Transcending instruments

[jaiganes]

Sometime back there was a discussion on the main thread about the appropriateness of a 'shehnaai' in Thevar magan song 'Manamagale'.
There was a debate as to why would Ilaiyaraaja insert a north indian instrument in this song that comes at a thamizh rural wedding ceremony. I did not join the debate then as I was wondering have people lost their marbles on the musical philosophy (phlasapy for gounder fans) of Ilaiyaraaja and his way of stamping contexts into music pieces. Guitar prasanna articles of yonder are clear indicator that Raaja does not associate 'context' and nativity with instruments, but the way they are made to 'play'. Numerous scores of 80s have the electric guitar stretch out to sing carnatic raagas and the drums thaalams play out like thavil. for Raja the sound is not 'local' or global, but the way it plays out through the musician's intellect gives it a local or global interpretation.
For doubters on that shehnaai bit in thevar magan, the way it plays is not the usual hindusthani wedding style, but the way a soft naayanam plays (case in point please refer to the kovil pura naadhaswaram play). Raaja has done many such wonders with his intricate knowledge of the notes and their 'flavours'. We can use this thread to discuss how he has made one instrument play in the range and style of a different instrument and thereby it takes on the color and 'context' of its culture.

[app_engine]

I have a somewhat different take on this (while not questioning IR's ability to use any instrument for any "situation" and make it sync totally, like in the case of muLLum malarum climax where it's just the reminder of the kazhaikkooththAdi's drums that can pizhinjify the hearts of the listeners).

It's once again the perspective of 'availability of acceptable quality player' thingy (as applied in the SPB-Mano-project management discussion) :-)

Most of us are aware of IR's speed and the demand by movie makers for his score during his heydays. Now, nAdhaswaram players, while they are seen everywhere in TN, are also possibly booked for auspicious functions almost around the year.

IR possibly didn't have a dedicated player, as the requirement will be not that often. And he possibly could not accept some below-standard player who does 'peeppee' for marriages and make a living out of that. Others would not be easy to get -doing katcheris etc - and possibly demand high rates.

I guess he had a steady Shenoy vidhwAn of decent quality whom he could also contract long term for a reasonable rate :-)

That may explain why a ton of his songs have the ascending wind sound in the first interlude (which I used to mistake as clarinet / nAdhaswaram etc those days, now understand as shenoy thanks to qualified bloggers).

It became as regular in his fold as a violin or flute :-)

[app_engine]

Now, don't ask me whether Kamal would not consent to hiring a kAraikkuRichchi (or MPM brothers) for his ambitious project if IR demanded.

IMO, though celebrated in the hub, the overall score of DM is not comparable to the best scores of IR. Actually, songs other than inji iduppazhagi are below average IMO and lack the emotional content, given the beautiful way the movie is done.

(May be problem with me, but whenever I hear things like ' காலடி மண்ணு', there's a total turn-off and a trigger of irritation / negative feeling and so most of the themes didn't even get registered in my brain, that way even BGM lost lusture).

[Vivasaayi]

Now, don't ask me whether Kamal would not consent to hiring a kAraikkuRichchi (or MPM brothers) for his ambitious project if IR demanded.

IMO, though celebrated in the hub, the overall score of DM is not comparable to the best scores of IR. Actually, songs other than inji iduppazhagi are below average IMO and lack the emotional content, given the beautiful way the movie is done.

(May be problem with me, but whenever I hear things like ' காலடி மண்ணு', there's a total turn-off and a trigger of irritation / negative feeling and so most of the themes didn't even get registered in my brain, that way even BGM lost lusture).

songs apart from inji idupazhaga

Masaru ponne varuga - awesome song!

all the bit songs - vanam thottu,vettaruva,manamagale are good ones.

BGM I think seamlessly mixed with the movie :)

[Sureshs65]

Before this becomes a Devar Magan discussion, Let me add my thoughts to this nice topic started by Jai :) This is a topic that definitely needs discussion since Raja has done a lot in this regard.

