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IR's new albums!

Topic started by RAJAN (@ proxy-122.iap.bryant.webtv.net) on Thu Jan 22 22:20:06 EST 1998.
All times in EDT/EST +9:30/10:30 for IST.

A new Ilayaraja album is a cause for celebration with many among us. Let everyone share in the revelry. Review, discuss or comment on new IR albums.

Check the IR reviews page

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Responses:

• Old responses
  
• From: its me again (@ 172.186.109.220) on: Tue Dec 17 18:44:18 EST 2002
  
  ignore the above three if you have your senses intact
  
  
• From: pathan (@ 204.114.52.134) on: Tue Dec 17 19:21:43 EST 2002
  
  hello MUSICLOVER
  
  "KOMALLO KOYILA IS ONE OF THE BEST SONG TELUGU INDUSTRY HAS HEARD FOR YEARS NOW"
  
  Can i Know in which movie this song has come..Any links to listen it.
  
  
• From: Rajesh (@ 203.126.218.98) on: Tue Dec 17 20:30:37 EST 2002
  
  Try this link for the review
  
  http://www.telugucinema.cc/artman/publish/ninuchoodakanenundalenu_audio.shtml
  
  
• From: Venki (@ 192.127.94.7) on: Tue Dec 17 21:05:39 EST 2002
  
  Those who were not able to read the cinema express article, download the font from the following link.
  
  http://www.xpres-net.com/dinamani/font/tmnews.ttf
  
  
• From: Mumbai Ramki (@ 203.197.24.195) on: Tue Dec 17 21:13:00 EST 2002
  
  pathan,
  Try this link ,u can get all the songs as wel as download!!!!This is the best from RAAJA this year
  
  
• From: pathan (@ 12.236.16.151) on: Wed Dec 18 00:28:08 EST 2002
  
  Hi!
  Mumbai RAmki
  
  I haven't got the link. Please. thanks
  
  
  
• From: Mumbai Ramki (@ 203.197.24.195) on: Wed Dec 18 02:43:13 EST 2002
  
  pathan ,
  sorry ..forgot to paste it !!!
  http://www.idlebrain.com/audio/ajuke/box-ncnl.html
  
  
  
• From: Karthik S (@ 164.164.82.29) on: Wed Dec 18 03:16:55 EST 2002
  
  Has somebody posted this already here? This might not be TamilFM, but pertinent 'cos of IR.
  
  A Technical Celebration of Music - Part 1
  
  http://www.idlebrain.com/ilayaraja/tarali.html
  
  Song: Tarali Radha Thanae Vasantham…
  Film: Rudra Veena
  Scale : Hamsadwani
  [The song is available for online listening]
  
  Friday, November 29, 2002
  
  This is the first in the series of articles celebrating the music of Maestro Ilayaraja, from a technical standpoint. The article treats the Maestro's music as a textbook on music composition and presents certain technical and non-technical nuances in his music that may be of interest to students of music composition and orchestration as well as to listeners with a technical background in carnatic and western classical music.
  
  The content presented in this article is just an observation made by the author. Please feel free to indicate any analytical errors that you may find.
  
  This song is based on the symmetric pentatonic scale Hamsadwani (sa ri ga pa ni / C D E G B). In the film, the song plays the role of an entertainer for laborers who are cutting down the woods. Hence the song maintains a lively mood, in general. Note the composer's choice of the scale to evoke this mood. This scale does not have any note pairs with semitonal intervals between them.
  
  The song presents a perfect usage of the Hamsadhwani raga in film music. The pallavi features certain important slides (gamakas) in this raga. The oscillation of the lower ni at the end of the first melody and the slides between ri and ga (in the words gaganaala dhaka….) reflect the image of the raga.
  
  In the charanam of this song, the composer shows the scope of a simple scale like Hamsadhwani. He explores a variety of interesting phrase combinations in this scale. The phrases in general, alternate between ascent and descent i.e. a phrase in the descent is followed by an ascent and vice versa. The first portion of the charanam features a straightforward flow of notes in sequence. This followed by the line "prati madhini…." which connects two different phrases in a interesting manner. The first one (Ri Ri Sa ni Sa Ri Ri) lands on the higher Ri and the second one (ri ri ga pa ga ri) takes off on the middle ri. The sudden shift in the octave is unexpected.
  
  The next line that follows (aedhi sontham kosam ….) sounds a surprisingly long interval between notes: lower ni to the higher Ri. The last portion of the charanam (idhi theliyani…). features the dhatu prayogam (phrase with alternate notes in a sequence) thus bringing out the true image of Hamsadhwani. (Once again note the unusual interval between the previous melody and this one!)
  
  A possibility for using these interesting phrases which sway over three different octaves, could be linked to the underlying situation of the song in the film which demands a active mood.
  
