I am picking up raaga Bhairavi a lot, could be in mishra style.
--- In arrahmanfans@yahoogroups.com, Vajra <dianic_dre...@...> wrote: > > 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 <purev...@...> 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 arrahmanfans@yahoogroups.com, "Vajra" <dianic_dreams@> 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 arrahmanfans@yahoogroups.com, "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 > > > > > > > > > > > >
