Neethane Enthan Pon Vasantham.

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Re: Neethane Enthan Pon Vasantham.

Post  app_engine on Sat Oct 27, 2012 8:45 am

Looks like this Dec-14 is released from the NEPV team...

Sify too says the same:
sify.com/movies/neethane-en-ponvasantham-on-dec-14-news-tamil-mk1jNngbahf.html


Gautham Vasudev Menon’s romantic musical Neethaane En Ponvasantham (NEP), which has been making waves is confirmed to release big on December 14.

NEP features Jiiva and Samantha in the lead with Santhanam playing a crucial role. One of the major highlights of the film is Ilayaraja’s soothing chartbusting melodies which have been ruling the air waves.

December 14 is said to be the best season in Chennai as it is the music festival season. And NEP producers have zeroed in on a very good date as it is the beginning of the Christmas holiday season which will enable the film to take a flying opening.

So, one can expect some more trailers / TV promos etc for the next 4-6 weeks.

All of which will necessarily feature the songs!

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Re: Neethane Enthan Pon Vasantham.

Post  app_engine on Mon Oct 29, 2012 6:54 pm

http://www.behindwoods.com/tamil-movie-news-1/oct-12-04/gautham-menon-neethane-en-ponvasantham-27-10-12.html


It has been officially announced that Gautham Menon's Neethane En Ponvasantham is all set to release on December 14th 2012. Honouring the work of Maestro Ilayaraja, the makers have decided to release the film during the music season.

According to Gautham Menon, with music in the air and winter on, the release of this classic tale will do the magic in every romantic heart.

I think the strategy is to wait till the Deepavali biggies finish their run and the market is ready for new movie. Also, Gautam possibly got insider info that neither viswaroop nor kOchadaiyAn are expected to release this year.

I think audio release of viswaroop is planned by KH for Nov'12 but there seems to be no firm plan for movie's release. Or, even if Kamal releases in Dec, may be Gautam doesn't mind competing with it. As it appears, viswaroopam seems to be a total-suspense-saNdai kind of movie and NEPV is a youththu-romance film and the target audiences are different.

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Re: Neethane Enthan Pon Vasantham.

Post  V_S on Mon Oct 29, 2012 7:06 pm

I heard that they are going to release only on Feb 14th 2013. Good news that they are releasing soon.

Coming to think of NEPV songs, the song which I have been skipping too much, 'vaanam mella' has become my most favorite now. Embarassed I know there is a long overdue for me to write about this song. I was almost ready that time, but could not post it. Will post it in a day or two. A true classic!

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Vaanam Mella - Historic composition!

Post  V_S on Tue Oct 30, 2012 5:27 am

Vaanam Mella - A Historic Composition!

Whenever I think of Oboe, Bagpipe or any old wind instrument, the first thing that comes to my mind is the Pied Piper of Hamelin. We all know this fairy tale which belongs to the period of Middle Ages. A Piper (wearing multi-colored dress) was hired by the Mayor of Hamelin (town in Germany) to drive away the rats from the town. Piper played the pipe which triggered all the rats to follow him only to get drowned into the river, except one. Since Mayor didn't pay him fully as per the promise, the Piper took revenge to play the pipe outside the church to attract the children to follow him to the caves of no return. As a kid, the moral of the story would have been to keep the promise. In the musical context, the moral is simple; good music can move mountains. Smile

As we all know the wind instruments are the most primitive instruments ever invented, after the percussion. The study of evolution of wind instruments is very interesting. Can you imagine the first oboe (or a family of oboe) was seen around 5000 years ago? It seems Europe received a form of double read pipe from East around 12th century, eventhough this woodwind instrument is known much earlier in greece with a name called aulos. In 14th century England used oboes for ceremonies and rituals, but the sound of these oboes were more rustic. By 17th century, France made oboes which sounded sweet, unique but piercing with 3 keys, which later got expanded with more keys and ranges by 18th and 19th centuries. Only from 17th century the real development of oboes began. By 17th century it is again baroque period where the first sweet oboe came into existence. The range of baroque oboe is from Middle C to high D (D after the treble D). So its mostly in and above the treble clef range. In the family of oboe, there are mainly four types, Oboe, Oboe d'amore, English horn or Cor anglais and Bass Oboe. There is even Oboe da caccia which is curved. Oboe d'amore is longer the Oboe, Cor anglais is longer than Oboe d'amore, and Bass Oboe is longer than Cor anglais. Oboe d'amaore is very popular and extensively used by Bach in his concerto and cantatas. It range is from A (lower to middle C) to higher than high D. Another one in the family is the English horn (it seems the name is a misnomer) or cor anglais which is from F (fifth down from middle C) to high B. The third in the family is bass oboe which is very rarely used, and it's range is one octave below the oboe.

In the same way, bag pipe which is one of the main instrument played in this song, has a rich history behind it. There are many controversies regarding its origin, as some say it was originated in Europe while many others say it was originated in Middle East; Mesapatomia (now regions of Iraq, Syria, Iran and Turkey). From the tone and pitch it definitely sounds Middle east. Initially this instrument was played by peasants. It was not popular like a oboe, just because of these reasons. When Romans ruled the world they used this instrument mainly to mourn the death of their infantry men. It was said that when Romans came to British Isles, they brought this instrument with them. It became more popular in Ireland and Scotland and the instrument really began to develop in this region making the instrument of their own.The beauty in this instrument is, it has an air reservoir, so that when the player wants to take a deep breath between playing, the air from the reservoir (bag) provides the sustenance of the earlier played tune. Started with single drone, it has largely developed now to have multiple drones.

Tuning the pitch, key and temperament of bagpipe is extremely difficult, it seems. This itself is a big subject. Bagpipe has a very limited range and it cannot play sharps normally (except very few) as it is not a chromatic instrument. Bringing a bagpipe into a concert is itself a big challenge as it is hard to play with other tempered instruments. A musical key is a central tone or note of a composition. So playing a bagpipe to this note is the key to success of any concert of composition. If it alters the key, the musical program/composition is completely ruined. Selecting this instrument that too for a composition based in f minor scale is a big challenge. As f minor has 4 flats rather than sharps, the challenge is even bigger, as the instrument is normally used in normal key signatures which does not have sharps or flats.This is another case of experimentation, where he starts with bagpipe, but he does not continue, just to see how it sounds in this song and carries the rest of the song with oboes, bassoons and clarinets. See the audacity in using bagpipe in a key where it has flats. Another interesting observation in using bagpipe is, as I said earlier it is not normally used in a happy situation like this. Just like the shehnai way, he used it in contrasting way to perfection.

