#RajaChorusQuiz 31/500 படகுச்சவாரியில் ஒரு கல்யாண ஊர்வலம்

#RajaChorusQuiz 31/500

நிகழவிருக்கும் அபாயத்தை அறிந்து கொள்ளாமல் கூடிக் கொண்டாடிக் குதூகலிக்கிறது கல்யாணக் கூட்டம். ஆண், பெண் என்று இருபாலாரும் சம நேரத்தில் கொண்டாடுவதைக் கண் முன்னே கொண்டு வருகிறது சேர்ந்திசைக் குரல்கள்.

என்ன பாடல் என்று சுலபமாகக் கண்டுபிடித்துவிடுவீர்களே ;

ஓக்கே மக்கள்ஸ் போட்டி நேரம் நிறைந்தது பங்கெடுத்துக் கொண்ட அனைத்து உள்ளங்களுக்கும் நன்றிகள்
இதோ பதில்கள்

#RajaChorusQuiz 31

படம்: வைதேகி காத்திருந்தாள்
பாடல்: மேகம் கறுக்கையிலே
பாடியவர்கள்: இளையராஜா, உமா ரமணன் குழுவினர்

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33 thoughts on “#RajaChorusQuiz 31/500 படகுச்சவாரியில் ஒரு கல்யாண ஊர்வலம்

  1. பாடல் “மேகம் கருக்கையிலே புள்ள தேகம் குளிருதடி, ஆத்தைக் கடந்திடலாம் புள்ள ஆசைய என்ன செய்வென்”. படம் வைதேகி காத்திருந்தாள்(1984). இளையராஜா, உமா ரமணன் & கோரஸ் குழு பாடிய அசத்தல் பாடல் !

  2. மேகம் கருக்கையிலே புள்ள தேகம் குளிருதடி
    uma

  3. மேகம் கருக்கையிலே புள்ள- from வைதேகி காத்திருந்தாள்

  4. மேகம் கருக்கையிலே – வைதேகி காத்திருந்தாள்.
    ஆன்சர் கண்டுபிடிச்சாச்சு ஒலித்துணுக்கு கேக்காமையே…

    @priyakathiravan

  5. பாடல் – மேகங் கருக்கையிலே
    படம் – வைதேகி காத்திருந்தாள்

  6. “மேகம் கருக்கையிலே புள்ள தேகம் குளிருதடி..” ராசா & உமா ரமணன் குரல்களில் “வைதேகி காத்திருந்தாள்” படப்பாடல்.

  7. மேகம் கறுக்கையிலே from வைதேகி காத்திருந்தாள்

  8. Title is more than enough to answer 😉

    mEgam karukkaiyilE puLLa dhEgam kuLirudhadhi from VaidhEgi KAthirundhAL sung by IR & UR.

  9. மேகம் கருக்கையிலே புள்ள தேகம் குளிருதடி… – இளையராஜா & உமா ரமணன் குழுவினர் – வைதேகி காத்திருந்தாள்

  10. மேகங்கருக்கையிலே…வைதேகி காத்திருந்தாள்-எழுதியவர் பஞ்சு அருணாசலம்.

  11. மேகம் கருக்கையிலே ……….. வைதேகி காத்திருந்தாள்!.. (ஒலிக்குறிப்பே கேட்கவில்லை.. ஹிண்ட் ஒன்றே போதுமாயிருந்தது!)

  12. megam karukkaiyilE puLLa dhEgam kuLiruthadhi – vaidEgi kaaththirunthaaL by ILaiyaraaja and Chorus

    This becomes easy as I had already written about this song in one of the forum some time back. Tweaking little bit and posting it here 🙂

    How about composing a song as if it has just one longest line (for 4 minutes)? Enter Prasad Studios.

    This film actually has three stories. Starts with two vaidhegi’s life followed by another love story. Interesting film mainly for Annan’s comedy galatta throughout. Who can forget the petromax comedy. Forgot how many times watched this film, mainly for songs and comedy. Good one by R Sunderrajan.

    The song was shot studiously as per the lyrics. Cloudy skies, little windy and we feel the chillness and also feel like riding and joyously singing with them. Father, his family and friends sending the bride with groom and their family to another town on the other side of the river. To get the shyness out of the bride and make her more comfortable, the song starts in a very happy and breezy fashion.

    What a joy to listen to the prelude chorus ‘aahaa OhO yEhE hOi…’ and ‘thanathantha thanathantha thaanaanaa….’. Straightaway into a memorable water ride. Starts with male chorus ‘aaha OhO yEhE hOi…’ Right from the 4th second, female chorus ‘thanathantha thanathantha thaanaanaa….’ joins with male chorus providing perfect WCM counter melody and it’s a beautiful harmony when listened together. From 0:18 bass guitar joins (do I hear another guitar as well?) the percussion to support the rhythm. Just when Raja sings ‘mEgam karukkaiyilE’, every instrument pause for a second and then starts. What would have happened if there is no pause there. We speak in photography about the contrast being less in some of the pictures. Like that, if there is no pause the contrast is not correct which would have spoiled the song. These are the nuances through which Raja brings to the fore and emphasizes how every second in the song is being worked out sincerely and differently. This pause can also been seen as each instrument conveying their respect for the singer and then starts. Aha! The repeat pallavi is beautifully picturized with boat swinging to the rhythm.

