Continuing a bit on my previous post..
All of Raaja's evergreen and ever greatest hits have one thing in common. i.e., besides their mass appeal they are worth in gold from the eyes of an instrumentalist. The singers, as blessed souls as always, invariably take away the lion's share of a song's success. For instance a "Ilaiyanila Pozhigiradhu" or a "Mandram vantha Thendralukku" are "SPB hits" first of all. "Mohan hits" perhaps takes away the second best honor. But they never will be classified under: "Chandrasekhar hits" (the lead guitarist of Ilaiyanila) or "Frank Dubier Hits" - the Trumpeter of Mandram Vandha.. (for that matter we don't even know for a fact who played the trumpet in this song. Frank is an educated guess at best. Speaks for the level of appreciation we tend to show on the people behind the scenes.)
Usually the instrument tracks behind such songs are so challenging, that it takes some effort to play them. Take "Poove Sempoove" for example. For the abilities of Padma shri & Padma Bhushan KJ Y, this song is a piece of cake. But look at the instrument tracks in the song. Be it the Gowrimanohari dished out in Hindustani arrangement in the first interlude or the most unorthodox jugalbandhi of Tabla Vs Drums in the second BGM, the instrumentalists need to be on high alert here. One count that you miss and the whole BGM is gone.. !
Speaking further of the second interlude, If an orchestra is playing it live on stage, you can judge their quality just by this interlude. Its the toughest test for a team not on the scale of individual brilliance of artists, but how well they fare collectively. The constant tracks formed by the bass and hi-hat are quite convoluted in itself. Ironically that's the only reprieve which the keyboardists and the percussionists can latch on to and find out when to start and when to finish their bit. And speed of this interlude is an element to factor in as well. Ask the strings ensemble towards the end and they will vouch for that certainly. Its like a tight rope walk on top of a moat with hungry crocodiles waiting to gobble you if you fall.. But still, the appreciation at our level stops with "some serious sounding" music that matched the visual tension and turmoil the Hero is going through on screen.
Take the innocuous sounding guitar during the prelude for instance. It demonstrates nothing but Raaja's ingenious creativity. D6th Added 9th followed by G6th followed by E minor 7th. Killer arpeggios which is actually a melodic track in itself as opposed to a straight forward side track that such strumming usually is.. The way how the distinct variation from D to G to E comes out despite G6th and Em7th being exactly the same set of notes underlines what improvisation is (i.e., the base arpeggio and the chord transition are perhaps decided upfront and how these two should compliment each other w.r.t right inversions etc., are chosen on the fly based on the most efficient finger traversal). Sada sir who played these arpeggios effortlessly has certainly done a noteworthy job here, but the question is have we noted it before ..? :-)
(Headphones recommended for the below video)
The problem with these musical phrases are that, half of the time they are so nuanced and its unfair to expect a listener to appreciate this. But even those who can, usually does not look beyond how it 'sounds'. The fact though remains that, its indeed a big deal to record such songs of rich content as a team in a live environment. Even if one musician fails, the whole recording has to be repeated. (Remember SPB's famous trivia that it took them 16 takes to record Ilaiyanila due to the guitarist and the results are here to be seen today 25 years since). I was told that the unbelievably orchestrated song of "Idhu oru Nila kaalam" was completed on the first take. And this may not have been the only such wonder.. So next time when you listen to a "nice sounding" instrumental bit from a "popular song", I hope you will try to visualize what it takes to record such complex musical collaborations and give these unsung heroes their credit..
With Love
Vicky
Brilliant post as usual. This song has always been a favourite of mine and the 2nd interlude (which makes me sit up and observe) has been my most favourite piece in this song. We see a certain kind of madness in it. The whole song is arranged in a certain soft tone while in that interlude, he just freaked out. I always wait for the 2nd interlude, whenever i listen to this song. It is like a small workshop on 'arrangements'. :-)
ReplyDeleteThanks a lot for showcasing awesome guitar work in this song.
Dear Vicky,
ReplyDeleteBlog padichiten.(as usual - inferiority complex vandhadhu. indha jenmathil - idhai ellam therindhu kolla koduthuvaikavillai endru...)
Arpgeggio ku thank u Vicky...
Realllllllllllllllly We Are Gifted by YOU.........
With Love,
Usha Sankar.
Hi Vicky,
ReplyDeleteI had exactly the same question yesterday when I was listening to 'vaa vaa pakkam vaa' from 'Thangamagan'. I mean, it is supposed to be a typically disco song. People will probably be only watching Rajni and his style and this man goes and orchestrates it like mad!!! Each instrument seems to have only one avarthanam or two in order to display itself and yet within that short time magic happens. So many ideas interwoven in a single interlude!!! As you wonderfully pointed out, there is so much happening in the seemingly simple prelude!! Ofcouse you lost me in the actual chords but I understand what you are trying to say. That is because this is what I too feel. Is someone noticing these things? I am optimistic. Anyone who is keen about learning music and appreciating it deeply, will eventually land at Raja's feet!!! There is so much to learn for a simple listener like me. So I can understand how much musicians like you have to learn!!
Dear Vicky,
ReplyDeleteGreat Post and Demonstration of arpeggios and chords. Excellent playing of guitar!!
Thanks for bringing the Legends again to forefront.