Another interesting, but rather crude theory about all minor and major scales is that the major scales sound happy and energetic, while the minor scales sound sad and depressed, just like we have raagams which is famous for happiness and for sadness. This theory is not to be taken seriously, as many times, many composers have proved them wrong with their compositions, this composition and this composer is another strong example of defying this theory every time.

The song starts with a spectacular amalgamation of instruments/voices starting in the form of Missa Pange Linqua (Mass) of early Renaissance period to the bagpipe with marching drums of Old testament days to the family of oboe, bassoon, double bass of mid 17th century and one of the oldest instrument; harp of 400 BCE played as a serving palette which decorates the song for the entire duration. We can also hear the claps during the prelude welcoming each musical era with both hands by paying tribute to all the inventors of these wonderful precious instruments and to those precious hands who composed and played them and most of all for the choir who injected soul into it. Maestro brings in exactly the church atmosphere which I quoted in the first paragraph where everyone are in the Mass when they hear the mysterious ethereal bagpipe. They invariably march behind it without even knowing where they are leading to only to discover that they disappear into ether. The way bagpipe is played is very interesting. It starts off as a smooth flowing sound only to end quickly on a high; The ending is the sweetest portion of the song. This denotes the soul being elevated into ether only to form the clouds and to fall as drizzle to shower the new lovers, as the first line of lyric explains; vaanam mella keezhirangi maNNil vanthaaduthe thooral thandha vaasam ingu veesuthingE.

Every instrument has its place and time. This composition cannot start with a bagpipe as it might invoke a sad feeling (as said above). When we hear the starting chorus we can literally feel the emptiness in ourselves standing in a big church facing the lord. Two set of choir sing one after another initially and then join together to provide a perfect harmony and later they again separate to sing different melodies (only very few seconds we can hear this) in counter mode. Everything starts in our life the same way even when we were born at different times (choir starting one after another), but we tend to follow different paths (choir singing separate melodies). The starting choir denotes embracing of two hearts; the worshipper with Lord. Similarly the embracing of two hearts of lovers in the real circumstances (in the film). To put is simply, the song has to start on a positive note, so choir cannot come afterwards. The bagpipe is here to denote that the lovers forget the world hearing this ethereal sound disappearing themselves into another new world. Since bagpipe cannot prolong much longer due to its range, oboe, flute, clarinet takes over. Oboe's role is to take them in this virtual world of enormous happiness and ecstasy. Oboe cannot come earlier which takes the beauty out of the bagpipe and if oboe would have come earlier, even bagpipe might have lost its place. The strings of harp cannot come early as the sound of it denotes the fresh drizzle or shower of blessings from heaven to earth with the best perfume in the world; smell of the land. This prelude is an epic in-terms of arrangements and sweetness.

We can feel the completeness within ourselves just hearing the prelude alone and don't even want to hear further. Isn't it true? We can also feel the emptiness just like the emptiness in Maestro's mind as stated by him whenever he composes any song. This emptiness asks us to go back again to hear the prelude. How can we feel completeness and emptiness at the same time? That is the power of the choir and the instruments used. We can feel the sublime state where a solid (our body) gets converted to vapor (soul - emptiness) without undergoing the intermediate liquid state. On the other hand we can also feel the opposite deposition state where Maestro puts a body over our soul (completeness) to understand and enjoy the earthy living (love). See the power of this musician and his music and we have just listened to only 40sec of the composition. That's the power of love and Maestro strongly establishes in just 40 seconds with this authority. This is truly moving and the best of any music we have ever heard.

This celtic prelude can also be nostalgic sometimes, if we leave out what I said in the above 3 paragraphs, it can virtually takes to the rich rural plains and landscapes where we can see the flock of sheep moving and gracing the lands with their master playing the pipe. What a wonderful sight that would be! We can draw endless perspectives in this prelude, hallmark of any true composition and composer!

Before going further into the song, I have to mention about the rhythm pattern and the time signature. I am fooled and spellbound at the rhythm pattern and arrangements. If you tap slowly, it will feel as standard 4/4 to the ear. However, each tap we think of as a quarter note is actually the dotted quarter note. Holy cow! Means in each tap, you can count 3 beats quickly. ONE-two-three-FOUR-five-fix. When we are tapping in 4/4, we are actually tapping two measures of two rather than one measure of four. How he squeezes a eighth note to the quarter note to make it dotted quarter note but trumps everyone that it is only quarter note. It took hours for me to figure this out. How a 6/8 can look like a 4/4? This is also the reason we can feel the waltz'ness and swing in the song. We have heard, 'pasu thOl pOrthiya puli'. This is it! As Bharathiraja tells, bloody Raja, bloody brilliant, Height of innovation, only Maestro possible!.

I understand why Maestro selected this song to sing himself. Even we heard he was not happy with the initial choir for this song and wanted to be perfect as I think this he wants to dedicate this song to every music listener right from children to the old, the bond of love. That's why we saw the children choir, Bela and him singing completing three generations. One the best, longest, richest and sweetly tune pallavi-anu pallavi ever. The depth and variation in the tune is something extra-ordinary. There is a nice swing in the pallavi, especially when they sing 'vanthaaduthE' the sweetness is enhanced. Sameway when he drops to veesuthingE.
vaanam mella keezhirangi maNNil vanthaaduthe thooral thandha vaasam engum veesuthingE
vaasam sonna baashai enna uLLam thindaaduthE, pEsi pEsi mounam vanthu pEsuthingE
pookkal pookum munnamE vaasam vanthatheppadi
kaadhalaana uLLam rendum uyirilE inayum tharunam tharunam (nicely written!) Please hear the chords there with the cushion-like percussion.

During anu-pallavi he starts in lower octaves he goes higher and higher and drops beautifully to tharunam tharunam. Pinnacle moment! Tharunam tharunam followed by that awkward beats, is magical, as if someone is locking down the composition. It has to stop there, just because their hearts are now locked to each other and no trespassers allowed to enter their hearts!

Hear how those wind instruments play along when he sings. They play intermittently not to interfere the singing and then play continuously once the line ends. The sound of all these instruments (oboe, clarinet, bassoon, flute - multiple of them) when they are played together gives a fresh new sound and look to the composition. While orchestration is of prime importance in this composition, along the way he also takes care of invoking fresh new sounds by the way it is played. It is very difficult to concentrate on everything at the same time. He gives ample time after 'veesuthingE' to enhance the richness and sweetness by playing these instruments in an extended fashion. He does not wait till the line ends to start playing these instruments, he starts playing when they start singing, so that it carries smoothly to give that added sweetness at the end. Very controlled way of composition not giving any inch for distraction. Like a road or a track having close shoulders so that we have to drive carefully with concentration, else it may hit the shoulders. Same way the wind instruments acts as close shoulders for the singers so that it gives a whole new dimension to the composition and in turn this kind of style even corrects any singers mistake by not allowing them to step into the border. I am taken how these instruments replay the tune closely with the singers, with double bass/cellos giving that exceptional bass support by weaving heavily through our nerves.