    This guitar runs a riot constantly throughout the song. Flute and synth gives the lead the song. I can dare say that most other composers wouldn’t have thought about guitar here. Just percussion and choir is more than enough for such a folk song. Then why? Let us step back a little bit and hear the percussion rhythm pattern alone again. It is a single beat pattern every second with no variation at all. Also the song is a fast song, but this rhythm pattern would be too underwhelming for such a song. With just this percussion, the rhythm arrangement would have surely lost on its pulse (dying!). There comes our hero and savior ‘the bass guitar’ which fills in beautifully between those dying single beat percussion rhythm patterns, ties them together and provides the whole pulse, life and energy to the song, just like the glucose, if it isn’t there is no life and soul in the song. Guitar is the main rhythm for this song.

    More than that, bass guitar chord progression is more than amazing that it also provides perfect counter melody for the singers. This constant bass guitar strumming throughout the song passes the current in us. It also gives you the required ambience to the song. Also any other rhythm arrangements for this song would not fit the bill and would have sounded horrible!

    Next comes the WCM/Opera style vocal harmony at the end of every line. These vocal harmony now acts as a chord progression. Hear the harmony at the end of ‘mEgam karukkaiyile’ and at the end of ‘dEgham kuLiruthadi’. Surprisingly at the end of ‘akkarai sErntha pinnE’ and ‘un aasaiya sollu machchaan’ I think he goes way high to sixth completely different from the first two lines, this time with female choir. What a beauty! Again try to hear the pallavi lines without the choir portions. You cannot take out anything from this song. All add to the soul and richness of the song.

    We have just crossed only one minute of the song and ippave kanna kattuthe feeling on the monstrous ideas by Maestro.

    First Interlude starts after a complete pause. Magical! The flute this time with guitar has an unrelenting drive. If the first 18 seconds of flute in the interlude is thoroughly engrossing and carries us in the smooth but swift boat ride, the next 10 seconds Maestro makes fun with us in the ride by playing the flute answering to the santoor both ways. Appropriately during this portion, boats are being rotated in both directions as exactly played by the flute. Then the last 4 seconds he ripped apart with one of the best flute and chord progression ever heard. These 4 seconds are enough to break the rewind buttons. I can visually feel Mozart playing these wonderful flute sonatas for Raja. This is a benchmark in flute playing and arrangements. (These are the portions with real flute which are mostly missing in today’s compositions, even with Raja, others there is no deal). Second interlude choir again is a top notch.

    Once charanam starts again there is no stoppage till it ends. Those short gap between the lines are also covered by the male and female choir sections, so we will not know the gap as well. Even though it has multiple lines, it seems like the charanam has just one longest line. If you hum the song you will realize it. It’s like concatenating a large array of elements to a string It is applicable to pallavi as well.

    Maestro does not concentrate on just one aspect whenever he composes any song. In addition to above feature, the tune has all variations, ups, downs, not bland at all. The singing by Raja and Uma Ramanan gets us the chill. His open voice perfectly suits the situation and he brings the right and happy mood. For such a folk song, guitar provides the vital pulse throughout. He also employs WCM techniques again wherever possible and applicable. Interlude arrangements are terrific. On top of all these, other nuances like the beautiful pauses, choir arrangements, unconventional chord progressions especially during charanams, all make it a super duper!

    Listening to it on a rainy or gloomy afternoon looking outside the window having a hot coffee with spicy snacks, feels like the sun suddenly escaping from the clouds and peeping out for a second and says “keep it loud dude, I am also listening” and hides himself soon as if he was scared as this song is only for the clouds, but still could not resist hearing it.

    Can we say Maestro here creates a biggest record by composing a song which has single long line of around 4 minutes (leaving out the interludes)? One of the most innovatively composed song of all time, not just Raja!

    **Please don’t miss the Background score just before the song.

    • Vijay, __/|\__ என்னமா ரசிக்கிறீங்க..! ரசிக்க சொல்லி கொடுக்கிறீங்க..!! நன்னி நன்னி!!
      கண்டிப்பாக இதையெல்லாம் ஒரு புத்தகமா போடுங்க சார் – @nchokkan அருள் புரிங்க சார்!

      • Thanks KP for your kind words. Thanks for choosing this mighty composition. Yes, please do hear the bgm before the song starts. I remember seeing in YT as one video which has both the bgm and the song. Mesmerizing!

  13. மேகம் கருக்கயிலே…….. வைதேகி காத்திருந்தாள்

  14. வைதேகி காத்திருந்தாள் படத்திலிருந்து மேகம் கருக்கையிலே பாடல்.

  15. ஓக்கே மக்கள்ஸ் போட்டி நேரம் நிறைந்தது பங்கெடுத்துக் கொண்ட அனைத்து உள்ளங்களுக்கும் நன்றிகள்
    இதோ பதில்கள்

    #RajaChorusQuiz 31

    படம்: வைதேகி காத்திருந்தாள்
    பாடல்: மேகம் கறுக்கையிலே
    பாடியவர்கள்: இளையராஜா, உமா ரமணன் குழுவினர்

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