however many boxes you have. I am sure, somebody tried to find the rock and roll/disco box even in the 80s for him. Most analysts try to come out with a grand phenomenon at the end and try to link every argument they have to that phenomenon. You just cannot do that with Raja. Perhaps, it may be due to the fact that we live during his time. Even Bach was not boxed into his baroque exploits during his time. Only when somebody chose to understand the genius several decades after his time, the world recognized it.
If this approach of trying to analyze him may prove futile, why do it? There is a joy in failure, and I thoroughly enjoy it. Take a set of 25 songs from various decades and scan it looking for one pattern (folk, arrangement, ragams what have you), you will get an answer. Reanalyze this same set with a different criteria, you will get another result set. That's the sheer genius of the man. But, you learn new things with every scan. All I see in these emails is just that. Different views scanning the same subject from different perspectives. Recently, I took up one song from Raja's 90s - Kottum Kuzalvizhi from Kaala Paani. You can write about this song from a violin arrangement perspective alone. You can also look at the choir arrangement and write from another perspective. There is an opera element in that song that has been very cleverly arranged by Raja. That's the third perspective. All these three perspectives are from analyzing only the interludes in this song!
Unlike most Raja fans, I became serious about his music, only after hearing Cheeni Kum, supposed to be a light version of his several heavy 80s work. My focus has been primarily to uncover most of his 90s and 21st century work as I had taken my focus off Raja for those two decades. I did not have the 80s baggage and viewed it as another phase of his career. There is so much to be uncovered and ignoring Raja's post 90s work will never reveal a complete picture. For instance, his Maya bazaar Capella work (Naan Porandhu Vandhadhu) has its origin in Kelade Nema Geega from Geetha in the early 80s.
With age, there are a few undeniable things - he is not able to do as many films, (nor are there commercial opportunities), not able to connect with the current generation and somehow got himself painted as a specialist. However, I see very few compromises, come what may from Raja. His best Capella work came when he was completely down!
Cheers
Ravi Natarajan
http://geniusraja.blogspot.com
Ravi,
Nicely put. I updated you because of your interest in Raja's later works. As you say, Raja has not compromised on his music and I believe in that. Again as you said, it is difficult to box. I think it was Plum who said here that which ever way you cut him, Raja still shines. He is a true diamond.
Vinatha,
Raja did give that wonderful Shanmukhaapriya in 'Moga Mull'. He later used that in a very new age way in this outstanding song from Malayalam 'Friends'. 'sivamallipoove' remains an eternal favorite of mine. Outstanding orchestra, superb use of the synthesizer and Chitra's glorious vocals.
http://www.raaga.com/player4/?id=178...19720863547394
Songs like these are proof to me that Raja has neither aged, nor his imagination come down. He is just looking at the same raga with a different lens and he sees new colors. If we refuse to see it, we are the losers, aren't we?
good good, suresh,
malayalam sivamalli..... chithra composition is a good one.
I am kind of running between my sankaranthi koottu etc..:) & my favorite music
composers...it was in my mind to post too.
still usage of shanmugapriya was 1999 and early.
more than decade +2 yrs for those of you noting his raga usage.....mmmmm....
thanks for the composition for my pleasure while I finish my pongal items.
without IR sangeetham, no day or festival is complete for us.:musicsmile:
vinatha
Continuing on the topic, folks like us will continue to try and box him with more boxes. I do not see any way to categorize him under one box - it's sort of searching for a unified field theory. We must however, in this journey of trying to uncover him, should not timebox him:smile2:
The man is wired in a basic way and that has not changed in any way. He had a strong WCM and CCM basics, but quickly learned how to integrate disco, rock and roll from his own senior orchestral colleagues. He was at the same time, doing unconventional things like integrating shehnai into his mostly South Indian music! While he was trying to do this, he also jumped on to integrating the synthesizer into his music selectively.
The 90s saw him trying to replace some parts of his 'hit combination' - replace strings with synthesized versions, replace percussion with synthesized ones. There were hits and misses. We must remember that he worked as a music assistant for about 150 films under GKV. He has enough time to figure out what will and will not work. That carried him through the first 10 years of his career. The next 10 years was augmented by his additional CCM learning and inputs from his senior orchestral colleagues. 20 years into his career, he tried to re-engg his running train - hard stuff to do. Some of his experiments failed (it continues to fail even today, in my view). Such is the world of musical experimentation with such wide choices that he is expected to dish out.
Most of the popular MDs in IFM today are going through what Raja did in his first 10 years. However, they are nowhere close to what he did in his first 10 years, nor do they have enough opportunity or the output or the quality of 76-86 Raja. All of them without exception run out of steam quickly.
