Anything about IR found on the net - Vol 2

vaticanscientist wrote:Not sure if this was posted - Raja talking about counterpoint (not the guy from the genius thread)

https://youtu.be/iZqWFe1-kqo

Event was in 1986 in Singapore

Drunkenmunk wrote:Violin Vicky on the piano with Poova Eduthu, Amman Kovil Kizhakkaale. Pretty sure Crimson King will enjoy this. Seen him mention how AKK is a favorite of his quite a few times. Lovely stuff from Vicky.



And his description is awesome.

violin vicky wrote: Today's is an earthen song made out of basic elements..
Mayamalavagowlai is the basic scale of Carnatic music with which music learning starts, also technically categorized as a variant of Double Harmonic Major scale in the western classical but rarely used in that school.This is a Raaga that can sound as raw or as rich as one wants...

Music classes start with emphasizing on the power notes of Sadjamam and Panchamam of the scale. Singing that Sa-Pa-Sa before you start and identifying that shruti is in some sense identifying yourself. When you do that a few times, you feel perfectly warmed up for a rigorous ahead ahead. Likewise when the class finishes, you again signify coming home with the same routine.

Today's song is also centered around the power notes of Sa and Pa. Minimal use of notes but maximum colors due to the novelty of the composer...

It takes an out of the box thinking to apply this raaga for a folk arrangement in the first place. Illaiyaraaja has done it time and again, right from his early days of 'Enna Paattu paada'. Besides, the striking element in this song is the simplicity in arrangement as well. Perhaps 5 or 6 musicians apart from the Singers played in the song. That's all!!

And yet because of novel structures explored in the melody it sounds incredibly symmetrical and beautiful...You can find 'Pa sa pa-pa sa' phrases in the pallavi and an equidistant 'Sa ma Sa-Sa ma' phrase in the charanam.
Likewise an ornate 'Sa Ma Ga Ri Sa' and 'Pa Sa Ni Dha Pa' phrases with a counter melody.

Not only that, the finishing of the first interlude is composed with harmony in song's scale. Probably the only composer to set a Harmony arrangement in Mayamalavagowlai.

The Guitar goes as - | sa. ga ma | ga. ma pa | ma. pa dha | pa. dha ni ||
While the Keyboard goes - |Sa. sa ri | sa. ma ga | sa. ma ga | ga. ma pa ||

I could catch the notes, but I still need a lot of practice to play the above two tracks simultaneously in real time. So I managed my own simplified accompaniment on the left hand in this rendition :-)

The minimalism in this song also extended to its chords. Many of you who follow my recordings have particularly noted the intricate chords in the maestro's songs. This is a song where there are only two chords used in the whole song - C and Fm (And an occassional Db). And yet the variations it produce are so rich that its hard to believe the song rides on the shoulders of just two chords. But that's true !!

Like explained above, Raaja's application of Mayamalavagowlai is unique in many ways. One of them is that, he always tend to use Ri sparingly - Rarely in Aarohanam and tries to avoid it in Avarohanam, ala KamalaManohari. This song is no exception.

On the personal front, this is a new chord-melody pattern for me. I have tried the folk rhythm in Piano alongside the melody. It was a challenge but I am glad that I attempted it. It sounds really a simple rhythm but until you try, it is difficult to understand the confusion it will cause :-)

This song has finest lyrics by the underrated lyricist Gangai Amaran. Phrases like "kaathula soodam pola karayuren unnaala" are really simple and powerful, just like the song..

Finally when you finish this song, it sums up the feeling of being close to your roots...From Earth you shall come and to earth you shall return...

Happy weekend !!

simple folk song pola oru thotram....... anal vishayam ivvalavu.. idhu dhane Raja.. idhu dhanae Violin Vicky.....

from 0.32 to 1.00.... Vicky's Miracle. kannal parthu... kadhal kaetu... indha velaiyil.. sound ai romba perfect aga follow seiya
mudiyavillai... vasitha vicky's Mind and the hands..... Amazing........

Interludes. .. idhu dhan periya vishayamaga irukum.......

indha paatil.. Stanza..... Great works.............Violin vicky.......... Hats off to U........

இதில் ஆச்சர்யம் என்னவென்றால், சீனு ராமசாமி மனதுக்குள் நினைத்த விஷயம் அந்த ஆங்கில நாளிதழுக்குத் தெரிந்து, அவர்கள் சீனு ராமசாமி பேட்டியை கற்பனையாக வெளியிட்டதுதான்.

