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Creativity of MSV

Topic started by RAJAN (@ proxy-117.iap.bryant.webtv.net) on Sat Jan 10 15:32:47 EST 1998.
All times in EDT/EST +9:30/10:30 for IST.

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Responses:

• Old responses
  
• From: raja (@ icon2116.iconnet.com) on: Thu Feb 11 15:10:58 EST 1999
  
  MSV used some weird(no other word comes to mind) music (those days one connected it with locations outside India), Pacchai Killi and Bansayee from USValiban are examples. Lilly Malarukku had PS modulating her voice to suit Manjula on screen quite well. Also Nilavu Oru Pennagi was one more good song from the movie.
  
  
• From: Thenraja K. (@ rac3-27.avana.net) on: Thu Feb 11 20:43:30 EST 1999
  
  Sriram Lakshman,
  Ponnendrum poovendrum is from 'Nilave Nee Saatchi'
  Anbu vanthathu ennai AaLavanthathu is from 'sudarum sooravaLiyum'
  MSV and LRE in "Nilave Nee Saatchi" is 'Nee ninaithal innerathile yethetho nadakkum'
  
  
• From: Murali Sankar (@ ch-0114.engr.sc.edu) on: Thu Feb 11 23:30:12 EST 1999
  
  Kanak kaanum kaNgal - Are you sure this is by MSV ? The tune is very IRish but the interludes are very pacy.
  
  
• From: srikanth (@ slip-32-101-16-110.il.us.ibm.net) on: Fri Feb 12 09:19:42 EST 1999
  
  Murali Shanker, Kanakanum Kangal is by MSV...
  in AgniSatchi. You know what - I feel the tune is very msvish, interludes were set based on the song situation.
  
  Srikanth
  
  
• From: Srikanth (@ slip-32-101-16-110.il.us.ibm.net) on: Fri Feb 12 09:23:02 EST 1999
  
  HI,
  SriramL : Have you heard Yamuna Nadhi Yenge from Gauravam, One of the best best tune ever composed, the words are well placed and the interludes counterpoints are done well.
  The variations he gives for the "Yenga" in each para is something great.
  
  Srikanth
  
  
• From: Ravi (@ envy.cs.umass.edu) on: Fri Feb 12 09:38:07 EST 1999
  
  MS: Portions of the charanams of kanak kaanum kangaL mella sound very similar to engE nimmadhi's charanam. To me that is sounding like MSV. :-)
  
  
• From: Sriram Lakshman (@ ifmxlenx.na.informix.com) on: Fri Feb 12 11:07:49 EST 1999
  
  Srikanth, Yes esp. when he sings "Raadhai" and "Povathenge". This song has a wonderful humming back up each time the pallavi is sung after the charaNam. In "margazhippaniyil", you will never be able to guess how is he going to sing the pallavi next. He even yoddles in that song.
  Some observations..knowledgeables may correct me if I am wrong, I know that atleast the scales are right. This is a list of songs of diff. genres based on the same Raag. You will find that on each occassion, MSV has imparted a diff. character to the Raag.
  Karaharapriya
  1.Senthamizh paadum santhana kaatru
  (light duet)
  2.Maadhavi ponmayililaaL -(classical)
  3. Santhanathil nalla vaasam eduthu (folk)
  
  Charukesi
  1. ANNan oru koyil endral (classical)
  2. Azhagiya thamizh magaL (light duet)
  
  NataBhairavi
  1.Thangappathakkthin mele oru muthu pathithathu pole (lively light duet)
  2. Mayakkamaa Kalakkamaa (melancholy)
  3. Ninaikka therintha maname (-do-)
  4. Vasanthathil Or NaaL MaNavarai (a very positive feel).
  
  He has used vahula Bharanam (with a foreign note peeping in at times) differently in
  "Poo mudippaaL ", "Theru paarkavanthirukkum chithirapeNNe" and "Naam oruvarai oruvar" (kumari kottam).
  
  Another MSV-SPB killer, "Naan endraal athu avaLum Naanum".
  
  
  
• From: Sriram Lakshman (@ ifmxlenx.na.informix.com) on: Fri Feb 12 16:13:04 EST 1999
  
  Thanks Thenraja.
  
  
• From: Sriram Lakshman (@ ifmxlenx.na.informix.com) on: Fri Feb 12 17:52:32 EST 1999
  
  Another one for the above list,
  Sudha Dhanyasi
  Thottaal Poomalarum (folk duet)
  Namma Ooru Singaari (Freaky)
  Neeye unakku endrum nigaraanavan (classical)
  
  
• From: Srikanth (@ slip-32-101-16-90.il.us.ibm.net) on: Fri Feb 12 21:15:00 EST 1999
  
  SriramL :
  Namma ooru is more a freaky Indolem
  
  Thats what I always argue about MSV, he converts a 100% agmark classical raga to a agmark freaky tune.
  
  
  
  Srikanth
  
  
• From: raja (@ spider-wa064.proxy.aol.com) on: Fri Feb 12 23:08:14 EST 1999
  
  Namma Ooru having a classical ragam as source is hilarious..
  