When Bela repeats the pallavi, you can hear the change in the arrangements. Costume changes! Wind instruments goes way gradually giving way to string instruments. The reason why he weaves this kind of orchestration is because every instrument gets time to breath, which also maximizes the ornamentation. Ornamentation is a special feature of baroque period. Since Oboe and wind instruments need to start the interlude which he decided already, he gives them a little time to rest where string instruments take their place in repeat pallavi. Also playing wind instruments needs more energy than playing string instrument. How intelligent thought that is, that too it all happens in a fraction of second for Maestro as if it is their fate!

One of the most complex interlude we have ever heard, if not the most. The complexities are hidden from superficial listeners as Maestro makes sure the sweetness and richness stands out despite all these complexities. There is so much going on in this interlude with lot of notes overlapping each other for different instruments (to provide counter melodies) giving a nice texture to the composition overall. There are thousands of melodies inside this interlude, if we wish to decipher it. I would like to highlight a few which I could get out of this interlude.

Just when Bela Shinde finishes the pallavi, hear the violins disappear (after giving that extended lead for couple of seconds) and hear how the Flutes, Oboes, Clarinets, bassoons with bass guitar (providing the bass) takes over suddenly during the first interlude. Violins comes again and plays the same tune again and finish their conversation. Then there is a short pause with a bell sound (twice). Violins changes the course now. One set of wind instruments glide faster to reach the top and play a nice waltz from there. Then it passes to another set of violins where they play in a questionable mode. Violin change the course where flute and harp gives the finishing touch.This is the just the main layer I am talking about. Hear how violins and oboes are interlaced nicely, with each set plays different melody every time they get a chance. There are other supporting layers like the percussion, piano, cellos, double bass all contributing to this orchestra and interlude. The backing cello and double bass during this entire session adds more richness and new dimension to this interlude. We can even hear the difference in the sound of the wind instruments used at the beginning of the interlude and at the end, just because he mostly uses flute at the end. If we listen closely we can also hear many counterpoints between sets of violins, between violins and double bass, oboe and double bass, oboe, harp and piano, intricately weaved to the maximum extent possible. This is a perfect example of a modern symphony orchestra with strings, woodwind, percussion, piano all in it, played by around 100 musicians. Only difference is the melody weaved out of this orchestra is completely new and unheard of. Every 5-10 seconds there is a dramatic change in path (melody), every 5-10 seconds there is a change in the set of instruments, as all he got is 50 seconds to demonstrate these skills. Still we didn't find the changes abrupt or done in hasty, all as per the western classical norms. Can we say this interlude is in a minor scale?

This interlude has a very bright melody (in fact multiple of them, it is all given) displaying the exchange of hearts in both conversation mode as well as in question answer mode. Everything happens in their mind. She asks a question, instead of answering, he asks another question, immediately she change the question, he answers, both try to ask at the same time, there is a pause, again the conversation begins. This interlude truly depicts the random and excited mind of the lovers, but that's not all. We can appreciate this interlude more if we go back in time and feel how we felt when someone expressed love to us or when we expressed our love to them and the corresponding reaction. Can we describe that state in words? Some sort of 'paravasa nilai', as if we are flying and lot of thoughts flash in our mind at that second which we want to convey immediately. Right from checking often that is this real, to which one to tell first, which one ask first, all sorts of emotions just flow in us and our body will transform into a state of high emotions only, nothing else. First time I am experiencing this kind of emotion when listening to a piece of music, in the same way we experience in the real world. Are we not? That's why Maestro is unreachable when he speaks music.

Maestro now takes out the conversation which was happening in their minds and translates into the vocals in the charanam. If we thought that he got only 50 seconds to demonstrate his orchestration skills then we are completely wrong. He carries on with the orchestra even during the charanams. That's why we always say Maestro's singers and musicians cannot be separated. Every instrument is tightly integrated into the composition, and does not act as supporting instruments. While brisk violins keep following each word closely, wind instruments fills beautifully at the end of every line. If we hear closely even the violins which closely follow the vocals is not just one set, there are multiple sets, each on a different melody plane. When wind instruments play, there is a backing violin/cello playing midly. When Raja sings 'ketkaamal kEtpathenna un vaarthai paarvai thaanE oho, en paadhai naaLum thEdum un paadham' the violins/cello fully blow up playing continuously in slur mode to sustain and support the melody, as the melody is peaking up. Flute accentuates exactly at the time, when he says undhan moochchu kaatraithaan, yendhan swaasam kEtkuthE' as the lyric denotes about breath, with a gush of violins and cellos. The way he finishes the charanam; antha kaatrai nenjin uLLil pootti vaithu kaadhal kaappEnE is another stunning piece of music we have ever heard. The longest and sweetest line to finish the charanam with flute, all the string instruments, double bass rubbing heavily, drums, all coming together for a grand and memorable bash. There is much more than what I have described.

In the repeat pallavi after charanam he adds one more layer of single oboe (I think) which was not there in the original pallavi. This is in addition to the group of wind instruments which accentuates after every line in pallavi. The best part is he starts the second interlude using the same pallavi tune, using oboe and claps like he did in the prelude signifying 'THE INTERVAL' and audience applauding.

If we discount the part of the interlude above as the continuation of the pallavi (in orchestration), the rest of the interlude is short. It starts with marching drums and double bass followed by flute. Melody changes there with wind instrument playing in staccato mode with piano run giving the necessary flow. Cymbals clashing and the choir singing for the second time but for a very short duration with violins and harp as the backdrop. Second charanam is exactly same as first charanam in terms of singing and orchestration for us to quench enough thirst. The song ends in a similar fashion how it all started, except you can hear more pronounced bass (with double bass and cello).

Till now I have not talked anything about the singing. Initially I was skeptical in approaching the song, even my man Raja is singing the song. Once I saw the live concert, I changed my mind completely. Bela too sang well. After that, I never hung up listening to this beauty. Raja's voice is so gentle and there is no hardness in his voice which we usually hear (read enna kutham, thaavi thaavi) which is quite surprising. Could not believe it is the voice of 70 year old man, looked like 40. I am not a big fan of Bela's thin voice (especially at higher pitches), but definitely didn't sound bad, infect she complemented Raja's voice extremely well. Lucky that she also got some friendly words this time. Many times I listened to this composition imagining their voice as another instrument, making it a violin or flute or oboe concert. I was very interesting to hear that way.

