Fantastic idea! I am with you on this! I know a lot about raagas, so I would love to help in any way!
--- In [email protected], "Vajra" <dianic_dre...@...> wrote: > > Hi, > > I'm on a personal quest to gather ragas for Rahman's film music... > unfortunately I am not so well versed in identifying Ragas. I have been > collecting popular ragas in their carnatic versions.... but I would like to > get film song examples for all these ragas to help the new generation enjoy > and understand the beauty of ragas by being able to relate to them. > > So what better way to develop appreciation for carnatic music than by showing > its influences on popular music. That will be very educational and inspiring > for people I think... especially now that Rahman has attracted quite a bit of > interest from the west, and they will be keen to find out more about him, I > would like to make information about ragas available to the west.... > > This way, the west will also have a better understanding of the musical > history that has given birth to a soul such as Rahman. > > I found this website that gave a small sample of ragas that corresponded to > different songs Rahman has done: > http://prabhuthemusiclover.tripod.com/arrahman/id3.html > > However, I am hoping someone (or several people), would help me create an > extensive list of raga identification for Rahman's music. I plan to make a > very educational website using this research. Hope to chat to you soon. > > Regards, > Vajra > > > > --- In [email protected], "keshav" <coolcrave@> wrote: > > > > A precious Attempt: Ah Aah!! Looking into depths of music creativity > > > > > > > > The soundtrack for film's such as Bose: The forgotten Hero and The > > Rising were pretty much set back in time with some contemporary features. > > These film's had distinct music form which were destined to be heard > > constantly. A.R.A.R.Rahman, the music whiz, is highly credited for having > > such amazing talent in executing music at any given circumstances. He has > > indeed been dominating the Indian Music Industry for long and has always > > been a delicate music trend setter. A.R.Rahman is the only known individual > > who matches the chemistry between the ear drums and his composition. The > > Rising, had been beautifully adorned by various melody and rhythm, bringing > > genres such as folk, contemporary and classical in to light. Having adapted > > such rich and exquisite manner of composing music, A.R.Rahman makes a > > colossal comeback to south India making his composing style a total > > makeover. Yes he is back; it's the moment that all die hard tamil fans of > > his had to wait for. The wait has ended and the outcome is par beyond > > excellence. Director S.J.Surya who directed Vaali, Kushi and New is back > > with Anbe Aaruyire (Ah Aah). Vaali has done a splendid job (refrained from > > English words is a wonder) penning the lyrics for all six songs in the > > movie. A.R.Rahman lends his hand composing in the New Age genre; the tunes > > are as usual fresh and innovative. Let's feed into the tracks; > > > > > > > > Anbe Aaruyire : Sturdy occurrence. > > > > A.R.A.R.Rahman. > > > > The song starts with a different voice (aahhhh flange effect) and drum > > loops and all of a sudden you have A.R.Rahman entering the melody with an > > unusual note, which breaks the current ambience. A.R.Rahman sounds so > > different in this number, not with his high pitched vocal but kinda suttle > > version this time. He seems to be maturing. > > > > The song seem to have the strong bhava of raga saramathi. The lyrics > > arraira kodi perghalil oruvan adiyaen Tamilzhan nan unggal nanban which > > translates: "amongst 6 million human population (India), as a Tamil servant > > I am your friend", is so touching and delivers a strong message straight to > > your heart. This is a promising start for A.R.Rahman's tamil musical > > venture and will be a trademark for his return down south. The Tamil > > syllables 'Ah Aah is used all over the song, even in some part of the > > lyrics. The rhythm of the song is sophisticated plus peppy loops woven > > around it, creates an energetic ambience. This song is at its own class. > > The strings are beautifully added in the 2nd charanam and the female and > > kids chorus are amazing. Some delicate usage of strings could be heard from > > 03:07 to 03:12. Repetitive effects such as echo and flange have added > > beauty to this song. The song ends with "neengal illamal naan inggay illai" > > I am nowhere without you" A.R.Rahman is ironically referring to his fans. > > > > > > > > Mayilirage: Soothing and smooth as a peacock feather > > > > Madhushree and Naresh Iyer > > > > Wow! The initial traditional south Indian instruments thavil, > > naadaswaaram and kartaals amplify the south Indian music ambience. Later, > > joined with the tabla and chords A.R.Rahman creates a melodies tune flowing > > smoothly over your soul. Madhushree sounds sweet in her rendering and not > > forgetting Naresh Iyer (SS finalist refer to the image 1.1) for his > > marvelous voice and a promising debut. Naresh, naturally with good tone and > > voice modulation is well exploited by A.R.Rahman. The naadaswaran which is > > replicated > > > > > > > > > > Image 1.1 > > > > Digitally(tenor sax or oboe), portrays an unusual feel. The rhythm rules > > over this song, it's a great experimental effort in combining both thavil > > and tabla to convey music. The chords and tingling effects help create a > > vintage feel moving freely behind the song unnoticed. The pallavi and > > charanams varies in different aspect of music. Both of them have different > > melody hues and music arrangements. This is a style A.R.Rahman has adept to > > convey diverse music forms. > > > > The sequence of the song you would most expect for is when madhushree > > goes "Uyirai thodun..." moves so divine with the orchestration. The pallavi > > communicates in raga manirangu whereas the charanams have some anya > > swaras(foreign notes) like suddha dhaivatham and prati madhyaman. The song > > has simple interludes with powerful effects to deliver the melody. It's > > true to say that A.R.Rahman is at his