Superb Post. Pls explain for more songs.
On Fri, Jan 2, 2009 at 1:15 PM, Prakash Balaramkrishna <prakysn...@yahoo.com > wrote: > http://7swara.blogspot.com/2008/12/rahmanism.html > > Rahmanism <http://7swara.blogspot.com/2008/12/rahmanism.html> In one of my > earlier posts, I have written my views on rise of > Rahman<http://7swara.blogspot.com/2008/07/rise-of-rahman-i.html>. > One of the key factor that I mentioned about was "Rahmanism". For anyone to > standout from the crowd, they need to exhibit a unique style and Rahman did > it with a style. No doubt. > > My opinion is that he very carefully avoided the spheres that were explored > and dissected by others, especially Illayaraja when he began the journey. To > unseat a person from the crown of Tamil industry who enjoyed only success > throughout 2 decades would have been possible only with something special. > > If SPB and Janaki were "overused" (I have no problems with that, > personally), Rahman brought new voices to the forefront. If violin and Tabla > dominated the era of Illayaraja, Rahman brought the techno music to the > forefront. If "poor sound/recording quality" was the norm, Rahman changed > it. He kept "Vairamuthu" by his side, when he was almost ignored for over > 5-6 years. If 30-40 movies were scored by Illayaraja at that time, Rahman > chose to limit to 5-6 movies a year. To an extent, even ther timings of work > were opposite. He stood out. > > One such instance, that I can think of is even usage of Raaga. If > "Keeravani", "Mayamalavagowla", "Kalyani", "Sivaranjani" and "Natabhairavi" > were predominantly used by Illayaraja, Rahman either chose the Raagas that > Raaja scored a very little or moved to the Hindustani paradigm. > > Even on the Raagas where both have scored, there is a paradigm shift in the > usage. Take for instance - "Sivaranjani". As I had written in my earlier > post, this Raaga has been used by many music directors to depict the > emotional bonding and that comes out very clearly in the scale - S R2 G2 P > D2 S. Various hits in the past set in Sivaranjani scale are: Adi Aaathadi, > Kuyil Paattu, Oru Jeevan thaan Un Paadal thaan, Oh Priya Priya, Tere Mere > Beech Mein and so on. > > All of the above as you can see, depicts the emotional bonding and that is > mainly derived by the traversal from P D2 to upper octave's S R2 G2. Try > humming a song in the list above and you would easily be able to connect to > any other song set in the same Raaga with the same feel. However, now look > at "Kannum Kannum Kollai Adithaal" set in the same Raaga featured in the > movie "Thiruda Thiruda". Can you believe this song is set in the same Raaga > that generates a completely different mood. Though orchestration is one of > the possible reasons for the same, this is mainly due to the handling of the > Raaga. > > I find it difficult to explain in words, however, the way he split the > scale into pieces and traversed makes the song feel completely different > from other "Sivaranjanis". > > > -- regards, Vithur