Lyrically Na Muthukuar did a great job with some great ideas. If you read the pallavi lines, it does not seem that lovers are singing the song. These lines, Kaadhalaana uLLam rendu uyirilE inaiyum tharunam tharunam confirm that. Seems some soul is showering their praises on lovers. When it comes to charanams we can hear the lovers are actually singing their lines (in their minds). The lovers are fresh and hesitant and they need a push which was given by them. Great thought! As if the holy angels sing the lovers heart out. The song need not be too emotive, but it should exhibit ultimate ecstasy of the new lovers, which Raja and Bela did it extremely well.

The visuals (shown at the audio launch) definitely did not do justice to the composition, given the depth and magnanimity . May be that's why GVM wanted to go back to do merit to the composition. Let's hope he does enough justice, but it is too difficult to bring out what he originally imagined and conveyed to Maestro and how it has been transformed now by the Maestro. Even if the visuals do not come as expected, we are better off putting our perspectives into it.

There are lot of fresh ideas injected into the composition which we might not have heard at all. Right from using bagpipes, composing a happy song in a minor scale, bringing back the lost mass of renaissance (I am still haunted by the starting choir), usage of harp, oboe, bassoon, flutes together and at different instances, multi-layered and dramatic orchestration with wind instruments and string instruments interlaced beautifully, a fresh and breezy tune, precious 'tharunam' moment, unconventional time signature, cushiony percussions, generous ornamentation in each line with exquisite extensions all making it a splendor. Words have to be discovered to describe this gorgeous composition. But one might often ask this question. I agree with all this, but where is the soul in this composition? When we search for soul in every composition, this one is entirely different. Maestro caught this right at the beginning. As I described just above, the pallavi-anupallavi lines are not sung by the lovers, instead by someone else as the lyrics clarifies. When Maestro tuned this pallavi he had this in mind on how the lyrics should be. If someone else is singing praises for the lovers, it cannot be friends, relatives or parents. It can only be some holy soul(s) who understands and wishes their love unconditionally without any ambiguity. Maestro assuming these souls are centuries old, brings back the renaissance mass, bagpipes, oboes and all those medieval instruments and genres for the pallavi. He could have managed just with some available instruments (gummudipoondi quartet), but as we can see there is always a reason and purpose. Coming to our question on where is the soul, I hope by now we already got the answer. If Maestro is thinking a soul is singing showers of praises on lovers, what is the need to search for a soul in the song? Isn't it same? If Maestro assumes this, imagine how he would have composed the tune. Does it not reflect in the composition? That is also another reason that this composition does not fit into any single genre. It has a genre of his own, first of its kind. If Maestro happens to be the pied-piper of Hamelin, absolutely there is no hesitation for me becoming a child lost in the caves of no return.

http://www.youtube.com/watch?v=F0Er76VOhMI


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Re: Neethane Enthan Pon Vasantham.

Post  V_S on Tue Oct 30, 2012 5:28 am

It is too lengthy and would be too boring. My long time overdue, please feel free to skip. Smile

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Re: Neethane Enthan Pon Vasantham.

Post  Admin on Tue Oct 30, 2012 5:34 am

Varen, V_S, varen. Konjam time kudungga.

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Re: Neethane Enthan Pon Vasantham.

Post  V_S on Tue Oct 30, 2012 5:46 am

grouch,
Please take your time. Actually app was asking me about this song for a long time on the other forum and when I almost completed I quit, so was unable to post. I was keeping safely in my notepad. When I started my blog, I had an intention of writing first about Sri Rama Rajyam, so again could not post in my blog too. Since you gave us this platform, I could make it here. So thanks to both of you. Very Happy

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Re: Neethane Enthan Pon Vasantham.

Post  Bala (Karthik) on Tue Oct 30, 2012 12:13 pm

V_S
மிக்க நண்றி @ வானம் மெல்ல

Before going further into the song, I have to mention about the rhythm pattern and the time signature. I am fooled and spellbound at the rhythm pattern and arrangements. If you tap slowly, it will feel as standard 4/4 to the ear. However, each tap we think of as a quarter note is actually the dotted quarter note. Holy cow! Means in each tap, you can count 3 beats quickly. ONE-two-three-FOUR-five-fix. When we are tapping in 4/4, we are actually tapping two measures of two rather than one measure of four. How he squeezes a eighth note to the quarter note to make it dotted quarter note but trumps everyone that it is only quarter note. It took hours for me to figure this out. How a 6/8 can look like a 4/4? This is also the reason we can feel the waltz'ness and swing in the song. We have heard, 'pasu thOl pOrthiya puli'. This is it! As Bharathiraja tells, bloody Raja, bloody brilliant, Height of innovation, only Maestro possible!.
இது தான் கொஞ்சம் பிடிபடல. பாட்ட ஒரு முறை கேட்டுட்டு மீண்டும் முயற்சி செய்யறேன்

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Re: Neethane Enthan Pon Vasantham.

Post  Admin on Tue Oct 30, 2012 12:43 pm

Attha, nAn padichittEn, padichittEan....

V_S, you are not human. I suspect you are some sort of music Angel trying to speak on behalf of....I am borrowing this from Bala...Swamigal. The technical side of music, I no understand, I no musical. Even though I was once an aspiring percussionist and I too didn't understand the rhythm part as Bala mentioned above. But man, my good friend, what a post. I need to reread it. I listened simultaneously to the song as I read, but again the percussion part that you mentioned baffled me.

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Re: Neethane Enthan Pon Vasantham.

Post  V_S on Tue Oct 30, 2012 3:53 pm

Thanks Bala and grouch. Very Happy Really honored to hear comments from you. The time signature is in fact 6/8. But if you observe, the song is not that too fast. That's where Maestro fools us. That's why if we tap slowly, we can get 4/4, but if you hear the notes closely, there are more notes contained in the song for a 4/4 time signature which disqualifies for this time signature. To get to 6/8, we need to tap superfast as I described. It was pretty difficult to get this. I confirmed this with my teacher and she could not believe it, as she was also tapping slowly, but immediately concluded based on the number of notes inside it, that it cannot be a 4/4. This is what she has to say.

//You definitely let me work my critical-listening skills! :-) I don't often get opportunity anymore to analze like this! As for the time signature, I'm glad you told it was in 6/8, because it made me listen to it differently. I did, like you, immediately feel it in 4 - it naturally falls into a 4/4 time to the ear.//

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Re: Neethane Enthan Pon Vasantham.