இளையராஜா, வைரமுத்து பகை என்னவோ இஸ்ரேல், பாலஸ்தீன பகை மாதிரியும் தினம் பல உயிர்கள் பலியாவது போலவும் சீனு ராமசாமி ஃபீல் பண்ற அளவுக்கு ஒன்றும் கெட்டுப் போகலையே. இளையராஜாவும், அவரது ரசிகர்களும் வைரமுத்துவுடன் மீண்டும் சுமூகமாகப் போக விரும்பாத போது மீண்டும் மீண்டும் இளையராஜாவை இப்படி அறிக்கை, பேட்டி என்றெல்லாம் டார்ச்சர் செய்வது அநாகரிகமானது, கண்டிக்கத்தக்கது. சீனு ராமசாமி பகையை முறிக்கிறேன் என்று புதிய பகையை உருவாக்கமலிருக்க கடவுள் அருள் புரியட்டும்.

sporstar wrote:
Lost between British food and Indian-Punjabi meals, it is time to venture out and seek the sub-continent’s diversity in Wembley. A taxi is hired and as the miles vanish, hunger multiplies. It is time to step into Saravana Bhavan! A hearty Chennai meal is lapped up. Just one request though, can we please have some Ilayaraja of the 1980s?

The lady at the counter says that customers prefer Hindi music.

Surely, there is no running away from Bollywood. A friend suggests: “Next time try the Sri Lankan Tamil joints. You get the food and the music too.”

புலம் பெயர்ந்த ஈழத்தமிழர்கள்

இப்படி எல்லாப்பயலையும் கிறுக்குப்புடிக்கவெச்ச இந்த ஆள் மட்டும், வெள்ளைப் பேண்டும் சட்டையுமா "பிச்சைப்பாத்திரம் ஏந்திவந்தேன் ஐயனே"ன்னு திருவண்ணாமலைக்கு போய்ட்டாப்பல!
எப்படி ஒரு கள்ளத்தனம் பாருங்க!

இந்த ஆள் மாத்திரம் வந்து இந்த மைக் மோகனுக்கெல்லாம் உருகி உருகி பாட்டுப்போட்டுக் கொடுக்கலன்னா, எனக்கெல்லாம் அக்ரிகேட்ல பத்து பர்சண்ட் கூடியிருக்கும்!
 
இந்த ஆளால எங்களுக்கெல்லாம் மார்க் போச்சு!
 
இந்த இளையராஜா சிண்ட்ரோம் பாதிச்ச எங்களுக்கெல்லாம் பத்து மார்க் கூடுதலாப் போட்டு, மேல் படிப்புக்கு 90% ஒதுக்கீடு தரணும்னு நம்ம ப்ரின்சிபால் ஐயாவ கேட்டுக்கறேன்! ஏன்னா, இந்த வியாதி இன்னும் பல தலைமுறைக்கு தீராது!

app_engine wrote: Hilarious twitlonger

இப்படி எல்லாப்பயலையும் கிறுக்குப்புடிக்கவெச்ச இந்த ஆள் மட்டும், வெள்ளைப் பேண்டும் சட்டையுமா "பிச்சைப்பாத்திரம் ஏந்திவந்தேன் ஐயனே"ன்னு திருவண்ணாமலைக்கு போய்ட்டாப்பல!
எப்படி ஒரு கள்ளத்தனம் பாருங்க!

இந்த ஆள் மாத்திரம் வந்து இந்த மைக் மோகனுக்கெல்லாம் உருகி உருகி பாட்டுப்போட்டுக் கொடுக்கலன்னா, எனக்கெல்லாம் அக்ரிகேட்ல பத்து பர்சண்ட் கூடியிருக்கும்!
 
இந்த ஆளால எங்களுக்கெல்லாம் மார்க் போச்சு!
 
இந்த இளையராஜா சிண்ட்ரோம் பாதிச்ச எங்களுக்கெல்லாம் பத்து மார்க் கூடுதலாப் போட்டு, மேல் படிப்புக்கு 90% ஒதுக்கீடு தரணும்னு நம்ம ப்ரின்சிபால் ஐயாவ கேட்டுக்கறேன்! ஏன்னா, இந்த வியாதி இன்னும் பல தலைமுறைக்கு தீராது!

Drunkenmunk wrote:Violin Vicky on the piano with Poova Eduthu, Amman Kovil Kizhakkaale. Pretty sure Crimson King will enjoy this. Seen him mention how AKK is a favorite of his quite a few times. Lovely stuff from Vicky.



And his description is awesome.

violin vicky wrote: Today's is an earthen song made out of basic elements..
Mayamalavagowlai is the basic scale of Carnatic music with which music learning starts, also technically categorized as a variant of Double Harmonic Major scale in the western classical but rarely used in that school.This is a Raaga that can sound as raw or as rich as one wants...