To illustrate one more case of Raja's 90s and how I saw it differently, try this one:
http://www.youtube.com/watch?v=32S3qjLk4t8
Vicky and Vel saw Chakravagam being used very well by Raja. I saw the choir arrangement and the synthesizer wonders that he has executed in the same track. Please ignore the childish visuals. Even today, I keep wondering how you can integrate scat singing, a complex choir with a brilliant synthesized flute into a chakravagam melody. Hear the second interlude and it will blow the socks of any serious music lover. I am not complaining that he used chakravagam as he has used it several times before. I am only delighted by the modern treatment he gave to this ragam.
For every one of this, there will be 3 others that did not work that well.
In short, he is the best thing that happened to music before him and after him. He has managed to take the best of both Thiagaraja and Bach and add his own flavor and elevate mean mortals like me to levels that cannot be imagined otherwise.
Welcome here Ravi. :D Very nice to see you here. Loved the way you see Raja and all interesting view points. Aha! Like they say in The Lord of the Rings, 'Once ring will rule them all', you said it, 'He is the best thing that happened to music before him and after him. Great statement with a perfect example. Like to hear more from you.
Before I forget.
I'm ok with this. btw, what's your twitter id?Quote:
Originally Posted by Sureshs65
Ravi Natarajan,
Welcome.. Good to read your posts! I think 'boxing him' is not the main point. Most of us know how futile the exercise is.. :D Right from early days he has kept us guessing.. 'kuyile kavikkuyile', 'andhi mazhai' . People have been branding them safely as 'fusion' - which really doesn't say much. Anyway now that we generalized, can discuss all perspectives in trying to understand our man - the enigma..
'alli sundaravalli' is a good song to show that raga name doesn't really matter for him. He can do the same, be it sahana or desh. However, in 'alli' case, I am unable to call it great even through there's catchy tune, good raga, orchestration. Something's lacking - sorry..
Suresh,
Both are pretty good sivaranjani's. Even though hundreds of sivaranjani's come out in films & other genres, we can see IR's edge so dramatically in these songs.
I too can't find much to pick one over the other. Maybe they are somewhat close in timeline. Interestingly, the rasathanthram is more TFM-y than the other IR mallu songs I've heard.
RR,
My twitter id is @Raaga_Suresh
RR,
Those Sivaranjanis are separated by a decade I think. 'Sakkar Deva' was a 1993 release and 'Rasathantram' was probably a 2002/2003 release.
God.. you are a tweet-aholic ! will have chances to interact once a while there..Quote:
Originally Posted by Sureshs65
Interesting.. I see only the synth usage as a major difference. Sivaranjani & 90's remind me the irresistible 'kuyil paattu'..Quote:
Those Sivaranjanis are separated by a decade I think. 'Sakkar Deva' was a 1993 release and 'Rasathantram' was probably a 2002/2003 release.
This may not be not specific to IR's raga choices, but this nice article by a westerner shows how they perceive raaja's music -- cheeni kum, naan kadavul and mumbai xpress....
An "Unknown" Indian Film Music master
Posted By: Steven A. Kennedy on March 9, 2009 - 9:00 PM -- Film Score Daily magazine
While “Bollywood” films tend to claim a more universal appeal, India’s cinema has unique regional flavors which are as equally prolific. Many of the films tend to last an average of an hour more than the typical American film. Composers are generally musical directors whose instrumental underscore often is minimal with a predominance of songs. One of the most prolific of these composers is maestro Illayaraja.
Ilaiyaraaja has composed over 900 film scores (take that Morricone!) and a host of crossover albums. Many of the films he writes for though tend to be in more regional languages which tends to limit their marketability. Limit seems an odd word to choose given the 200 million or so people for whom Ilaiyaraaja is a more familiar name. Over the years, the composer has explored combining Western and Indian musics to create an intriguing blend of sounds and is credited with writing the first Asian symphony. One of his other superb accomplishments is an oratorio, Thiruvasagam,which is a massive work for chorus and orchestra. Born in the Tamil region of Southern India in 1943, Ilaiyaraaja began his career in the 1970s in the Tamil film industry sometimes referred to as Kollywood. With over 4500 songs to his credit as well, he is undoubtedly one of India’s best kept secrets.
Before sharing much about the music, it must be pointed out that for this reviewer, getting a handle on the extensive career and music of this composer is a bit overwhelming. Imagine summing up the career of say John Williams or Ennio Morricone with three film scores and a couple of instrumental classical albums. To say we are scratching the surface would be a gross understatement as the best one can hope to do here is to prick the skin.