Post  kv on Tue Oct 30, 2012 4:14 pm

V_Sji, innum muzhusa padikkala Embarassed, nEkkum konjam time kudungo.

Aana, reg. the thaalam, I think this one's thisra nadai aadhi thaalam - three syllables per beat or however you want to call it (basically moonu moona pirichukalaam). It would roughly map to:

vaanam mella
thakita thakita

keezh - irangi
thakita thakita

mannil vandh aaadu -dhE
thakita thakita thakita tha

Seriya padardha?

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Re: Neethane Enthan Pon Vasantham.

Post  V_S on Tue Oct 30, 2012 4:59 pm

kv,
Thanks for your analysis. Your observation is perfect in respect to thaalam/nadai aspect. Aadi thaalam (8 beat cycle) and thisra nadai (3 syllables), but in western time signature I think it maps to 6/8 (with 8 representing the beat cycle) and 6 represents the beats per measure. I counted 6 syllables for 'vaanam mella' (123456 very fast) instead of counting 3 for 'vaanam' and three for 'mella' which becomes 3/8 or 3/4 which does not depict the true picture of the tempo. When you sing vaanam mella and count 123456, it correctly completes the cycle. That's the reason I had written, " think of each Quarter Note (two eights) being a Dotted-Quarter (three eights). As you said, we quickly count 3 eighth notes and not 2 eighth notes.

I think what we both are referring the same thing, if I am not wrong.

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Re: Neethane Enthan Pon Vasantham.

Post  skr on Tue Oct 30, 2012 6:09 pm

V_S ji ,
Nice write up on Vaanam Mella , i have to confess havent still read it fully but it was interesting reading about the history of the Oboe and Bagpiper ..
Your pied paper analogy for this song was a good one and made sense Smile Im always amazed at your ability to relate a Raaja song to something interesting..

Coming to the rhythm aspect ..
In Carnatic Parlance it is Adi Thalam Tisra Nadai and in Western Perspective it is 6/8..
To illustrate ..

Vaanam Mella
Sa ~ Ri Ni ~ Sa
Ta Ki Ta Ta Ki Ta
1 2 3 4 5 6

keezh - irangi
Ri ~ Ga Sa ~ Ri
Ta Ki Ta Ta Ki Ta
1 2 3 4 5 6

mannil vandh aa
Ga ~ Ma Ri ~ Ga
Ta Ki Ta Ta Ki Ta
1 2 3 4 5 6

aadu -dhE
Ga Ga Sa Ni ~ ~
Ta Ki Ta Ta Ki Ta
1 2 3 4 5 6

So to highlight there are 8 beats of Ta Ki Ta happening forming a perfect Adi Tisra Nadai and we count it as 123 456.
The difference between 3/4 and 6/8 is the beat pattern..If 6 is divided as 12 12 12 (Waltz Rhythm-stress on 1st,3rd and 5th) it is 3/4 whereas if 6 is divided as 123 123 (Ta Ki Ta - stress on 1st and 4th) it will be classified as 6/8.
For eg Poove Sempoove is 3/4 whereas Vaangum Panathukkum is 6/8.

Now coming to the catch , when we now think its a perfect 6/8 ..wondering where the 4/4 comes into play ??
It does arise as its mentioned clearly in the document i shared with u quite a while ago ..have still not been able to solve this puzzle Question
V_S ji , can u show the sheet to your teacher and ask which portion does the 4/4 come ??, im not very familiar with western notes , just curious to know if the background guitar alone goes in 4/4 as opposed to the main song and both meet at the LCM Smile

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Re: Neethane Enthan Pon Vasantham.

Post  V_S on Tue Oct 30, 2012 6:37 pm

Thanks skr for your pleasing comments, always love your comments. Very interesting analysis skr. What my teacher was telling is if we tap just one beat for 'vaanam' and one beat for 'mella' (I mean this slow), we get only 4/4, but actually it is not so, as by 1 beat it is a quarter note. As you and kv explained vaanam does not contain 1 quarter note (or two eighth notes), it contains three eighth notes or one dotted quarter note. That's why for the whole "vaanam mella" we can count 6 beats. If we count slow as I said above with 1 beat (2 eighth note) for 'vaanam' we are not doing justice to the amount of notes actually present in the song. The trick is whether we need to tap slow or fast and what decides that? For me it was obvious, but she concludes that we have to decide (and assume) by the number of notes present in the song. I can ask her again about this surely presenting yours and kv's views.


Last edited by V_S on Tue Oct 30, 2012 7:36 pm; edited 1 time in total

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Re: Neethane Enthan Pon Vasantham.

Post  app_engine on Tue Oct 30, 2012 7:04 pm

Great post, V_Sji!

It's getting better all the time (and it was great to start with) Smile

And your summary



There are lot of fresh ideas injected into the composition which we might not have heard at all. Right from using bagpipes, composing a happy song in a minor scale, bringing back the lost mass of renaissance (I am still haunted by the starting choir), usage of harp, oboe, bassoon, flutes together and at different instances, multi-layered and dramatic orchestration with wind instruments and string instruments interlaced beautifully, a fresh and breezy tune, precious 'tharunam' moment, unconventional time signature, cushiony percussions, generous ornamentation in each line with exquisite extensions all making it a splendor. Words have to be discovered to describe this gorgeous composition.


is the ultimate!

cheers

(We need some more extra-special icons, just for posts like this one)

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Re: Neethane Enthan Pon Vasantham.

Post  V_S on Tue Oct 30, 2012 7:35 pm

Thanks app for the honors. Glad you liked it.Very Happy

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Re: Neethane Enthan Pon Vasantham.

Post  skr on Tue Oct 30, 2012 8:21 pm

V_S ji
Im very clear in my mind that it indeed is 6/8 ..You tend to get fooled initially but the pulse clearly indicates that it is 6/8 and it follows the dotted quaver movement.
But my doubt is regarding the actual scoresheet of the guitar portion of the song which i sent u and kv some days back which mentions it as 4/4 - that is what is confusing me Smile

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Re: Neethane Enthan Pon Vasantham.

Post  Nerd on Thu Nov 01, 2012 5:19 am

They say there is something about Raaja but may be the editor deleted it at the last moment Laughing This is from AnandhaVikatan:

"இது காதலின் பொன்வசந்தம்!"

