IMHO, the pattern is used by quite a few MDs. In fact, I'd venture to say that dhuns (sung for bhajans), or qawalis have the same concept where the tune is repeated twice in chorus and then the third line extends it for the solo voice.
However, what is definitely interesting, previously pointed out, and made popular by ARR is his approach for PHRASE REPETITION. Consider: Dil hai chotasa --- chotisi aasha Masti bhare mann ki --- bholisi aasha In two lines, the word aasha appears twice and has a powerful impact. This can be observed many times: TAAL 'Ishq bina' kya jeen yara 'Ishq bina' kya marna RDB 'Thodisi dhool' mere dharti .. 'Thodisi dhool' mere... MEENAXI 'Yeh rishta'... 'Yeh rishta' kya kehlata hai 'Yeh rishta' kya kehlata hai SAATHIYA (very very unique experiment, where each line takes the previous line forward) Jhooth kapat chalke ne... Jhooth kapat chalke ne...moh se naina moh se naina ...milaike moh se naina ...milaike Palko mein bandh karleni Palko mein bandh karleni DILLI6 'Rehna tu hai jaise tu' thodasa dard tu, thoda junoon 'Rehna tu hai jaise tu' dheema dheema jhonka ya phir junoon BLUE In the song...Bhoola tujhe.. the repetition of the phrase 'ya khuda' -Ricky --- In arrahmanfans@yahoogroups.com, Gayathri Chandrakasan <gayathri_c...@...> wrote: > > Good observation but I feel that Amith was talking more about the difference > in the music pattern rather than the the way lyrics work around thaalam. > > To quote your example: > "Kadhal Rojavae is 1-2 Engae Nee-engae is 3-4 > > Kanneer Vazhiyuthadi Kannae is 5-6-7-8" > > In the above observation, you mentioned that the lyricist tried to fit the > lyrics into the 1-2 then3-4 and then 5-6-7-8. > > But you may notice that 1-2 and 3-4 has similar pattern of music but 5-6-7-8 > seems like a different pattern altogether. I don't think it's the time of > thaalam which causes the difference. Even if we break the 5-6 and 7-8, they > still sound like a different pattern altogether. > > Observe this: > Kadhal Rojave 1-2 ; Engae Nee Engae 3-4; > Kanner vazhiyuthadi 5-6; Kan- nae 7-8; > > The pattern of 5-6 and 7-8 still don't coincide with 1-2 and 3-4. That's the > reason why Amith call it 3 line pattern because, the first two lines have > similar tunes and notes but the notes changes slighty when it comes to the > 3rd line. > > Coming back to Amit's observation of 3 line pattern, I must admit that due to > my limited knowledge in music, I always assumed that most songs are composed > in the similar manner. > > For example Pyar Hua Chupke Se from 1942 A love story has somewhat a similar > pattern with the inclusion of line 4 that is similar to to line 3. > > Dil ne kaha chupke se > Yeh kya > hua chupke se > Kyon naye lag rahe hai yeh > dharatii gagan > Main ne puuchha to bolii yeh > pagalii pavan > > Chande Tare from Yes Boss > Chaand Taare Tod Laoon > Saari Duniya Par Main Chhaoon > Bas Itna Sa Khwaab Hai > > It seems like most MDs have used the "different pattern music" in composing > the > first stanza/pallavi. Care to throw more light into this discussion? > > Regards, > Gayathri > > > > --- On Thu, 10/22/09, rameshksm <ramesh...@...> wrote: > > From: rameshksm <ramesh...@...> > Subject: [arr] Re: The 3 Lines Pattern > To: arrahmanfans@yahoogroups.com > Date: Thursday, October 22, 2009, 12:58 PM > > > > > > > > > > > > > You are right about it being a musical pattern...but it is > not unique to ARR nor to any one music director... > > > > It is simply the result of "time" or "thaalam" that you are noticing such > three-line patterns. > > > > To put it Mathematically, if the time for a particular song goes 1-2-3-4-5-6- > 7-8, the lyricist may write to fit to 1-2 3-4 5-6-7-8 (which give you the > three-line pattern you notice, all with in the first full time) or the > lyricist may see fit to write to 1-2-3-4 5-6-7-8 1-2-3-4-5-6- 7-8, where the > three-line pattern is now spread over twice the time. > > > > For the first type, Kadhal Rojavae is an excellent example. > > Kadhal Rojavae is 1-2 Engae Nee-engae is 3-4 > > Kanneer Vazhiyuthadi Kannae is 5-6-7-8 > > > > For the second type, Ilayaraja's excellent composition for Nilavae Vaa from > Mouna Raagam. > > Nilaavae Vaa Selladhae Vaa is 1-2-3-4 > > EnnaLum Un ponvaanam naan is 5-6-7-8 > > Enai Needhan Pirindhaalum Ninaivaalae Anaithaenae is 1-2-3-4-5-6- 7-8. > > > > Note that 1-2-3-4-5-6- 7-8 are just the times and do not correspond to any > specific note. I am not formally trained in music, but I can decipher > patterns and this is what I noted, so experts please correct any errors and > omissions I may have made. > > > > Ramesh > > > > --- In arrahmanfans@ yahoogroups. com, Amith Chandhran <amithchandhran@ ...> > wrote: > > > > > > Hi, > > > > > > While randomly listening to some AR songs, all of a sudden I discovered > > > something. I am calling it 'The 3 Lines Pattern'. > > > > > > (I personally feel its a musical pattern. Because you find it in almost all > > > the languages.) > > > > > > Let me cite some random examples in different languages. > > > > > > ------------ --------- --------- --------- --------- --------- - > > > *Example 1: Language Tamil* > > > > > > kaadhal roajaavae, > > > engae? nee engae? > > > kanneer vazhiyudhadi kannae! > > > >
