Music truly indebted to Maestro Ilaiyaraaja !!

2 Parallel melodies alternate between each other , the piano flows freely and traverses across octaves whereas the notes of the flute stick closely to each other communicating an emotion of a different scenario.
This is counterpoint music at its best , 2 totally unrelated melodies going their own way but when blended reach proportions of enormity.
As a music lover , you really dont know which to concentrate more as they both are so hypnotising and powerful in their own ways.
The spellbinding experience just doesnt end there as you observe a minor variation at 00:36 which oozes soul all over and to boost an arpegio style play between 0:50 to 0:53 which gives more added colour to this spectacle.
Wait , theres more treat to the ears. The contrapuntal melody gets over at 01:11 and then you are unleashed to a Mouna Ragam style musical style mayhem.
Listen to it closely , the way its structured , the complications and patterns woven around it elevates it much further than the Mouna Ragam theme.
2 & a quarter minutes of sheer musical monstrosity and bliss combined !!
Music is truly indebted to Maestro Ilaiyaraaja !!

Vanna Vanna Pookal Title Score Music
https://soundcloud.com/kameshratnam/vannavannapookal-title-bgm-ir

Vanna Vanna Pookal Full BGM Score
https://soundcloud.com/navinmozart/illayaraja-vannavannapookal

Mindblowing is an Understatement

An absolutely breathtaking title score of the 70s which makes you go wonderstruck.
So many varied emotions are communicated via music in this 3 minute piece.
There are counter music portions criss crossing one another but not for a moment it looks jarring and instead only elevates it to another pedestal.
I do not know much about the movie , but imagine just this piece would have got the viewers hooked for the movie to unfold and created so much of excitement.

Mindblowing is an an understatement.
Pattakathi Bhairaban Title score
https://soundcloud.com/kameshratnam/pattakathibairavan-titles

A scorcher of a WCM composition by Maestro!

This song has been fascinating me for quite some time.Wondering how that unison was achieved in the first interlude with the violin counterpoints, on top of that you have a flute also. And what about that guitar flanging in the second interlude. To add to all this, you have chorus adding harmony in the prelude plus bass backing, an interesting rhythm pattern, guitar counterpoint with keys in the second interlude and for nativity flavour you have an Indian classical touch in the combination of Mridangam + Flute.

Its astonishing to think all this packaging has been done in a mere 4 and half minute song and best thing it all sounds so amazing. To achieve this co-ordination, the musicians must have been an extraordinary talented bunch. Imagining how the mood must have been in the studio after this song was recorded. And to think this number was recorded over 30 yrs ago seems even more astounding.
I don't think an orchestra would be able to reproduce this number even today with all the technology available. Vintage 80's music of the highest order. You just feel spell bounded by the sound achieved and output produced.

Briefly summarizing in points on all the awesomeness happening :
1) The tumbling sound of the vessels which is musically rhythmical.
2) The guitar strumming the notes Ga Ma with the Tu Ru Ru humming in the side by the one and only S Janaki to be joined by the Bass moving Sa Pa Sa downward across octaves.
3) Gangai Amaran opening up and boy has he ever sounded so romantic. (Gangai Illa Mangai chorus adding the perfect harmony)
4) The first interlude with the triple counterpoint between violins , violins (I think) and flute is just more than enough for a lifetime.
5) The Guitar vamping and the Guitar counterpoint with the keys in the 2nd interlude , didn’t I just say the 1st interlude was more than enough - but he doesn’t listen he always gives more than you want. An additional Indian classical touch for you too in the combination of flute and Mridangam.
6) The mild shift from major scale to chromatic scale when Gangai sings Pudhu Raaga Jaadhikalum.

This man's music gives us so much happiness which can never be expressed in words but can only be experienced. Ecstasy in Abundance - A big salute to Maestro and team !!

Pongum Aagaya - Aagaya Gangai

ARR Concert Dec 2012

Last minute decision to attend the ARR concert and I somehow managed. First of all i didn't have tickets and behold they were issuing 3000 Rs tickets for 500 bucks.