கி.கார்த்திகேயன்


'' 'நீதானே என் பொன்வசந்தம்’ ஷூட்டிங் முடிஞ் சிருச்சு... 'கதை கேட்டப்போ இவ்ளோ ஃபீல் பண்ணலை பிரதர். இப்போ யோசிச்சா என் வாழ்க்கையின் காதல் எபிசோடுல மறுபடியும் வாழ்ந்துட்டு வந்த ஃபீலிங்’னு சொன்னார் ஜீவா. எடிட்டிங் டேபிள்ல ஆண்டனி பார்த்துட்டு, 'ஜி... பழசுலாம் ஞாபகம் வருது... நாளைக்கு எடிட் வெச்சுக்கலாமா?’னு மெல்ட் ஆகிட்டார். எடிட்டிங்ல பார்க்கும்போது எனக்கும் சட்டுனு பிளாங்க் ஆகிடுது. லவ் இஸ் ஃப்யூட்டிஃபுல்!' - காதலும் காதல் நிமித்தமுமாகப் பேசத் தொடங்குகிறார் கௌதம் வாசுதேவ் மேனன். கோடம்பாக்கத்தின் 'லவ் ஸ்பெஷல்’ இயக்குநர். 'அலைபாயுதே’, இளையராஜா, கமல், அகிரா குரோ சோவா, அஜித், சசிகுமார், ஆர்யா, சமந்தா என்றெல் லாம் நீண்ட உரையாடலில் தனது வாழ்வின் ரியல் காதல்பற்றிப் பேச்சு வந்தபோது ஒரு சஸ்பென்ஸ் வைத்தார் கௌதம். அது இறுதியில்...

''முதல் பார்வையிலேயே காதல், பிரிந்த காதலியைத் தேடிச் செல்லும் காதலன், தனக்குத்தானே குழம்பும் காதலி... இதெல்லாம் 'ழிணிறி’-யிலும் (நீதானே என் பொன்வசந்தம்) இருக்கும் தானே?'



''சந்தேகமே வேண்டாம். என் காதல் படங்களின் ஸ்ட்ரக்சர்ல பெருசா எந்த மாற்றமும் இருக்காது. ஆனா, மொமன்ட்ஸ்தான் விஷயம். சின்னச் சின்ன தருணங் களில்தான் காதல் ஒளிஞ்சிருக்கும். அந்தத் தருணங்களில்தான் நான் லைஃப் சேர்க்கிறேன். 'விடிவி’-ல த்ரிஷா ரொம்பக் குழம்புவாங்க. ஆனா, இதுல சமந்தா கேரக்டர் அப்படி இல்லை. ரொம்ப போல்டு. ரொம்ப க்ளியர். சும்மா லவ்வர் பின்னாடி வால் பிடிச்சுட்டே போறவ இல்லை. 'சிந்து பைரவி’ சுஹாசினி, 'புதுமைப் பெண்’ ரேவதியோட ஒப்பிடாதீங்க. ஆனா, காதலிகளில் சமந்தா கேரக்டர், ஒரு புதுமைப் பெண். சாய்ந்து சாய்ந்து சமந்தா பார்க்கிறதே தனி அழகு... ஜீவா கண்ல எப்பவும் காதல் நதி ஓடிட்டே இருக்கும். க்ளைமாக்ஸ்ல சமந்தா கேரக்டர் எடுக்கும் முடிவு, அத்தனை வருஷப் பிரிவுக்கு அப்புறம் ஜீவாவும் சமந்தாவும் பேசிக்கிற விஷயங்கள்... சும்மா காலி ஆயிடுவீங்க!''

''உங்களுக்குப் பிடிச்ச உலக லவ் கிளாஸிக் படங்கள் என்னென்ன?''



''இதுக்கு நேரடியா 'எந்தெந்தப் படத்துல இருந்து சீன் பிடிக்கிறீங்க?’னு கேட்ர லாமே. உலக சினிமாக்களாப் பார்த்து கதை, சீன்லாம் உருவிப் படம் எடுக்கிறேன்னு என்னைப்பத்தி வெளியே ஒரு பேச்சு இருக்குன்னு எனக்கும் தெரியும். ஆனா, நல்லாக் கவனிச்சீங்கன்னா புரியும், 'அலைபாயுதே’ படத்துல வரும் 'எவனோ ஒருவன் வாசிக்கிறான்’ பாட்டுதான் என் காதல் படங்களின் இன்ஸ்பி ரேஷன். ரெண்டு பேருக்குள் காதல், சின்ன மோதல், பிரிவு, தேடிப் போறான் லவ்வர். ஹேப்பி அல்லது சோகமான எண்ட். காதல்ல அவ்ளோதான் என் டிராவல் இருக்கும். மணி சார் படங்களைவிடவா நமக்கு வேற காதல்படங்கள் வேணும்? 'மௌன ராகம்’ படத்தின் கார்த்திக் போர்ஷன், 'இதயத்தைத் திருடாதே’, 'அலைபாயுதே’, ராஜ்கபூர் நடிச்ச 'ஆவாரா’... இதெல்லாம்தான் எனக்குப் பிடிச்ச லவ் கிளாஸிக்ஸ். மத்தபடி உலக சினிமாக்கள் பார்க்கிற பழக்கமே எனக்கு இல்லை. அகிரா குரோசோவாவின் ட்ரீட்மென்ட்பத்தி தெரியும். ஆனா, அவரோட 'ரோஷமான்’ உட்பட ஒரு படத்தைக்கூடப் பார்த்தது இல்லை. நான் உணர்ந்ததை, அனுபவிச்சதை வெவ்வேறு சம்பவங்கள் மூலமா சினிமா பண்றேன். 'எவனோ ஒருவன் வாசிக்கிறான்’ பாட்டு எனக்குள் உண்டாக்கின எமோஷனுக்கு இன்னும் தாராளமா பதினஞ்சு படங்கள் எடுப்பேன்!''

''உங்க இயக்கத்தில் நடிக்காத ஹீரோக்கள் பத்தி கமென்ட்ஸ் சொல்லுங்க?''

''அஜித்... அவருக்கு இருக்கிற மாஸ்... சான்ஸே இல்லை. அவருக்குக் கிடைக்கிற ஓப்பனிங் என்னைப் பிரமிப்படையவைக்கும். இத்தனைக்கும் அவரோட ரசிகர்களின் எதிர்பார்ப்புக்கு ஏத்த ஒரு படம்கூட அவருக்குக் கிடைக்கலை. 'உதயம்’ல நாகார்ஜுனா சைக்கிள் செயினைப் பிச்சு இழுக்கிற மாதிரியோ, 'பாட்ஷா’ல தங்கச்சி மேல கைவெச்சதும் ரஜினி தண்ணி பம்ப்பை உடைச்சு அடிக்கிற மாதிரியோ ஒரு பவர்ஃபுல் சீன்கூட அஜித்துக்கு இன்னும் சிக்கலை. விஜய்னா டான்ஸ்தான். ஒவ்வொரு பாட்டிலும் ஏதோ ஒரு ஸ்டெப்ல இழுத்துப் பிடிச்சுடுறார். அவரைவெச்சு முழுக்க முழுக்க ஒரு டான்ஸ் ஃபிலிமே பண்ணலாம். 'பாஸ்’ படத்துல ஆர்யா காமெடி பண்ணியிருந்தது ரொம்பப் பிடிச் சிருந்தது. ஹீரோயின்கள்ல அஞ்சலி அசரடிக்கிறாங்க!''



