#Valaiyosai lyrics meaning in english download#
This score also explains the Contrapuntal technique in a very basic form where two melodies are played simultaneously with different patterns and also sometimes in opposite directions crisscrossing each other.Ĭlick here to Download this notation as pdf.Īnd here is the output of the notation in midi format: As a sample, I employed one slur on the second line to represent the gamakam (ga ma ga ri). I have used "Repeat volta " where each line has to be played twice instead of unfolding them as many times and cluttering the score. Its a score with 4/4 Time signature and the key signature is C minor. For additional simplification I didn't consider the minute Sangathis etc., Just the lead melody on the treble clef and the cello tracks on the bass clef.Īnd here is the sheet music for this phrase:Ī quick guide to read the above notation is that: of notes is of more complex time signature. I took the orchestra version because the bass pattern in this track are proper minims (half notes) and hence easy to follow as compared to the original track where the bass pattern though of lesser no. I took the Concert version of this piece performed by Raaja himself during his "A musical journey" concert that was played live in Italy circa 2003. The piece I have taken for examination is the Pallavi of the one of the greatest Malayalam songs. There is music for all seasons in his repertoire.For the first time I made a serious attempt in representing Raaja's music as Staff notations. Today, Ilaiyaraaja’s stage shows abroad are welcomed with great enthusiasm and applause, and it is indeed a happy thought that our maestro is taking his music to every corner of the world. Another of our great music directors, MS Viswanathan, did not, unfortunately, get to receive such honors. The Padma Vibhushan couldn’t have come at a more opportune time in Ilaiyaraaja’s career, even as he gets felicitated while still actively composing music. Or if we went further into the past, into the 80s, Valaiyosai Kalakalakalavena ( Sathya) can well play to montages of romance in a bus even today. Ditto for the romantic and well-rendered number from Hey Ram, Nee Paartha Paarvaikkoru Nandri.
The song, of course, was Rakkamma Kaiyya Thattu ( Thalapathi), which to me, stands out as one of Ilaiyaraaja’s most modern compositions that can easily fit into a Vijay or Ajith film made today. One afternoon as I was cruising along the city streets, fast violin strains hit fleeting brief crescendos and eventually engulfed into a big wave of staccato bars. Like its name, this station is pure gold in its song collection. With much furore, these days over copyright issues, the only radio station which plays his songs regularly is All India Radio's 100.5 FM Gold. The former is a duet, which plays out in two different places in the film, and the latter is an SP Balasubrahmaniam solo, which has the sweetest charanam in 'Nee paathadhum naan vandhadhum thean aanadhey vaazhvil '. The comedy, Meendum Kokila, has two of my favourite Ilaiyaraaja numbers – Ponnaana Meni and Hey Oaraayiram. This song has ‘seconds’ sung by the lead singers themselves, SPB and P Suseela, where the lyrics play out like a romantic banter, along with the bus conductor’s voiceover interjecting with lines like, ‘Teynampettai super market irangu ’. There's another super favourite song of mine, one I thought was filmed on Rajinikanth and Sripriya, but was actually filmed on Sivakumar and a lesser known actress - Yenn Kanmani Un Kadhali from Chittukuruvi. But that trivia is immaterial to the longevity and popularity of the song, where effects like reverb and echo blend in.
One of the vintage Ilaiyaraaja hits which garnered a place of pride in the old cassette and tape recorder era was Yengengo Sellum Yen Yennangal ( Pattakathi Bhairavan), a song which sounds like it was composed for Kamal Haasan and Sridevi, but was actually picturised on (hold your breath) Sivaji Ganesan and Jayasudha. Since then, his compositions have come as a storm of both genres combined. And then there was Machaana paatheengala, the folk number. The title track of his first film, Annakili, had an undeniable Western classical lilt which made you feel as if you were swaying to the call of the wind. Raja sir, as he is fondly called in the fraternity, came in with a deep understanding of Western classical music and seamlessly mixed it into Tamil folk.
The Padma award, of course, and prior to that, the honour of inaugurating the December Music Festival at the Madras Music Academy, are recognitions that augur well for this most favourite film music composer of mine, whose songs can be best described with one word (and I’m coining it here): 'singable'. Last year, and this year - so far - have been tremendous for Ilaiyaraaja.