6. SEVVANTHI POO MUDICHA CHINNAKKA

**Oldposts** · 29th November 2004, 02:56 PM

I just discovered the thread. Great read Manisekeran and everyone!

I had to rewind a bit. sorry!

A trivia: I think the violin piece in the second interlude in CHINNA KANNAN AZHAIKIRAAN of Janaki's has a very striking resemblance to the famous starting prelude of "Adi Raakamma Kaaiya Thattu" violin piece.
(SJ version 2:50 to 3:00)
http://musicindiaonline.com/l/26/s/movie_name.4357/
Any1 agree

**Google Adsense** · 29th November 2004 02:56 PM

**Oldposts** · 29th November 2004, 02:56 PM

I know Manisekaran is hosting the show but I think it is a great opportunity to explore Raaja’s unique capability as a film composer and how his compositions scaled new heights in film music.

I very much differentiate between a music composer and a film music composer. After all most of his music is film music

Although Raaja’s background score is wildly discussed, his talent in deriving full inspiration from the situation, its elements, the mood, it musical motifs, and the conflict itself is very rarely discussed.

I believe Raaja has reached Himalayan heights as a film music composer which is very less explored even by musicians. So I want to throw my 2 cents in that aspect/angle to the songs that will be posted by Manisekaran. I’m bound to make some wild speculation, mistakes and assumptions. Please correct me when I go wrong

I’ll stop my analysis if you someone has serious objections (especially Manisekaran

**Oldposts** · 29th November 2004, 02:56 PM

SENTHOORA POOVE

Situation: A *tender* teenage girl is *searching* for her unknown lover all over the village, *looking* for him, *longing* for him and *asking* for him. She converses with flowers, birds, breeze etc… asking them about her unknown lover’s whereabouts and requesting them to help her to get him on her way.

Conflict: She bitten by love-bug and is in a hopeless case. Her hidden *vulnerability*.
Irony: She has the lover she’s searching (chappani) right under her fold. She’s yet to realize it.

Raaja’s dramatic choices in the song:

1) Theme -- *Search* is the theme of the song and it dominates every musical aspect of the song --from the tune to orchestration, to rhythm, to beat, to ornamentations etc. But the tune also makes sure the *longing-ness* and *vulnerability* of the character is also exposed. Some musical elements in second interlude express strong vulnerability.

Musical elements:

2) Violin -- From orchestration standpoint, Western classical sounding violin orchestration is chief participant in the *search* theme. It is effectively introduced, repeated, played up, played down, heightened and finally nailed.

3) Guitar -- The guitar piece is direct musical manifestation of lyricist word Senthoora Poove (Flower). In general, it stands for all flowers. The piece also sets the *mood* of the song so quickly. It also ornaments and embellishes the teenage girl with *flowers* throughout the song. Perhaps, Raaja liked the idea of flower setting with flowering (budding?) emotions of the girl or perhaps, a direct inspiration from Bharathiraja’s situation description. What amazes me is where does the *flowering* stop and *searching* start in this simple piece? The answer is they co-exist! This is magic!

4) Flute – A direct inspiration from the lyricist line *neelak karunguyilae* but symbolizes most birds described in the song and for the topper—for the character herself (Character name is Mayil -- meaning Peacock). How apt? Since this flute piece also brings out her vulnerability. A mild masterstroke! (Same technique used in the song “Kuyil Paatu” from En Raasavin Manasulae)

5) Beat – All rhythmic beats symbolizes, augments and intensifies the *search* theme.

Introduction: WOW! All the musical elements used in the rest of the song are introduced completely in the prelude (intro) itself. It is the gist of the song and almost all of them symbolizes and dramatizes the *search* theme. Either, they play the same notes or play the same idea with some musical variations and variety.

Transitions: A special mention to transitions. Although all the musical elements stand for *searching*, the is done with pin point precision bringing out the intended feeling throughout the song. Incredibly, there is no monotony, even if the same idea is played with variations. The supreme sign of mastery over the medium by Raaja.

The transition also keeps the girl character in motion throughout the song giving a flowing energy. Like a visual transition showing a legs running fast, spooked wheels of motor bike rotating fast, to a rubber tyre rolling at high speed and showing the tyre belonging to a plane taking-off in sky with a bird in forefront and the topper-- the bird flies. Just an example, I felt but it is not an analogy to the song.

Raaja’s musical transition in the song flows like a stream from the flowers, to the girl, back to the flowers, to her physical movement, her running legs, the narrow alley, rough but beautiful terrain, plants, birds, breeze, and obviously to her emotions running inside her. This makes the song so unique and wonderful to listen and watch in the film.

In the end, the song not only manages to express the *search* and *longing* feeling of the character but also brings across her tenderness and vulnerability. Raaja as a composer not only celebrates the character’s feelings but also makes his tune and musical instruments participate in the *search*.

So, it is no wonder Raaja felt satisfied or utilized! I’ve listened to his old songs before this and I can argue that this song is first situational song to fully use the situation, its elements, the mood, its musical motifs, and the conflict to a mind boggling level.

Please listen to the song again and give me your feedback and criticism.

Trivia: I love the musical imitation (echo) of * thennanjoalaik kuruvigalae kuruvigalae* (music which follows the line) in the second interlude. Even this piece (idea) is introduced in the prelude (intro)

**Oldposts** · 29th November 2004, 02:56 PM

Ragavan,

Thank you for your inputs. I have taken note of your points. In some cases I deleberately give more credits to Raja, where I feel he is the supremo in the success of songs. In some other cases I may emphasise on the vocal strength of the singers. In cases where you are tend to disagree or feel singers should be credited, please post your thoughts. Afterall it depends on which angle of the prism we are looking at. Different angles give different reflections. That is the very purpose of the discussion. Even in my introductory notes I had said fans can agreee, disagree or ignore my points.

Once again, thank you for the rich inputs.

Senthilv.com.
I have not objection to your postings. This is a discussion forum. Everone has his/ her role to play. It is up to the acceptability of other readers.

**mythila** · 29th November 2004, 06:34 PM

For me , "senthoorapoove" will always remain in the top 5 songs of raja. I also like "sevanthi poo mudicha" and "manja kulicchi" . They have a raw , rustic freshness. Even the interlude music in " Manjakulichu" has an apparent mischievous and naughty feel. In "sevanthi poo mudicha", if you notice the second interlude music just after the flute bit and before the "thandhana thaanaa " chorus the strings part punctuated with flute
and the music bit following the line
"aathula kaathadicha alai odum" - you can feel the effect of waves rippling through the waters. Such was the magic !!!

**thops** · 4th December 2004, 01:10 PM

before seeing the movie i used to like only senthoora poove...i fell in love with the other songs only after watching them blend almost perfectly with the screenplay...