''அஜித், விஜய் பத்தி இவ்ளோ நல்ல ஒப்பீனியன் சொல்றீங்க... ஆனா, 'துப்பறியும் ஆனந்த்’ல அஜித், 'யோஹன்’ல விஜய்... உங்ககூட சேர்ந்து பண்ண வேண்டிய புராஜெக்ட்ல இருந்து ரெண்டு பேரும் விலகிட்டாங்களே... ஏன்?''

'' 'துப்பறியும் ஆனந்த்’ 1920-கள்ல நடக்கும் கதை. அதுக்கான ஸ்க்ரிப்ட் வேலைகளுக்கே கிட்டத்தட்ட ஒரு வருஷம் தேவைப்படும். இப்போ அதுக்கான நேரம் இல்லை. அதனால அஜித்துடன் படம் பண்ண முடியலை. சூர்யாவை வெச்சுப் பண்ணலாம்னு 2013 மார்ச்ல இருந்து அவர்கிட்ட டேட்ஸ் வாங்கி அட்வான்ஸும் கொடுத்துட்டேன். ஆனா, 'துப்பறியும் ஆனந்த்’ ஸ்க்ரிப்ட் இல்லை. ஆக்ஷனும் காதலும் கலந்த ஒரு ஸ்க்ரிப்ட் அவருக்காகப் பண்ணிட்டு இருக் கேன். 'யோஹன்’ முழுக்க முழுக்க ஆக்ஷன் படம். 'எனக்கு ரொம்பப் பிடிச்சிருக்கு. ஆனா, ரொம்ப இங்கிலீஷ் டைப் படமா இருக்கு. இன்னும் நம்ம ஸ்டைல் சேர்த்து கொஞ்சம் தமிழாப் பண்ணலாம்’னு சொன்னார் விஜய். அதனால அந்தப் படம் பண்ண முடியலை. இப்போ அதே ஸ்க்ரிப்ட்ல மகேஷ்பாபுவை வெச்சு தெலுங்கு, தமிழ், இந்தினு மூணு மொழி யிலும் 'யோஹன்’ பண்றேன். இதைத் தவிர அஜித், விஜய்கூட படம் பண்ணாததுக்கு வேற எந்தக் காரணமும் இல்லை!''

''நீங்கள் இயக்க விரும்பும் ஹீரோ?''

''எனி டே, கமல்ஹாசன். மறுபடியும் மறுபடியும் எத்தனை தடவை வேணும்னாலும் அவர்கூடப் படம் பண்ணுவேன். அப்புறம் ரஜினி சார். அவரோட ஸ்டைல், என்னோட மேக்கிங்ல ஒரு படம் பண்ணணும்னு ரொம்ப ஆசை. ஷங்கர், கே.எஸ்.ரவிக்குமார்னு சீனியர் இயக்குநர்களை விட்டு அடுத்த செட் இயக்குநர்களுக்குப் படம் பண்ணலாம்னு அவர் வந்தா, முதல் சாய்ஸ் நானா இருக்கணும்னு ஆசைப்படுறேன்!''



''உங்களுக்கு அப்புறம் வந்த இயக்குநர்களில் யார்லாம் உங்களை இம்ப்ரெஸ் பண்ணியிருக்காங்க?''

''வெற்றி மாறன். ஆனா, எனக்கு 'ஆடுகளம்’ படத்தைவிட 'பொல்லாதவன்’தான் ரொம்பப் பிடிச்சது. வட சென்னை, பைக்னு படத்துல இருக்கிற சின்னச் சின்ன விஷயங்களைக்கூடப் பிரமாதமா பிரசென்ட் பண்ணியிருந்தார். 'சுப்ரமணியபுரம்’ சசிகுமார் ரொம்பப் பிடிச்சது. எந்த இயக்குநரும் முதல் படத்திலேயே அவ்வளவு ஷாக் கொடுக்கலை. ஆனா, இப்போ சசிகுமார் நடிக்கப்போயிட்டாரேனு வருத்தமா இருக்கு. ரொம்ப அழகா, ரசனையாக் கவர்ந்தார் 'எங்கே யும் எப்போதும்’ சரவணன். அவ்வளவு சீன், அவ்வளவு டீடெய்ல்ஸ் இருந்தும் தெளிவான படமா இருந்தது. ரொம்ப ராவா இருந்த 'ஆரண்ய காண்டம்’ நல்ல க்ரிப்பா இருந்தது. ஆனா, தியாகராஜன் குமாரராஜா அடுத்து படம் எதுவும் பண்ணலையா?''

''அஜித் நடிச்ச 'மங்காத்தா’வும் ஹிட். மாஸ் ஹீரோ இல்லாத 'எங்கேயும் எப்போதும்’ படமும் ஹிட். சினிமா, ஹீரோக்கள் கையிலா... இயக்குநர்கள் கையிலா?''

''எந்தப் படமா இருந்தாலும் 'கன்டென்ட்’தான் கிங். 'மங்காத்தா’ல அஜித்தான் ராஜா. 'எங்கேயும் எப்போதும்’ல திரைக்கதைதான் ராஜா. கன்டென்ட் இல்லாம என்ன ஷோ பண்ணாலும், வேலைக்கு ஆகாது!''

''ஒவ்வொரு படத்திலும் உங்கள் ரியல் காதலைத்தான் வேறவேற வெர்ஷன்ல சொல்றீங்க... அந்தக் காதலைப் பத்திக் கொஞ்சம் பேசலாமே?''

''ம்ம்ம்... இப்போ பேசினா பிரச்னை ஆகிருமே! 'விடிவி’ க்ளைமாக்ஸ்ல 'என் நம்பர் எப்படிக் கிடைச்சது?’னு த்ரிஷா கேட்கிறப்போ, 'என் அடுத்த படத்தில் சொல்றேன்’னு சிம்பு சொல்வார். அப்படி இந்தக் கேள்விக்கான பதிலையும் அடுத்த பேட்டியில சொல்லட்டுமா?''

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Re: Neethane Enthan Pon Vasantham.

