To save him would have been caught with his bag of lies long time ago. Rahman and his coterie of liars have very limited knowledge on these areas and frankly, without sufiana music He has used all the natya sangeeth articles in intelligent and aesthetic manner with a supreme creative vision
Natya sangeet tradition which has heavily influenced our film music sphere has been flexible, diverse withĪll formats to suit the on screen narrative. Raja to his credit has not reengineered or unnecessarily pretended to break any set rule, for our The illusion of rule being broken by Rahman which is being hyped up all over by lazy listeners Even Ragamalika is not a new thing- a given thing in our carnatic and natya sangeeth traditions.įor heaven's sake we even had thillana which had only swaras and jadhis with no lyrics.
#Nadodi thendral gale movie
In the old one and in the new movie with MGR NSK and TMS sang the dialogue interriddenĬonversation song. Madurai veeran kadhai had a poatti (competition song) Sameway Gopalakrishna bharathiyar's nandhanar sarithram This is so unlike the keerthanai formats. Take Kayadha kaanagatheįrom valli kalyanam - it is very innovative with a long pallavi anu pallavi and shorter charanams. Narrative in so many imaginative and creative fashions. Song structuring - this is not a rigid thing as ARR tards make it out to be.įrom our great natakeeya/natya sangeeth tradition, songs have been woven into Last edited by Usha on Sat 1:38 pm edited 1 time in total IR songs kaetka kashta pattu,Īndha paatu kidaithu kaetpadhum. Complete paradigm shift during the interlude. Here is another one which has two songs in one song. I initially mentioned that song, and for no reason removed it.
#Nadodi thendral gale full
Instead what we got now, is full of soul. He could have chosen the western route (for tuning and singing), but imagine the impact it would have created, nill. There is high pitch singing, but not shouting. Time for big applause for conceiving such a difficult song wholly drenched in emotions (from various angles Pandian, Ranjitha, English Lady, Karthik, people) in one shot by Maestro. Very few songs which tells a story without dialogues as music takes over from dialogues. When the pallavi is repeated the last time, the tempo is way faster than when it started. The song takes a wild turn with faster rhythm in 2nd charanam denoting that her mind is in turmoil. When Ranjitha sees them together, she misunderstands that Karthik loves that girl (The music during this whole conversation is not in the soundtrack). The beat is still on when the conversation is happening with progressively instruments add up (flute steals the show there). Then the accident happens when the English lady misunderstands that Karthik loves her. Observe the second interlude with trumpets. Till this time, we have a pallavi-interlude-charanam-pallavi. Then comes in the tribal pipe organs in the form of first interlude (denoting something not usual) followed by the soulful charanam. Malaysia aNNan pitches in with heart full of love and pain. Then takes a wild twist to gypsy beats and dance (denoting festival) which no one can even think of what's going to be next. Classical so far (denoting good times when the lady is happy). The starting guitar phrase gives lead to flute sonata. Here is the masterpieceboth aurally and visually yElamala kaattukkuLLa (NadOdi Thendral). Meanwhile the last song for today, which takes twists and turns at every possible opportunity. Waiting to hear your valuable inputs on these two gems.
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