The organisation was very shoddy and poor. They didn't have chairs for about 40 % category of those who brought high priced tickets and obviously majority of them were agitated and a mini ruckus was going on and to add to the drama it was raining. But thankfully it stopped and when ARR arrived there was a deafening roar.Frankly never before have i seen this much craze, frenzy, hysteria and madness for anybody before. Rahman's popularity stake is still at an all time high and it was unimaginable. You would have to have seen it to believe it.

Coming to the songs in the concert , some of the medleys were nicely performed & enjoyable and ARR kept the energy throughout the concert. Also we had most of the Kadal songs which received a rapturous response. The disappointments for me were there were some minus 1 songs, some of my favourite vintage Rahman songs of 90's weren't performed. The thing i didn't like at all was having a different rock kind of feel for legendary songs like Kadhal Rojave, Nenjinile etc. which resulted in the essence of the song getting totally diluted and in fact spoilt.

For me spending just Rs 500, I thought I had my moneys worth, but those who had spent 3000 bucks and above to sit through the event without a chair i felt was very unfair. The final song of the evening was the landmark Thaai Manne Vanakkam which the audience lapped up. Many of us were standing on the chairs and cheering. ARR s infectious smile was evident throughout. Overall it was a decent experience but felt it could have been much better with a well thought out selection of songs and a little extra care in organising the event.

List of songs that were performed in the concert.
Undhan Desathin Kural ( ARR Intro )
Elay Keechan
Arima Arima
Manoothu manthaile
Veerapandi Kotayile
Thilana Thilana
Kadhal Rojave
Enakoru Girl Friend
Omane Penne
July Maadham Vanthaaal
Aathangarai Marame
Endrendrum Punnagai
Mustafa Mustafa
Nila Kaaigirathu
Uyire Uyire
Kanamoochi yenada
Azhage Sugama
Engae Enathu Kavithai
Nenjinile Nenjinile
Nenjukulle
Adiye
Irumbile oru iruthayam
Hello Mr Ethirkatchi
Oorvasi
Magudi Magudi
Moongil Thotam
Jai Ho in Tamil
Thaai Manne Vanakam

Sachin the One Day International Batsman

Since 1994 when i started watching and enjoying cricket, one name has always been tied with the sport like a string attached to a guitar. There maybe cricketers who might match or even surpass your test records, but you are the one and only numero uno when it comes to the original form of limited overs cricket - One Day Internationals. How can I forget waking up early in the morning watching you score a trailblazing 82 off a mere 49 deliveries in your new avatar of One Day Opener, how thrilled was I seeing you score your 1st One Day Century against the Australians at the Singer Cup 94, then your 96 WC exploits with that blitzkrieg 90 against the Aussies at Mumbai and then I was so gutted when you got out stumped and India fell short of the target eventually by 16 runs. That 137 vs the Lankans on a misty day at Delhi with only a run out averting you from getting to 150 - what fun it was seeing you and Azhar rip the Lankan bowling attack in the last 5 overs. What about that glorious 104 at Benoni vs Zimbabwe when you had to get the target within just about 40 overs or so to reach the final vs South Africa, then that 1998 back to back hundreds under the Desert Storm in Sharjah - ah those vivid memories of you coming down the wicket and tonking Fleming and Kasprowicz for 6 with Tony Greig going bazooka is epic level of the highest order.

The year 1998 in entirety when you scored truckloads of centuries and officially assumed the status of God in the minds of millions of cricket fans, that unforgettable massacring of Henry Olonga at Sharjah when he thought he had the better of you hahahaha, that 186 not out vs the Kiwis on a field day when you were involved in the best ever partnership of 331 runs with Rahul Dravid, those pulverising sixes hit off Shoaib Akhtar over third man on way to a destructive 98 off a mere 70 odd deliveries in a crucial World Cup Indo Pak clash at Centurion, the brilliant 175 when you almost single handedly snatched a famous win chasing 350 against the Aussies at Hyderabad, the first ever double hundred in ODIs at Gwalior where you treated the South African bowlers with utter disdain. Coming to the memorable WC 2011 where you showed your class yet again on the big stage by cracking hundreds against both England and South Africa, your 85 against Pakistan probably one of your worst innings, but nevertheless helped Ind to defeat its arch rivals in a do or die Semifinal at Mohali thus taking India to the final and making your lifetime dream of winning a word cup come true and finally your laboured 100th international century which came against Bangladesh making you the first man on the planet to get to the coveted landmark. These are just a gist of evergreen glorious Sachin memories.