For those however looking to hear how Ilaiyaraajacombines Western styles with Indian ones there are two albums which can be recommended. One of the things the composer is noted for is his exploration of Western classical traditions melding them into an Indian musical context and sensibility. In two crossover discs, imported on Oriental Records (www.orientalrecords.com) you can hear two distinct approaches. In How to Name It?, the composer focuses primarily on exploring the Italian Baroque period. With a prominent solo violin often playing a raga-inspired melodic idea, strings churn away underneath in a rather intriguing fusion of two ancient traditions (though the one is far more ancient than the other!). There are some modish moments as well here recalling the odd funky music of 1960s pop sounds as well, but the bulk of the album maintains this Baroque sensibility. One gets a sense of the inventiveness of Ilaiyaraaja in this disc due to the semi-improvisational feel that is created by the melodic direction of the music—perhaps a true melding of East and West. A second release from the same label, Nothing But Wind, shifts into the next Western musical soundworld of the later 18th century with a Mozartian orchestra supporting a rather beautiful flute line, played by Hariprasad Chaurasia (sort of the Indian answer to Jean-Pierre Rampal or James Galway). The five tracks of this latter release might be an easier entry into this unique blending of musics for most Western listeners.
Three film scores representing different genres were available to sample all from more recent films. The first of these is for a 2005 comedy, Mumbai Express (Venus Records 1542). Over the 6 ample tracks here, we here the jazzy funky sounds of “Aila Re” to samples of underscoring with dialogue in “Pyaar Chahiye” which give way to another beautiful lyric song. As all good film music does, Illayaraja’s score simply supports narrative with appropriate melodrama cast in moving string sounds. In “Bander Ki Dug Dugi” Indian percussion give way to an almost Grusin-like 80s jazz sound with vocals. This blend of dialogue that moves into song is indicative of Indian cinema and what this disc allows is fans of the film to hear the complete context of the songs that are used in the film and how the instrumental music weaves into and out of the song material. The one instrumental track, “Monkey Chatter,” is actually an 80s-ish jazz instrumental piece that uses a variety of electronic keyboards and some acoustic instruments (or an extremely dryly recorded live orchestra) for a suberb jazzy track. Most listeners would be hard pressed to know that this track was composed by an Indian composer demonstrating Illayaraja’s complete mastery of the Western forms explored here (this can be heard equally in the more classical crossover releases available for review as well). The melodic content of the score has an almost spiritual quality at times that makes it quite an engaging listen. The disc runs to 45 minutes but note that 16 minutes of that are repeated as bookends to the central material.
Cheeni Kum (2007) is a romantic comedy and features vocalist Shreya Ghosal who sings most of the tracks here (Eros Music 10, www.erosentertainment.com). The title song has a disco back beat with a very catchy melodic idea. Catchy and engaging melodies are part and parcel for illayaraja’s music which truly do grab the ear in such a way that you surprisingly find yourself humming along with them almost upon first hearing. Harder rock sounds appear cast against a semi-improvisational jazz approach throughout this score as well and dialogue can appear at random moments as part of the texture. You can get a sense for the expert combination of raga and Western melodic sensibility in the pop ballad “Jaane Do Na” as the melody is outlined in piano before moving into a more pop style. The primary melodic idea is recast in the other songs here as well with some slight variation. Where that melody ends up is what makes for interesting listening as we hear the primary opening move off into fascinating and beautiful realizations. The orchestral backdrop, with occasional near techno sounds, and interesting electronic keyboard elaborations still gives some of the music an 1980s feel, though the general thrust of the music stands as an easily contemporary as any other new film song and as engaging as those now made famous in Slumdog Millionaire. There are two instrumental tracks to round off the album. The first is a more traditional orchestral piece the second a electronic-laced jazzy number. The former suffers a lot of audio distortion unfortunately. At 30 minutes, this might be a harder disc to recommend. The music contained here actually comes from earlier Ilaiyaraaja songs polished up for presentation in this current film so fans are getting to hear perhaps some older favorites in a new light. The sound quality is not as good in the purely instrumental segments, but it is for the beautiful singing voice of Ghosal and melodic content that can recommend this release.