Music classes start with emphasizing on the power notes of Sadjamam and Panchamam of the scale. Singing that Sa-Pa-Sa before you start and identifying that shruti is in some sense identifying yourself. When you do that a few times, you feel perfectly warmed up for a rigorous ahead ahead. Likewise when the class finishes, you again signify coming home with the same routine.

Today's song is also centered around the power notes of Sa and Pa. Minimal use of notes but maximum colors due to the novelty of the composer...

It takes an out of the box thinking to apply this raaga for a folk arrangement in the first place. Illaiyaraaja has done it time and again, right from his early days of 'Enna Paattu paada'. Besides, the striking element in this song is the simplicity in arrangement as well. Perhaps 5 or 6 musicians apart from the Singers played in the song. That's all!!

And yet because of novel structures explored in the melody it sounds incredibly symmetrical and beautiful...You can find 'Pa sa pa-pa sa' phrases in the pallavi and an equidistant 'Sa ma Sa-Sa ma' phrase in the charanam.
Likewise an ornate 'Sa Ma Ga Ri Sa' and 'Pa Sa Ni Dha Pa' phrases with a counter melody.

Not only that, the finishing of the first interlude is composed with harmony in song's scale. Probably the only composer to set a Harmony arrangement in Mayamalavagowlai.

The Guitar goes as - | sa. ga ma | ga. ma pa | ma. pa dha | pa. dha ni ||
While the Keyboard goes - |Sa. sa ri | sa. ma ga | sa. ma ga | ga. ma pa ||

I could catch the notes, but I still need a lot of practice to play the above two tracks simultaneously in real time. So I managed my own simplified accompaniment on the left hand in this rendition :-)

The minimalism in this song also extended to its chords. Many of you who follow my recordings have particularly noted the intricate chords in the maestro's songs. This is a song where there are only two chords used in the whole song - C and Fm (And an occassional Db). And yet the variations it produce are so rich that its hard to believe the song rides on the shoulders of just two chords. But that's true !!

Like explained above, Raaja's application of Mayamalavagowlai is unique in many ways. One of them is that, he always tend to use Ri sparingly - Rarely in Aarohanam and tries to avoid it in Avarohanam, ala KamalaManohari. This song is no exception.

On the personal front, this is a new chord-melody pattern for me. I have tried the folk rhythm in Piano alongside the melody. It was a challenge but I am glad that I attempted it. It sounds really a simple rhythm but until you try, it is difficult to understand the confusion it will cause :-)

This song has finest lyrics by the underrated lyricist Gangai Amaran. Phrases like "kaathula soodam pola karayuren unnaala" are really simple and powerful, just like the song..

Finally when you finish this song, it sums up the feeling of being close to your roots...From Earth you shall come and to earth you shall return...

Happy weekend !!

Usha wrote:IR's interview -1987  page 12

http://news.google.com/newspapers?nid=P9oYG7HA76QC&dat=19870529&printsec=frontpage&hl=en

one que  -  about money......... enna solli irukar. indru varai.. sonna padi irukar.. adhu IR.. 

How do u spend it then? Do u put it back?? train youngsters??

IR  -  (Laugh) No.. i have no intention of starting a music school nor am i interested in multiplying my money

What are you interest in?

(Laughs loudly) Only in passing the days.

Drunkenmunk wrote:I've seen people say "ARR used Birmingham for Koch and so he used London for NEPV."

app_engine wrote: Lords maidAn

sporstar wrote:
Lost between British food and Indian-Punjabi meals, it is time to venture out and seek the sub-continent’s diversity in Wembley. A taxi is hired and as the miles vanish, hunger multiplies. It is time to step into Saravana Bhavan! A hearty Chennai meal is lapped up. Just one request though, can we please have some Ilayaraja of the 1980s?

The lady at the counter says that customers prefer Hindi music.

Surely, there is no running away from Bollywood. A friend suggests: “Next time try the Sri Lankan Tamil joints. You get the food and the music too.”

புலம் பெயர்ந்த ஈழத்தமிழர்கள்

(அவர்களுக்குள்ள மொழிப்பற்றில் 1%ஆவது இந்தியத்தமிழர்களுக்கு இருக்கிறதான்னு தெரியலை)

You recently won an award in the 61st Filmfare for the film Mirchi....

I have sung many songs in many languages. But when you sing a song of a different culture and when you get recognition for that, you feel blessed. And that’s what I felt. I sing for south music composers a lot. In the beginning I used to feel very nervous but then Ilayaraja sir would put me at ease with his jokes and compliments. One feels good that after singing, people appreciate your work and recognise it as well.