  More info on the following is welcome :)
  
  What is the song Kannanai Ninaikadha Naal Illaye (PS and SBP)
  
  What about Yaarum Illai Inge (I am not sure if the MD is MSV or Vijayabhaskar)
  
  Ponnena Poovenna Kanne (movie - Alaigal)
  
  Nice to remember Yamuna Nadhi from Gauravam.
  
  
• From: raja (@ spider-tj031.proxy.aol.com) on: Fri Feb 12 23:30:10 EST 1999
  
  How much can we credit MSV's contribution from his MSV-TKR days for classics from the following films ?
  
  Karnan, Vennira Adai, Pacchai Vilakki, Pava Manippu, Pasa Malar, KalaiKoil, Paarthal Pasi Theerum, Ayirathil Oruvan, Deiva Thai, Shanti, Aalayamani, Nenjil Or Aalayam, Policekaran Magal, Vaazkaipadagu. Server Sundharam, Vaazkaipadagu.
  (This list is just a start).
  
  Still remember the days when Madras DD was king and weekends, black & white movies were shown, watched mainly for the songs.
  
  
• From: karthi (@ lab3.theatrium.net) on: Sat Feb 13 00:02:01 EST 1999
  
  Raja - Yes, Yaarum Illai IngE is by MSV.
  
  Sriram L - Senthamizh Paadum is not by MSV, Mayakkamenna is by KVM.
  
  Some more numbers to live...
  
  1. KaNNu Pada POgudhu Kattikadi SElaiyE
  
  - very jolly tune sung by PS and LRE from Sondham, a KRV and PramiLa starrer. I think MSV was the only one capable of creating a tune suiting the mood exactly like a glove. In the above song, you can find kindal and sandhosham in the tune itself! Ofcourse, the singers!
  
  2. Oru Muthaarathil Muppadhu Muthu
  
  - This song from Sorgam a Sivaaji-KRV starrer, my God, the interludes are so catchy! In the 2nd stanza the lyrics go like this....suddenly reflecting meloncholy:
  
  Neela Vaanam Mella Mella Sivandhu POnadhE
  Kaaval Konda Maalai Indru KaLavu POnadhE
  Paadal Ondru Raagam Ondru
  Thaalam Koncham Mari Vittadhenna.aa..aa..
  
  --and here comes the wonder, the thaalam of the song would have already changed when these lines are sung without you even noticing it! That's the subtlety of MSV. Guys, you have to listen to this song now more keenly if you haven't noticed it already...
  
  3. AdhO Vaaraandi Vaaraandi VillEndhi Oruthar
  
  - MSV was innovative in the way he has used Miruthangam in this song from Pollaadhavan...it starts so silently and slowly, and those beats! Srikanth, Sriram Neenga KEttu Sollunga I don't know about the ThaaLam stuff, but I could sense something innovative and briliant there: (the words I have used may not necessarily remind miruthangam just bear with me)
  
  He could have made the beats sound ordinary something like...jinukku chikku jinukku chikku....
  
  but here he goes extraordinary like this...chikku chikku jinukku chikku, chikku chikku jinukku chikku! Sorry if I sounded so raw... do correct me please! But you should hear the song again to appreciate it better!
  
  
• From: Murali Sankar (@ 129.252.22.112) on: Sat Feb 13 01:15:17 EST 1999
  
  Karthi:
  
  For you info, Adho vaaraandi's pallavi is set in Shivaranjini - one of the "soga" ragams. I think after MSV it was ARR who used it in a very lighter sense - "Kannum Kannum " (very good guitar work). IR uset it to make "deep' impact songs. eg "Ponmaane kopam","Vaa Vaa anbe" , "anbai sumandhu" and " kuyil paattu"
  
  
• From: Ragapriyan (@ 202.54.37.18) on: Mon Feb 15 01:01:10 EST 1999
  
  Karthi:
  senthamizh paadum sandhana kaatru - is indeed by
  MSV.
  
  
• From: karthi (@ lab3.theatrium.net) on: Mon Feb 15 01:04:54 EST 1999
  
  Are you sure Ragapriyan? I though SG scored the music for 'Vaira Nenjam'?
  
  
• From: Ragapriyan (@ 202.54.37.18) on: Mon Feb 15 02:03:36 EST 1999
  
  Karthi:
  Oh. No. Sridhar did not try SG anytime.
  
  
• From: rameshb (@ interlock.itthartford.com) on: Mon Feb 15 15:07:42 EST 1999
  
  The song manthira punnagai miNNidum mEnagai from manal kayiru has excellent fast-paced flute interludes with violins,tabla and guitar blended with some excellent humming by uma ramanan. SPB is so natural in rhythm which is one of the hallmarks of his voice. And does vali use ink or 'kaLLu' for his pen?, the moment you tell him 'peN' , he comes up with some mind-boggling descriptions. He usually flavors with some vulgar words which are unparliamentary to discuss here.
  