Finally, the most recent score made available for sampling is Naan Kadavul, released this past January in India (Pyramid Saimara Music 118, www.pstl.in). For this action drama, Ilaiyaraaja explores more traditional Indian melodic content and chanting in choral groupings in the opening track (the disc does not have translated titles for reference) which features traditional instrumental choices (though often cast in a more rocklike sound) and fabulous drumming accompaniments that form an almost hypnotic repetitive motion. The following track tends to continue the focus on an updated Indian music sound and lyric that has a sensuous quality as it winds in a semi-chromatic line which will later be taken on by solo instruments. The music for Naan Kadavul features, if you will, some of Ilaiyaraaja’s most Indian-influenced sounds and musical ideas far nearer to the surface than in the previous discs available for review. Repetitive beats and quasi-chant lines are similar in some respects to African drumming and their minimalist interpretations. Melodic ideas have that ancient ethnic sound that finds distant cousins in the music of the Middle East as well. As with other music heard by the composer, one is never struck that these are derivative, or adapted musics, being exploited. They are part of a masterful technique uniting the various musical sounds at his disposal. At barely 26 minutes, this is a relatively short disc by most standards.
It is quite clear that Ilaiyaraaja’s respect is well-warranted. His music is immediately engaging, with a popular sensibility that gives way to detailed construction upon further exploration. Working with a variety of synthetic production, live orchestra, and fabulous singers and Indian music instrumentalists lends the music a unique quality that one discovers is part of the style of this composer. Here is someone who has discovered a way to fuse musics from multiple periods both East and West to create a sound that serves each subsequent film. There is much of the composer’s music to be explored and even with the language barrier that ultimately exists, the music is immediately communicative and often entrancing.
With access via the internet, tracking down many of these scores with the above links provided, will make it easier for the curious to hear the work of one of India’s finest composers writing music that even as it suggests Western forms has a global transcendence often missing in much of the USA’s simplistic hinting at global cultural styles.
Quote:
Originally Posted by vel
idhai urakka solvom ulagirrkku .....
I've been looping on this song for the last couple of days - Oh Prema Devathe from Gulabi (Kannada), sung by IR and Chitra. Another hauntingly lovely duet, possibly from the mid/late 90s. I'm not able to place what ragam this falls into. The scale seems to be S G2 M2 P D3 N3 S, S N3 D3 P M2 G2 S (or replace the G2 with R3). There doesn't appear to be a ragam with this aro/avaro. The closest match is one of Rasikapriya's janya, Ishtārangini - S R3 M2 P N3 S, S N3 D3 P M2 G3 R3 S, but this has G3 in it.
There's some resemblance to Kannammaa kaadhal ennum kavidhai solladi at some places, but Kannamma has a sure R2 in it while the Gulabi song doesn't.
When the charanam goes prema vaahini, it kinda gives a lag in the tune, but he then follows it up with a brilliant pallavi connector!
http://music.cooltoad.com/music/song...3368b14bdab6d4
KV,
oh...prema devathe......
http://www.youtube.com/watch?v=U1d7iik9IZo
remember en kanavinai kel namba...... Cheran movie tune too carries the same humming/ similar tune elongations
Vinatha
Quote:
Originally Posted by KV
Hi KV, cthis song was the first time Raaja used this rare scale - | S R2 G2 M2 P D3 N3 S | S N3 D3 P M2 G2 R2 S. As vinatha pointed out, the other two numbers following the same scale are En Kanavinai Kel Nanba from Dhesiya Geetham and Ulagame Nee Manidhanai from the film Ivan.
But i see that you have missed Rishabham in your mapping....please check on these songs again and come to a conclusion !
BTW, for the sake of easy reference, this scale is refered to as ''neethimathi'' in carnatic parlance. Dont know what would be the equivalents in thamizhisai or hindustani or even western scales.
Thanks Baroque, vel. But I don't think Kanavinai and this are exactly the same scale.
Vel, I listened to the song a whole lotta times, but couldn't map R2 anywhere (like I said, G2 maybe taken as R3. I don't see any other Ri in the song).
Can you please tell me which phrase(s), in your calculation, maps to this swara?
RR, have you listened to the Kannada version of this song by SPB (Halli laavaniyalli from Nammoora mandhaara hoove)? Needless to say that it sounds better than Arunmozhi's rendition.Quote:
Originally Posted by RR
Ravinat put out the same kannada song , RR must have followed that composition only. All 3 are talking the same composition.
*****************************************
thanks Vel.
that's nice, there is another song from IVAN movie.
Yes, I checked out.
The humming/aalaap of the tunes, I can observe.
you think, it is neethimathi....mmmm.
I check out the raga's improvisation.
vinatha.
Quote:
Originally Posted by baroque
vinatha, i said "for the sake of easy reference, this scale is refered to as ''neethimathi'' in carnatic parlance. Dont know what would be the equivalents in thamizhisai or hindustani or even western scales."
so it is about how a set of scale is used differently -- it is just a different way in which a set of 7 notes, called as neethimathi in carnatic world, have been used for film music. More than serving the original grammar, it is more important to see how the scale (note i am not saying raga) is used in a versatile manner, suiting the film situation.....