  The interludes in this song follow a certain pattern (vaguely analogous to the concept of forms in western classical music). They comprise of a long flute piece followed by a short counterpoint. The percussions do not sound in the first and last few bars of both the interludes. The guitar and bass lines back up the rhythm pattern throughout the interlude (a typical Ilayaraja!). The three-voice counterpoint at the end of the second interlude is lead by a melody on the flute (from a keyboard). The first part of this melody contains a phrase and its variation (towards the end). It goes as follows: B C B- G B- C B B C B- G E -B C D B. Notice that the first four notes are similar in both the phrases. This pattern is typically found in many of Ilayaraja's melodies. The first two tunes in the charanam also follow a more or less similar pattern.
  
  Thanks to Maestro Ilayaraja, for this wonderful musical lesson!.
  
  
  A Technical Celebration of Music - Part II
  
  http://www.idlebrain.com/ilayaraja/vaevaela.html
  
  Song: Vae Vaela Varnala...(Telugu)
  Film: Sankeerthana
  Scale : Mohanam
  
  Wednesday, December 11, 2002
  
  This is the second in the series of articles celebrating the music of Maestro Ilayaraja, from a technical standpoint. The article treats the Maestro's music as a textbook on music composition and presents certain technical and non-technical nuances in his music that may be of interest to students of music composition and orchestration as well as to listeners with a technical background in carnatic and western classical music.
  
  The content presented in this article is just an observation made by the author. Please feel free to indicate any analytical errors that you may find.
  
  This song has been composed for a joyful situation, wherein the character in the film describes the natural geographic beauty around him. The character expresses his feelings (of surprise and happiness) while sailing in the fast moving river water. Notice that the flow of tunes in this song is "musically" very close to the flow of the river water.
  
  Based on a symmetric pentatonic scale called Mohanam (SRGPD - CDEGA), this song is a perfect example that describes how controlled deviations from a selected scale should be handled, to create variety in film music. This scale originally (according to carnatic music theory) contains A natural (chathusruthi dha). But the composer has made careful usage of A flat (shudha dha) at several places in the song. The pallavi of the song begins with wonderful slides woven with the notes surrounding the higher C. The second tune (Alalu silalu...) is unique in that it sounds both A and A flat, in a sequence.
  
  The charanam maintains the high spirits of the character by beginning in the higher octave. The composers' creative mind can be seen at the end of this tune, which flows down to A flat and finally touches A (natural) before a tentative halt, after which the next tune continues to the middle C.
  
  The amazing note combinations that constantly keep shifting between the two kinds of A, are beyond the scope of any kind of description. These shifts in particular, express the feeling of surprise (as implied by the wonderful lyrics) and happiness in the mind of the character in the film. The charanam ending on the higher E is the most unexpected musical surprise in this song. The lyircs for this last tune in the charanam, being a question (yaedha kae kanuluntae….?), demonstrates the composer's ability to grammatically blend a tune with the meaning of its lyrics.
  
  (Note: I'm note aware if the song was tuned to the lyrics or the lyrics were written to the tune).
  
  The use of vocals in the prelude and interlude, the chosen pitch and tempo for this situation, are noteworthy. In this song, the composer shows the importance of a prelude. Note that he brings the listeners to the mood of the song as the song opens up with a wonderful vocal hum and a bass back up. The colorful orchestration of the prelude (vocals, keyboard, flute and tabla) sets the theme for the rest of the song.
  
  The composer fuses the music to the situation in the film with a folk tune in the interlude. The female chorus backed up by a folk percussion, followed by the flute, gives a true "classical telugu folk" color to the song.
  
  Thanks to Maestro Ilayaraja for giving us yet another song to celebrate.
  
  
  
• From: Teja (@ 12.240.78.68) on: Wed Dec 18 03:23:24 EST 2002
  
  
  Check out the BGM of IR's telugu film Nireekshana. It's simply superb. http://www.patalapallaki.com/illayaraja.html
  
  
• From: Guru (@ 129.49.80.118) on: Wed Dec 18 05:36:46 EST 2002
  
  Guysssssssssss....gimme the mp3 download link for this superhit telugu movie.......Ninuchoodakanenundalenu...
  
  
• From: !@$ (@ 199.50.29.42) on: Wed Dec 18 08:54:19 EST 2002
  
  Isn't guNdumalli guNdumalli from solla maRandha kadhai a rehash of vayasupuLLa vayasupuLLa vAdi kOyilukku from annan (sung by iLaiyarAjA / sujAthA) ?
  
  
• From: someone who cannot concentrate on his career!!!! (@ 205.188.208.37) on: Wed Dec 18 09:40:34 EST 2002
  
  I think that is Dr. Balaji, Thank God, we've so many erudite music lovers and thus learn the nuances of an IR composition!
  
  
• From: Guru (@ 129.49.80.156) on: Wed Dec 18 20:00:25 EST 2002
  
  Dear !@$ ,
  
  I dont see any connection between SMK and Annan
  
  Sorry! Nice try though
  
  G
  
  
• From: Sathasivam (@ 203.106.224.21) on: Thu Dec 19 01:42:14 EST 2002
  
  I think it is high time that a History section of TFM be started and that threads such as this be put there.
  
  We are now in the 21st century, why are you people still living in the dark ages?
  
  
• From: Reality Check (@ 12.240.78.68) on: Thu Dec 19 01:44:08 EST 2002
  
  Where are you from? Ice age?
  
  

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