Hi Chord, Thanks for coming forward to help me in my quest. My first request for you is definitely a challenging one I hope. I have myself made an attempt to identify the raagas in Marhaba Mustapha song but I am not very confident about my conclusions yet so, please give your opinion about the raagas used in that song and then I will share mine as well.
Regards, Vajra On Mon, Mar 30, 2009 at 7:59 AM, Chord <[email protected]> wrote: > > 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 iron ically 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 > > > > > > >