  
  
• From: Ramki (@ pm062-11.spindler.wmich.edu) on: Mon Feb 15 15:16:20 EST 1999
  
  Karthi 'senthamizh pattu'is by MSV
  
  Rameshb-the humming is by BSSasirekha. I dont think UR has sung under MSVs music.
  
  
• From: rameshb (@ interlock.itthartford.com) on: Mon Feb 15 15:21:59 EST 1999
  
  Ramki,
  I am doubtful if it is BSS. Are you positive?
  
  
• From: Ramki (@ pm062-11.spindler.wmich.edu) on: Mon Feb 15 15:24:34 EST 1999
  
  Ramesh yes im very sure about this
  
  
• From: rameshb (@ interlock.itthartford.com) on: Mon Feb 15 15:30:52 EST 1999
  
  Ramki,
  the humming links my memories to the song 'Ananda rAgam' (panneer pushpangal, which is by UR) for some reason!
  
  
• From: Sriram Lakshman (@ ifmxlenx.na.informix.com) on: Tue Feb 16 13:16:33 EST 1999
  
  MSV's hot favourite is the Hari Kambhoji scale. He has again created various moods through it .
  You have
  Othayadi Paathayile (nimirnthu nil),
  Yenna Yenna VaarthaigaLo (VeNNiraaadai),
  Amaithiyaana nathiyinile odam (Aandavan KaattaLai)
  Nimirnthu nil had another class duet,"Thedi varum deiva sugam" with scale changes within the song.
  
  Srikanth, when you start the song with "S" it is Sudha Dhanyasi. SD and Hindolam become interchangeable depending on the note you start with.
  
  I think I have stated this before, what struck me was none of his tunes ever appeared to have been painstakingly "constructed". No, not for him the mindless meandering in the charaNam and tugging away at and stretching the hapless tune to get it in sync with the Pallavi. There was a mellifluous flow to the tune and hidden depths waiting to be discovered by a sensitive singer. Thus , his tunes had a hidden expression or "Bhavam" with brighas and ghamakams perfectly positioned. For instance, "Maalai soodum maNanaaL" in nichiya thamboolam had expressions in every line. Check out the line "Veroru thiruNaaL ini Illai" where the tune cascades down expressing a sense of realisation. This is something similar to SPB singing "ILam kanniyarai oru malar endraane karpanai seithane,
  Kamban eemaanthaan" . The tune for the last line effectively summarises Kamal's point, "Kamban was wrong". Several more had this subtle feature. Another example, "Innoru KaigaliLe,
  Yaar Yaar Naana" lines were loaded with expressions.Comments are welcome...
  
  
  
  
  
• From: Ragapriyan (@ 202.54.37.18) on: Tue Feb 16 23:26:11 EST 1999
  
  Sriram:
  
  Thanks very much for again reminding me of the sonnadhu
  needhaanaa song. To me, it is one of the all-time
  best tfm songs. It has so much of realistic emotion
  and perfect music that I feel it deserves a more detailed
  discussion.
  
  For those who have not seen the movie, Nenjil Or Alayam,
  it is about a young couple. The husband has been diagnosed
  as having cancer, but there is a slim chance that he can
  be saved. The husband doesn't have confidence that he will
  survive. He is worried about his wife after his death;
  after a lot of thinking, he asks her for a promise.. that
  she will marry someone else if he dies. This request shocks
  her thoroughly. This shock is not just due to to the traditional
  thinking of a woman in the Indian society. The two had been
  living a very happy life, with a great understanding and love
  for each other. So she is unable to even imagine thinking of
  living with anyone other than him. His request utterly shocks
  her. paadal vazhiyaaga avaL kumuRugiRaaL. I will only talk
  about those two lines that Sriram mentioned...
  
  innoru kaigaLilE yaar yaar naanaa
  enai maRandhaayO En En En ennuyirE
  
  She is saying...
  you want me to be in another man's arms? Who? me? really
  me? have you forgotten my emotional side in all this, my dear
  one who is my life?
  
  She is in such high emotion that she first uncontrollably
  says out all these. Then she realizes her emotional level and
  calms down her expression, but still keeping her views. This
  up and down emotion is typical of an emotional shock situation.
  MSV/TKR had an excellent appreciation of the situation. Note
  the beautiful use of the high pitch when pointing to the wife's
  high initial emotion and then the low pitch when she calms down.
  
  If you actually try singing only the sandhams, you will exactly
  feel the emotion of the song situation, without a single word
  of the lyrics needed! PSusheela's singing, of course deserves any
  amount of praise.
  
  After this initial emotional outburst that was the immediate
  reaction to the husband's unthinkable request, she then recollects
  herself and then responds to him with a sense of determination in
  the rest of the song.. at the same time, said to him with a tone
  that requests him to reconsider. The music appropriately speedens
  up to denote her determination.. MSV/TKR need another pat here.
  This is one of those rare songs in tfm where the song is in one slow
  speed at some part, but speedens up considerably, with a different
  tune and tone in another part, with appropriate rejoining at the
  ends... the interludes are varying all through; the sitar is in
  lovely accompaniment. The lyrics deserve a separate discussion, but
  not here.
  
  

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