Sachin - you just didn't set benchmarks but you were a benchmark yourself. Thanks for all the moments, memories and entertainment. Your exploits on the cricketing field will be etched in the minds of millions of cricketing lovers forever. I still cant get over the fact that the next time i switch on my television to watch a ODI involving India, I won't be seeing the name Sachin Ramesh Tendulkar on the scoreboard.

 
One Day International Cricket will never be the same without your larger than life persona!

Remembering Rajesh - A Trip down the Bygone Era!

Attended a Gala Musical evening at the Music Academy on the 19th of Nov'2012 which celebrated some of the greatest hits of India's superstar Rajesh Khanna from the bygone era. It was an event which was part of "The Hindu"November Fest" and evoked nostalgic reactions amongst many who witnessed the concert. The performers of the event were Srinivas Doraisamy (Captain) , Naresh Iyer , Swetha Mohan , Saptaparna Chakraborty and a wonderful orchestra led by Mani Bass. There was also a cameo by Haricharan. You can read the Hindu Review of the concert from the link below http://www.thehindu.com/arts/music/remembering-rajesh/article4105798.ece

Attaching below the list of songs which were performed during the memorable evening.
1) Jeevan Se Bhari - Safar
2) Mere Dil Mein - Daag
3) Reina Beeti Jaaye - Amar Prem
4) Kora Kaagaz - Aaradhana
5) Zindagi Ek Safar - Andaz
6) Hum Dono Do Premi - Ajnabee
7) Roop Tera Mastana - Aaradhana
8) Kuch To Log - Amar Prem
9) Gulabi Aankhen - The Train
10) Gunguna Rahe - Aaradhana
11) Na Jiya Lagena - Anand
12) Yeh Jo Mohabbat - Kati Patang
13) Zindagi Ka Safar - Safar
14) Mere Sapnon Ki Rani - Aaradhana
15) Gore Rang - Roti
16) Kahin Door - Anand
17) Karvate Badalte - Aap Ki Kasam
18) Chala Jaata Hoon - Mere Jeevan Saathi
19) Chingaari Koi Badke - Amar Prem
20) Yeh Shaam Mastani - Kati Patang
21) Mere Naina - Mehbooba
22) Humhe Tumse Pyaar - Kudrat
23) Duniya Mein - Apna Desh
24) Jai Jai Shiv Shankar - Aap Ki Kasam

Bengaluru concert of Ilaiyaraaja

Happened to attend the Bengaluru concert of Ilaiyaraaja as part of the Ganesh Utsav Celebrations on 23rd Sep 2012 and it was a great decision on my part to go from Chennai to Bangalore to attend the same. The music we got to witness was spectacular and the sounding of the orchestra was top notch.

Attaching below the list of songs on the memorable evening of 23rd Sep 2012.
1) Amma Endhu - Honnina Therinali (Kannada Devotional Album)
2) Janani Janani - Thaai Mookambikai (Tamil)
3) Saranam Bhava - Sethu (Tamil)
4) Om Sivoham - Naan Kadavul (Tamil)
5) Akashadinda Jaari - Janma Janma Anubandha (Kannada)
6) Idhayam Oru Kovil - Idhaya Kovil (Tamil)
7) Mysore Mallige - Bangarada Manushya (Kannada - GKV composition)
8) Ey Kavithe - Priya (Kannada)
9) Ilaya Nila - Payanangal Mudivathillai (Tamil)
10) Enta Soundarya - Maathu Thappada Maga (Kannada)
11) Yaari Gaagi - Bharjari Beate (Kannada)
12) En Iniya Pon Nilave - Moodupani (Tamil)
13) Raja Kaiya Vacha - Apoorva Sagotharargal (Tamil)
14) Sihigaali - Aa Dinagalu (Kannada)
15) Hero Hero - Ajeya (Kannada)
16) O Priya Priya - Geethanjali (Telugu)
17) Sandhoshakke - Geetha (Kannada)
18) Naguva Nayana - Pallavi Anupallavi (Kannada)
19) Aye Zindagi - Sadma (Hindi)
20) Omkara - Nammoora Mandhara Hoove (Kannada)
21) Jotheyale - Geetha (Kannada)
22) Botany - Shiva (Telugu)
23) Nanna Nennu Gellalare - Nee Nanna Gellalarae (Kannada)
24) Yaare Koogadali - Sampathige Savaal (Kannada - GKV composition)
25) Naan Thedum - Dharma Pathini (Tamil)
26) Solpa Soundu - Suryakanti (Kannada)
27) Gannapanna - Prem Kahani (Kannada)