As you said, this second interlude is one of the most complicated arrangements and rhythms, we have ever seen in our Maestro's composition. Especially the way it starts with pronounced bass track (with hi-hat) and goes to background slowly and when violin takes over, it is completely gone. Wow! what a masterpiece. Everything is so perfect in this interlude, and one slip will cost the beauty of the song. Excellently put by you!
Another best thing about this song I always love is, the way song starts with the guitar arpeggios and flute, and ends exactly in the same way. Not many songs fall into such category.
Salute to Maestro and his legends.
Thanks for rewinding me to listen to the song!!
Hi Vicky,
ReplyDeleteThis is one of my favourite songs..such a smooth soft melody by KJY with amazing instrumention..Wonderful writing and wonderful playing too..:)
Regards
Rajiv
Nice Vicky. Didn't know you mastered playing guitar too! Probably that's the only instrument you didn't play for our showdowns.
ReplyDeleteComing to you post, I can realize how though it is to get THAT sync! These days technology help us to record every instrument individually. But still only with a talented sound engineer we can a good quality output. The world once ruled by talented instrumentalists is now under the control of talented arrangers/ sound engineers! Now, is it a positive change?? hmm... don't know!
Yes, have seen many bands skipping the initial and ending guitar parts, which they either try to do on the keys or arpeggiate the whole playing on the keyboards.
ReplyDeleteAlthough, I'd say that the second interlude beginning is sequenced..again an asset that only Maestro knows too well to use appropriately and in the right amount and at the right time, without compromising the high calibre of musical though process.
Extremely well demonstrated, for a chord ignorant person like me.
Eternal Ilaiyaraja.
@ Aakarsh:
ReplyDeleteThanks man.. Yes.. certainly there is a method to the madness.. My Guitar playing can surely be way better than that :-) (The problem is sometimes I get overambitious and try such songs. Even if I get 10% of the result, I should be happy)
@ Usha:
Romba Thanks.. Edhukku Inferiority Complex.. ? I watch your comments on songs now a days and I think your observations are above ordinary.. In terms of Raaga and instrument appreciation..
@Suresh:
"Vaa Vaa Pakkam vaa..".. What usage of Drums' side base in the prelude ("dak dak dak dak" of later half of each bar).. One hell of a song.. And you got it absolutely right.. Together with amateur guys like me, Raaja has been undoubtedly the inspiration for many professionals as well..
@ Vijay:
Thanks a lot.. Yeah the prelude also returning as Coda clearly settles all tension generated during the song and puts you back to sleep..
@ Rajiv:
Thanks a lot.
@ BM:
Yes. As I mentioned in my Chordensity post, I started learning lead Guitar only after finishing college :-)
About the best sound engineer Vs best musician debate: "venam.. Indha vilayattukku naan varala.."
@ Arun:
Thanks man.. Yeah even I have not seen many orchestras play the prelude guitar arpeggios out..We have played this song in college too.. But I played it in Keys then :-)
About the second interlude, did you seem to suggest the original recording in the song could be sequenced..? I think that is not the case. If anything the constant bass track is the only repeating track. And that is so easy to play that it needn't be sequenced. Every other track is there to be heard that its a live play. For that matter, back then even a non-professional college band like ours could do this to reasonable quality. And watch this orchestra..Superb work I must say.. (notes could have been more authentic.. but given the talent of musicians you see there, its a trivial issue) So for the caliber of Sada sir, Puru Sir, Shashi sir and the rest of the orchestra, playing this live shouldn't have been a problem.. What do you think?
With Love
Vicky
Vicky,
ReplyDeletenice reference video of the band, practicing this song. Yeah, I did mean the bass track starting at the beginning of the 2nd interlude.
I certainly did not mean to cast any doubt on the proficiency of Raja's musicians. And yes, after seeing the bassist in the video play it, there should be no shred of doubt remaining.
But I still feel that the bass track at the beginning of the second interlude is sequenced. Or is it?
Vicky: You must see this...
ReplyDeletehttp://www.youtube.com/watch?v=eXodv3720pA
Vicky
ReplyDeleteIts been a long time since we saw your post...what happened.
Balaji
Vicky,
ReplyDeletewta happened 2 u? its been a very long time since v saw ur post.. v r dying to see t..
Very well said about Raaja Sir, his music, and all those musicians who got the privilege of working with this legend. Looking forward to more posts from you about such subtle things that most of us overlook.
ReplyDeleteDear Vicky,
ReplyDeleteIndha paatai kaekara apo elalm ungaloda indha blog dhan nyabagam varum. vandhu parpen.
Raja concert la indha paata.... KJY in thappu nala... 3 time kaeka kedachadhu.....
paatu mudiyara varaikum unga blog.. neenga share panninadhu dhan nyabagam vandhadhu ..........
ungalai enna solradhu.. Great Teacher............... U r.......
one humble request.. ithanai naatkalil.. Raja paatai kaekama irundhu iurka mateenga... vishayam ellamum therinju irukum...
Share pannika manasu ilaiya Vicky.
Ilaiyaraja compose panradha niruthina enna oru sogam kedaikumo.. apadi oru sogam.. unga blog illama.....
unga blog ai padikum kadaisi bench stundent dhan.. padam purinjadha nu kaekadhadheenga.. hahaha........
We Missed ur lessons........
With Lots of Love,
Usha Sankar.
Vicky, have u heard this gem
ReplyDeletehttp://www.youtube.com/watch?v=RUnydYq--mw
Thanks for the post. This post was up way before this live performance
ReplyDeletehttp://www.youtube.com/watch?v=xEYONZd2If4