best in executing such rare tunes. > > The tingling effect bids the song goodbye. > > > > > > > > Varugirai : Reinstating your soul > > > > Hariharan and Chitra > > > > Hari and chitra duo had been missing for a while and A.R.Rahman has > > revived them in a splendid pop music presentation. The song start with > > hallucinating music ambience accompanied by the drum beats resembling the > > human heart beat. Then with vigorous attempt the violins cry in mercy. Hari > > moves in with his rustic voice rendering the lyrics and later accompanied > > by the mesmerizing chitra which her share of pathos. The overall melody of > > the song seem to be based on raga Keervani with some exceptional > > subhapantuvarali bhava when chitra goes "varugirean varugirean." > > > > Watch out for the chord progression from 2:45 to 2:55 simply > > outstanding. The charanams are simple and is flourished with major string > > executions i.e. 5:20 to 5:28.The song is built out of associated efforts > > from the rhythm and orchestration section. The interlude supports the song > > by lingering around the theme of fear and hatred (3:56 to 4:14) by using > > some feverish ambience. The song overall is a great effort. > > > > > > > > Thigu Thigu : Depicting hunger for music. > > > > Sadhana Sargam > > > > The song starts with a radio edition effect having sadhana executing her > > vocals set to mujhra rhythm loop. Then, boom! Out pours the rhythm > > arrangement which is the exact of WOHE's Dacoit Duel, it's a delight having > > such rhythmic pattern in tamil songs. Sadhana accompanied by a male > > singer??? (is It Blaaze) renders the pallavi with grace. The tabla again > > has its share of fame in this number moving about freely in the melody. > > Sadhana's voice is at her finest from 2:23 to 2:25. The melody again varies > > in 2 shades setting apart the pallavi and charanam. The song is constructed > > with sophisticated melodies (bearing usage of raga shivaranjini) . This > > song has some creative usage of tamil vocabulary which is evident in the > > lyrics i.e. sarama sarama avasarama and anggam thangam mridhangam. Hat's > > off to vaali for such language exploitation. > > > > The interludes are stressed by the usage of rhythms. The slow moving > > rhythm loops fits the lyrics well and creates that lustful mood for the > > song. Some notable interlude sequence is present from 4:02 to 4:25. Way to > > go sadhana a notable effort. > > > > > > > > Thazhuvudu : An Exceptional bliss a musical downpour > > > > S.P.B and Shreya Ghosal > > > > The peak of the album and my dearest. The melody is exceptional with R&B > > style rhythm, having shreya rendering her lustful best making me doubting > > her voice, oh! My God is it she! A.R.Rahman should be credited in bringing > > her out of her usual classical envelop. S.P.B is another tremendous > > phenomenon lending his growling voice which evokes in mind, his valor of > > the 80's. Before I go further, I've never even dreamt of having a tamil > > song rendered in R&B genre, but looks like reality rules in the case of > > Thazhuvudu. The rhythmic pattern and the rendering styles are indeed meant > > to represent that genre. I was in tears hearing this song. The lustful mood > > prevails all over the melody. > > > > The song starts warm, with tingling effects in the background and some > > Caribbean drums filling the melody. Shreya enters, seductively whispering > > the lyrics, S.P.B joins her with some expressions emmm Ahhh!!, and starts > > to growl on the lyrics, a blissful start. There is no more turning away, > > the peak of the song is at 1:23 to 1:47 where three major music elements > > unite: orchestration, rhythm and voice,so supreme. S.P.B.'s beautiful > > harmony rendering "kathai ondru.." is notable. The melody seem to closely > > woven around raga ratipatipriya (22nd mela janyam) and suddha dhanyasi. > > Many might notice the "wah wah" effects used all over the song, this effect > > play a major role in upholding the mood. Striking Caribbean drums join the > > melody boosting it along with the electric guitar at 3:29 to 3:50. Shreya's > > sphuritham (micro note execution) is remarkable at 4:17 to 4:20. The chorus > > "oru dhaaram" is delivered in harmony by both sound very polished and > > diversed.. > > > > The interludes shines with wonderful rhythmic expressions with little > > string's supporting it. The song has many musical expressions towards the > > end keeping us surprised. A magnificent number, fresh effort, hail > > A.R.Rahman! > > > > > > > > Maramkothiye : A soul pecker > > > > Shankar Mahadevan, Pop shalini, Vasundara Dass and Blaaze. > > > > The remix version of mayilirage. After the much famed "thottaal poo > > Malarum" A.R.Rahman does again, and the outcome is spectacular. The song > > contains heavy techno beat loops. Shankar lends his ultimate along with > > Vasundara and shalini. Blaaze breaks into the song with some rap phrases > > (3:58 to 4:05). The voices, filtered with phase effect seem to blend well > > with the background melody. I am amazed to see that the sarangi is filling > > the song (1:48 to 2:02) joining the league western instruments and effects. > > The lyrics are similar to mayilirage with only an uplifted beat. The > > rhythmic loops are maintained throughout the song. Music effect's such as > > flange, phase and vibrato are evenly spread over the song. I am sure this > > number is going to be a repetitive listening number among youths since it > > portrays the commercial aspect of music. Peppy blow for the ear drums. > > > > > > > > Thus ends this exclusive stride of exceptional music experience. > > A.R.Rahman nicely blends into the current Tamil music market with a > > remarkable effort. With this album A.R.Rahman has given us the pleasure of > > listening to some amusing and sincere tune directly from his heart. We in > > return must be a submissive listener to experience the bliss in his > > composition. His decent approached have always been warmly accepted, Anbe > > Aruyirea fit's all needed requirement. Looking forward to more of such > > exquisite music presentations in future. > > > > > > > > Regards > > > > Rajj > > >