Neethaane En Ponvasantham Songs from a Rhythm (Thalam) and Scale (Ragam) perspective !!

Saaindhu Saaindhu - 4/4 Adhi Thalam Chatushra Nadai (goes as 3+3+2)
Composed in D Major , takes the ragam of Mohanam predominantly (there is an accidental Ni note too) , during the Charanam it changes to B Minor (Scale of Natabhairavi) but has a distinct Suddha Dhanyasi flavour.

Kaatrai Konjam - 7/8 Misra Chaapu
Composed in E Major (Shankarabaranam) , shifts to its relative C# Minor during the Charanam and becomes Keeravani. At Saathi Vaitha , it returns back to the scale of E Major but instead is based on the Harmonic Major scale which is Sarasaangi.

Mudhal Murai - 4/4 Adhi Thalam Chatushra Nadai
Composed in B Minor in the ragam of Natabhairavi (Ni3 is also used at times giving an extra effect)

Vaanam Mella - 4/4 Adhi Thalam Tisra Nadai
Composed in F Minor , takes the raga of Pushpalathika as it mostly avoids Dha. Uses swing rhythm which may be confused as 6/8.

Pidikkala Mamu - 4/4 Adhi Thalam Chatushra Nadai
Pidikala Mamu is composed in E Major (Shankarabaranam) , Vidhi Pathadhe is in 6/8 and composed in A# Minor and follows Madhyamavathi Ragam

Ennodu Vaa Vaa - 4/4 Adhi Thalam Chatushra Nadai
Composed in E Minor and follows Natabhairavi Ragam

Pengal Yendral - 4/4 Adhi Thalam Chatushra Nadai
Composed in B Scale and follows the ragam of Gowri Manohari

Sattru Munbu - 4/4 Adhi Thalam Chatushra Nadai
Composed in D Scale , difficult to slot into a raga as it uses almost all notes but is predominantly in Keeravani

Note : These are not completely accurate and its definitely possible that there could be mistakes. Its just an enthusiastic attempt on my part to slot the songs based on my understanding into different raga and tala patterns.

Rekindling the 7/8 memory - 'Kai Veenaiyai'

'Kai Veenaiyai' is an ethereal classically laced number soaked in divinity. This used to be a preferred choice of listen during my night time traverse in the bus between Chennai to Bangalore. I've always gotten a pleasant feeling listening to this scintillating number. The raga for this song is Hameer Kalyani which is derived out of the 65th Melakarta ragam 'Kalyani'. This one however uses both the Madhyamams in patches and gives a real divine feeling and when Ilaiyaraaja handles it, you can be rest assured that it will be elevated to majestic levels. The song has been rendered beautifully by Bombay Jayashree.

One thing however which I never realised despite my numerous listens to this song is the rhythm portion. I kind of surmised that it was in the normal 4/4 cycle only to give it a deeper keen ear and then figuring out that it actually follows the 7 beat cycle making this song appear more awesome than what it already was. Just took a small stab at attempting the Swaram with the Tala pattern highlighting on the Misra Thalam (7/8). With Raaja you always discover new things :)

Swaram : Sa Ri2 Ga3 Ma1 Ma2 Pa Da2 Ni3
Ragam : Hameer Kalyani
Thalam : Adi Thalam Misra Nadai 

Lyrics -   Kai             Veenai
Swara -   Sa Ga Ri | Ri Ma1 Ga ~
Thalam - Ta Ki Ta | Ta Ka Di Mi

Lyrics -   Yai            Yenthum
Swara -   Ga Pa ~ | Ma2 Pa Ma2 Pa
Thalam - Ta Ki Ta | Ta Ka Di Mi

Lyrics -   Kalai           Vaani
Swara -   Ga Ma1 Ri | Ri Ga Ma1 Ga
Thalam - Ta Ki Ta | Ta Ka Di Mi

Lyrics -   Yai            sustain
Swara -   Ga ~ ~ | Ri ~ Sa ~
Thalam - Ta Ki Ta | Ta Ka Di Mi

The same lines keeps repeating again.