Post  kiru on Thu Nov 01, 2012 7:54 am

Glad to see you all here .. thanks VS for inviting me here. With the time signature of vaanam meLLa aside, I wanted to say one high level point about NEPV -in one word - it is freshness. I dont know where it is coming from - chords, rhythm arrangment, fills ? IR has done rock, jazz and orchestral arrangements before. So more than these 'macro' aspects I think it is the 'micro' spaects that is responsible for this is my guess. Please share your thoughts.

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Re: Neethane Enthan Pon Vasantham.

Post  kamalaakarsh on Thu Nov 01, 2012 9:55 am

kiru wrote: I wanted to say one high level point about NEPV -in one word - it is freshness. I dont know where it is coming from - chords, rhythm arrangment, fills ? IR has done rock, jazz and orchestral arrangements before. So more than these 'macro' aspects I think it is the 'micro' spaects that is responsible for this is my guess. Please share your thoughts.

What makes this album tick is that, everyone has a different favourite. Its that kind of basket. Usually, Raaja's albums will have 2-3 sure shot impressive songs out of say 5. and out of 100 people, atleast 80 will like exactly those 2-3 songs. But this album is a classic example of standard deviation (in statistical sense). This kind of "assortment" has become rare from Raaja. even a Sri rama Rajyam had lot of people settling down with "Sri Rama Lera" as the best, closely followed by "Jagadananda karaka" and "Ramayanamu". But in NEPV, every song is liked by someone or the other. I thought Pengal Endraal, singer issues not withstanding, will not be liked by many. I myself disliked it in 1st listenings. because it was more of a culture shock. Once it withered off and once it connected me to the "Mahavishnu Orchestra" kind of genre, I loved it (still have an issue with the choice of yuvan.. but can't help). In fact, i have said this before, Pengaal endraal is the MOST envelope pushing song by Raaja in recent times. Because it showcases a side of him that was hitherto unknown, atleast to this degree. yes he did rock songs earlier but they all have been wrapped in his own idioms. This one, despite his stamp in some phrases, goes a lot beyond.

So in a way, the freshness that you talk about - also emanates from the potpourri that the album is. I have generally noticed that when an album has something for every kind of fan, it usually finds a good 'permanent' place in the discography of the composer and also in public memory.

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Re: Neethane Enthan Pon Vasantham.

Post  app_engine on Thu Nov 01, 2012 5:57 pm




NEP scheduled for December 14 release


Gautham Menon’s Neethaane En Ponvasantham, a romantic flick made in Tamil starring Jiiva and Samantha is ready to hit the screens on December 14. With Ilayaraja’s music topping the charts NEP is a much-awaited film.


According to the director, Jiiva’s appearance in the film has been widely appreciated and is set to make him a heartthrob among young women. Santhanam’s comedy scenes in the film are a spoof of Menon’s earlier films, such as Kaakha Kaakha, Vinnaithaandi Varuvaaya and Vettaiyadu Vilaiyaadu.


Santhanam spoofing prior films'A Rolling Eyes

Source : http://gulfnews.com/arts-entertainment/celebrity/southern-spice-news-in-brief-1.1095572

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Re: Neethane Enthan Pon Vasantham.

Post  app_engine on Thu Nov 01, 2012 6:00 pm

Gautam wrote:

''இதுக்கு நேரடியா 'எந்தெந்தப் படத்துல இருந்து சீன் பிடிக்கிறீங்க?’னு கேட்ர லாமே. உலக சினிமாக்களாப் பார்த்து கதை, சீன்லாம் உருவிப் படம் எடுக்கிறேன்னு என்னைப்பத்தி வெளியே ஒரு பேச்சு இருக்குன்னு எனக்கும் தெரியும்.


Laughing

Quite a smart interview!

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Re: Neethane Enthan Pon Vasantham.

Post  V_S on Thu Nov 01, 2012 6:06 pm

Welcome here kiru.Smile Thanks Nerd for the interview article.

kiru wrote:So more than these 'macro' aspects I think it is the 'micro' spaects that is responsible for this is my guess.
aakarsh wrote: I have generally noticed that when an album has something for every kind of fan, it usually finds a good 'permanent' place in the discography of the composer and also in public memory.

Very well said kiru and aakarsh.

As you said, the freshness is because of everything. First the tune is very fresh. Then the orchestration. Right from the choir, bagpipe and the usage of oboe, clarinet, bassoon, flute, double bass, cellos violins. Even though we have heard all these instruments before, the trick is to use them together. If you had seen the live concert of this song, except for the starting bag pipe (which was played by clarinet in the live concert) which was played individually, the rest of all wind instruments are played together. When oboe, clarinet, bassoon, flute all played together, we get a rich fresh new sound. Same way the number of bass instruments like double bass and cellos are more in number compared to just one or two he uses normally. The cumulative effect of these string instruments again gave a strong flavor. We can easily compare this with Dhoni's live orchestration and hear the difference where he had used fewer set of instruments (not complaining Dhoni, that was catered for different requirements). Another important aspect which gives the freshness is the interlacing of wind and string instruments frequently. So before we get a grasp which one is playing he switches off and brings a new set. Apart from this, when we are hearing these are the only main instruments, he ornaments with some beautiful side instruments like harp, bells, chimes which gives that added freshness.

When coming to the rhythm arrangements, I think he used some new set of drums giving a new and cushion'y sound. This can be with snare drums or that big marching drums. We could also hear the crescendo's in cymbals which we might not listen very often. Just the sound cymbal clashing is different and the progressive crescendo of cymbal playing is different. He used the latter to perfection.

Coming to the tune, unless the tune is composed in this way there is not much scope for this orchestration or arrangements. The tune has nice swing to it that the instruments take over from where it left and glides through, giving a unique experience.

Still could not believe he packed in so much in this song concentrating to the smallest details possible (micro aspects as you observed), yet we can feel the lightness. A landmark composition!.

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Re: Neethane Enthan Pon Vasantham.

Post  kiru on Thu Nov 01, 2012 9:30 pm

VS ..your review of vaanam mella is highly detailed and educational . I still cannot honestly say I fully understand. But my comment about 'freshness' is about the whole album.
BTW, I thought the 'swing' aspect of the vaanam mella song is the celtic dance rhythm/measure , whatever that means (?)

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Re: Neethane Enthan Pon Vasantham.

Post  V_S on Thu Nov 01, 2012 9:48 pm

Thanks kiru. Yes, every song has its own freshness. I just mentioned about vaanam mella as I just wrote that post and it was fresh in my mind about all those aspects. Yes that swing is may be because of the 6 beat cycle (tisra nadai as KV pointed out). I can try to explain which ever portions are not clear. Please let me know.

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