KV, I see what you mean. Yes it's a bit better just because of SPB.
vel: It's interesting that IR went for neethimathi for such two grand orchestral works.
Quote:
Originally Posted by vel
vinatha -- see this video on how he wants to try new sangathis for a carnatic scale.....
http://www.youtube.com/watch?v=9i-MR...eature=related
a) varadha sangadhigal padunadhanal carnatic musicáanu....!
b) adhe sangadhigal bore adikkum !
c) kelvikekkaana aal venum (we need people who demand for new things....only that makes a composer get inspired)
KV / Vel,
To me, 'O Prema Devathe' has the feel of SumanesaRanjani (aka Varunapriya). Similar to 'jal jal jal salangai', the Jeyachandran / Swarnalatha(?) song. Ofcourse I too see the deviations but the pallavi and especially towards the end of pallavi the Varunapriya feel is very strong.
As usual, with Raja you can never tell. As Vel says, he has probably used a scale in a way he wants and which is logically consistent. It is just that we are unable to comprehend the logic.
yes RR, 2 of the 3 times he used this scale is for social upheavals /revolutions....Quote:
Originally Posted by RR
Quote:
Originally Posted by Sureshs65
Suresh, Samudhrapriya / Sumenesaranjani is | S R2 G2 M2 P N2 S | S N2 P M2 G2 R2 S - this is quite close to S R2 G2 M2 P D3 N3 S of Neethimathi. So the feel may be quite similar....(unless the D3/N3 is prominently used it may be tough to differentiate)
http://www.youtube.com/watch?v=NxEYCcD0hBk
When we discuss about IR's raga choices, please we need to keep the above videos in mind. This video tells a lot about IR's approach to composing.....
He says he has used a raga and then does not say any raga name, but says it is | S R2 M2 P D2 N3 S | S N3 D2 P M2 R2 S ...now later we need to search for this scale and name it as Saranga Tharangini -- sort of reverse engineering is called for here.....also, he does acknowledge the fact that the grammar for film music is different. When sreekumar asks for whether raja has done any bhajans, he says -- the bhajans used in film music are a totally different ball game altogether ......5:25 to 5:35 .....
a fanboy plug....see his knowledge of instruments, meter -- punjabi beat, marati beat......tamil temple beats.....
http://www.youtube.com/watch?v=EMTI4FpjZa8
:-)
Vel, I don't think there's a R2 in sumanesa ranjani. Also D3/N3 is quite predominant in the song. Just watch the pallavi and the backing instrumentals.Quote:
Originally Posted by vel
I too can't find prominent use of R2 as KV observed. Which also explains Suresh's observation: the 'S G2 M2 P' parts lead to sumanesa ranjani feels.
Quote:
Originally Posted by RR
RR, are you suggesting this is neethimathi scale without the rishabham?
vel, could be. Needs a careful look if there's indeed rishabam.
thanks Vel for the videos. I think these videos have been around the web. Remember watching them somewhere or may be at tfmpage.
I am only curious.:)
Raja in non purist platform allowed to use swarams anyway he wants, he has the musical might and imagination too:thumbsup: which is blessing for us. Raja = Music
He never claims I delivered 4 pahadies, 5 behags with some flute counterpoints etc..
We are only awe struck by his ideas.
en kanavinai kel nanba.... is fantastic composition with outstanding orchestration, wonderful job by Cheran too.
please continue.... on awesome tunes
vinatha.
'Bagyadevatha' appeared in 2009? I think so. This is one outstanding beauty from that film. Everything about this song carries a stamp of class. The tune, the orchestration, the chorus, the singers. As I said, everything :) A very heart warming melody.
Now comes the question, which ragam is this based on. I thought it was probably 'Pahadi'. I remember vaguely thumburu also saying the same when this movie was released. ( I could be wrong here.) Some places I do hear Pahadi but some of my friends who are into Hindustani music say that this is not 'Pahadi' and as usual they can't tell me what raga it is. Not that we will enjoy this beauty any less but will be nice to see the analysis.
http://www.youtube.com/watch?v=cCv9H2zwWnI
swapnangal kannezhuthiya.... gives pahadi feel.
Indian cinema has given some mighty pahadies.
enakkum onnum illai pesarathukku indha paadalil....
:)
you continue...
As a family we liked the movie. Of course, Sathyan anthikkad's simple, homely movie with no out of control drama acting. Simple acting.
Nice picturisation of this song.
Sathyan with Jayaram, his mother role is a good one. kanika was good too.:)
IC- 2009 gave some good movies like 3 idiots, Vennila kabadi kuzhoo etc..
Vinatha.