In effect 1 Avartana of Adi Thalam consists of 8 Aksharas
1 Akshara = Ta Ki Ta Ta Ka Di Mi
(For eg Kai Veenai is one Akshara , Yai Yendhum is another Akshara)

Each of these Aksharas is divided into 7 Maatras which is the Misra Nadai (Ta Ki Ta Ta Ka Di Mi = 7)

To illustrate on the Tala Pattern:

Kai Veenai = 1 Akshara = 7 Maatras
Yai Yendhum = 1 Akshara = 7 Maatras
Kalai Vaani = 1 Akshara = 7 Maatras
Yai sustain = 1 Akshara = 7 Maatras 

Repeating the same portion below: 

Kai Veenai = 1 Akshara = 7 Maatras
Yai Yendhum = 1 Akshara = 7 Maatras
Kalai Vaani = 1 Akshara = 7 Maatras
Yai sustain = 1 Akshara = 7 Maatras 

So totally when we add up everything, we have 8 Aksharas and 56 Maatras resulting in Adi Thalam Misra Nadai (8*7)

Thus, 1 Avartana (Cycle) = 8 Aksharas (Adi Thalam) = 56 Maatras (Misra Nadai).
Rhythmically Beautiful!

Sharing this beautiful composition to enhance the listening experience
Song: Kai Veenai Yendhum
Movie: Vietnam Colony
Year: 1994

Memories of an amazing turnaround at Lords

This day, a decade ago on the 13th July 2002 India won a remarkable final against England in the Natwest Trophy at Lords. Coming into this championship clash, India had lost 9 finals consecutively and it looked like a similar script was about to unfold as the Englishmen posted a mammoth score of 325 batting first. The score looked too daunting and at that stage of time only once before was a total in excess of this was ever chased by a team to win a one day international. Considering the pressure of a big match final at the Home of cricket in addition to India's immensely meek predicament in recent finals, it certainly didn't lift the spirits one bit.

India however got off to a fine start with the openers Ganguly and Sehwag blazing their way to a rollicking stand of 100 within the first 15 overs. And then it all started caving apart with wickets being lost at regular intervals. It was virtually another tale of good riddance when Sachin Tendulkar was castled by Giles to leave India reeling at 146/5. This dismissal brought in two young future hopes of Indian cricket Yuvraj Singh and Mohammed Kaif to the crease. They had brought glory to India by being part of the victorious Under 19 world cup team. Frankly, not much was expected of these two except for a reasonable fight to simply ensure it doesn't yield towards an embarrassingly landslide defeat.

Slowly but steadily, from a precarious position where India were virtually under the cosh these young turks started ticking the runs off the scoreboard. The partnership started blossoming and these guns rose up to the occasion by playing the innings of their life to give India a semblance of hope. When Yuvi held out, it again looked like a 'yet so near yet so far story'. However his dismissal didn't hinder the momentum and India kept chalking in the runs with the lower order providing a stable ground to Kaif at the other end.

It came down to the last over of the innings with Zaheer on strike and 2 required off 4 deliveries. He got a touch off the bat off Flintoff and scampered his way to the other end to give his partner the strike. The throw from the fielder was however long enabling India to get the additional run and seal the win. It was a remarkable comeback considering the circumstance and it was beyond disbelief that India could really pull this one off. It was back then the 2nd highest chase in One Day Internationals.The match is also well remembered for Sourav Ganguly's shirt twirling act at the Lords Balcony. A truly unforgettable day in the annals of Indian Cricket History. Gives goosebumps even today watching and reminiscing that nostalgic day which took place on a sunny Sunday at the Home of Cricket.