Jai had pointed out the salient points about the instrument usage. There are two things than a music director / musician needs to understand before using one instrument in place of another. First is the 'sound' of the instrument, its tonal quality, pitch etc. The second is the typical phrases that are played on that instrument. For example, mridangam and tabla not only differ in their sounds, but also in the rhythmic phrasings that are played in the respective instrument. The next level after this understanding is to replace one with another seamlessly. That, I believe, is the toughest task. As usual, Raja does it effortlessly.

One example I can give here is the 'rekka katti parakudu' song from 'Valmiki'. http://www.thiraipaadal.com/albums/ALBIRR00746.html
The other melodies in this movie got good reviews from Raja fans but I believe this song is as good as any of them. Mainly for its energy. And that energy is obtained by playing the nadaswaram and thavil in a non-traditional fashion. If you listen to the prelude and the second interlude, the nadaswaram and thavil play in a very traditional manner. Once the pallavi starts, they completely change their mode of playing. The thavil plays like drums and the nadaswaram plays as a replacement for a brass band. The fact that the nadaswaram plays he add more pep to the proceedings. If the brass band had played here, it would have been more appropriate sound wise but whether they would have achieved this level of energy is questionable. The whole color of the song is due to the nadaswaram and thavil. The instruments transcend their classical boundary, stepping out of their classical confines and coming into the 'paettai'.

[Sureshs65]

Another example, which I have discussed a few times earlier, at the cost of tiring those who have read this earlier :)

Listen to this song from 'Manasinnakare'

http://www.youtube.com/watch?v=W8QAUvUL2FM&feature=related

In this song you can observe how Raja interchanges between the tabla and the synth drum. The first interlude has tabla as the accompaniment but the way the tabla is played for the first two lines is very similar to how drums would play. He sounds another metallic rhythm instrument along the tabla preparing us for the synth rhythm that would follow the second charanam. In the second charanam, without our knowledge, the tabla has vanished and has been replaced by the drum pad. Even though it has happened, the consistency of the song is no where disturbed and the song preserves its unity in a exemplary fashion. To have used tabla in one charanam and drums in another is not a great innovation but using them in such a way that you can't make out the difference requires a very deep understanding of music.

(BTW, I consider this song as one the very best that Raja gave for Sathyan. There is a tremendous amount of peace that I get when I hear this song. Luckily for us, Sathyan has picturized it well and the greenery of Kerala accentuates the sense of peace.)

[kingvj]

IMO, though celebrated in the hub, the overall score of DM is not comparable to the best scores of IR. Actually, songs other than inji iduppazhagi are below average IMO and lack the emotional content, given the beautiful way the movie is done.



Ah, DM is one of my 'play-it-again-Sam' movies... any time, any day I can watch this movie enjoying Kamal, Sivaji, Nasser, Revathy, Gauthami, the dialogues, the slang, the screenplay etc etc.. but one thing I'll always give an ear to is the BGM... !

The scene when Maayan plans to bomb the lake..(just a simple plucking of the guitar?)
the pre-lude to the silambam fight..massive..!
the 'rain-scene' between the father-son..
Panchavarnam's predicament on Sakthi ignoring her after marriage..
the climax BGM, right from the scene when Sakthi encounters Maayan in the godown..
the first time Sakthi calls Panchavarnam up the stairs..(I still remember the claps the audience had along with the BG.. I was 14 years old at that time!)
the silence in BG that accompanies Bhanu's outburst upon learning Sakthi's marriage..
Sakthi's chase of the lake-bomber..
oh and how can I forget the opening credits music..!!

In my opinion, the scores were on par with any of Raja's reputed scores. Maybe since the movie by itself was emotionally packed (unlike an Idhayam which required the BG to add layers to the emotions onscreen...think Heera's blank face in the movie and google what her emotions are... no results found..!!), the BG fit in the movie like a T. In my opinion, the 'Pudhiyadhu pirandhadhu' was the only run-of-the-mill song.

[jaiganes]

However the most interesting music from Naan Kadavul is the Back ground bit (the popular one in you tube as the Naan Kadavul IR rerecording bit) that comes when Rudran "takes appropriate care" of Nair.

It starts as an intriguing cello set piece and then the moment the fight drags on to temple premises, Raja switches off the orchestra and lets the same tune/melody play out as rhythms on mridhangams and the kind of special tablas and dolaks that MGR plays in mannaadhi mannan (an array of them). It is AMAZING!! how did that thought come out and where did it come from? I was like Whoa - thats a googly in musical terms...
The tribal eerie flute that maestro conjures up for the Nair character is rather startling and nervy - particularly when his henchmen start walking up the hill to pick up uruppadis. It is rather pathetic on the part of many critics (including baradwaj rangan) to say that Naan Kadavul BGM was all too bombastic and the usual leitmotiff style was missing.
Another BGM piece that caught my eye (rather ears) was the funny banter when Nair elaborates his scheme of wholesale transfer and exchange of uruppadis to thaandavan. it might have well been a music accompanying a friendly banter of some college kids. And then same situation, different context, nair is now seeking amsavalli, the music is almost non-existent, just eerie drum rolls for the exchange of looks between dimple and murugan...
Strange are the ways Maestro works up his musical magic..


I typed this in recent songs thread - it belongs here.
When I was typing this, I was reminded of a goundamani sendhil joke about sendhil asking gounds to play nalandhaana in thavil.
Gounds tries to do it and therein goes a classic comedy.
However on a serious note, Raja has done the same, playing a melody using strings and recreating the same note on a rhythm instrument.
here is Raja composing it...
http://www.youtube.com/watch?v=EFTyANYgHCA

and here is the BGM as it appears on the screen with the tabla playing the same notes in a way only it can be played...

http://www.youtube.com/watch?v=y5hYxlAhrjg

The BGM starts at 4.56 mins and the tabla playing the string notes as rhythms comes at 5.06 and goes till 5.24.

All of it lasts for only 18 secs - yet the impact and the genius behind making it transcend the ken of an instrument is something that will stand forever!!!!

[Sureshs65]

Very well written Jai. Did not notice it when I saw the movie. Thanks for the link. It shows the work ethic of Raja that when he could have continued with the strings without anyone complaining, he takes the trouble to get the same effect using rhythms. And what was even more striking is how the BGM was setup when Amsavalli is struggling and moving towards Arya's den and the villains are following her. The same BGM with an introduction of the tribal flute gives the necessary effect. The drums beats in the background serve both to accentuate the helplessness of Amsavalli as well as the menace posed by the villains!!! The rhythms and the base melody just doesn't change but two contrasting situations are perfectly captured!!!

[jaiganes]

Very well written Jai. Did not notice it when I saw the movie. Thanks for the link. It shows the work ethic of Raja that when he could have continued with the strings without anyone complaining, he takes the trouble to get the same effect using rhythms. And what was even more striking is how the BGM was setup when Amsavalli is struggling and moving towards Arya's den and the villains are following her. The same BGM with an introduction of the tribal flute gives the necessary effect. The drums beats in the background serve both to accentuate the helplessness of Amsavalli as well as the menace posed by the villains!!! The rhythms and the base melody just doesn't change but two contrasting situations are perfectly captured!!!

Beauty of the matter is - any kid with computer can achieve the same effect sound wise in an hour . For someone to conceive it - in a matter of seconds and start working towards it with live instrumentals - thats where Raaja stands and rest of the music industry has given up following him there. Even listeners have stopped following these things. I noticed it only when the whole scene was played with sound directly going to my headphones. hearing it without headphones doesnt give the desired effect. Another reason why Raaja should demand for better sound projection for his movies.

[Sureshs65]

While the new guys with new gizmos can get the sound effects, can they conceive something like this? Forget the speed, I am sure conceiving something like the BGM he gives is not child's play and infact this is where the challenge lies and no one has risen to it till now. When you think someone has done something good, you eventually find that the concerned piece is lifted from somewhere else!!!