#RajaChorusQuiz 324 தெம்மாங்கு பாட்டு ஒன்று

#RajaChorusQuiz 324

இந்த வாரம் தைத்திருநாள் தமிழர் திருநாள் வரும் காலம், எனவே அதை இசையோடு கொண்டாடி மகிழ இனிய ஏழு தெம்மாங்குப் பாடல்கள் இன்றிலிருந்து போட்டிப் பாடல்களாக வருகின்றன.

இன்று இடம்பெறும் பாடல் கிராமியம் என்றால் அதில் சூப்பர் ஸ்டாராக விளங்கிய மலேசியா வாசுதேவன், எஸ்.ஜானகியோடு ஜோடி கட்டிப் பாடும் பாட்டு. கங்கை அமரன் வரிகளில் இந்தப் பாட்டு செந்தூரப் பூவேக்குப் பின் இன்னொரு பூவை முதலடியாகக் கொண்ட பாட்டு.

கிராமிய ராஜா அரிதாரம் பூசிய படம், நம்ம இசைஞானி சந்தனமும் ஜவ்வாதுமாகக் கொடுத்த பாடல்களே படத்தை இசை மணக்கச் செய்தன.

 

கல் மனசுக்காரராக இல்லாமல் ஈரமுள்ள இதயத்தோடு பாடலைத் தேடுங்கள்.

பதிலோடு வாருங்கள்.

ஓக்கே மக்கள்ஸ் இதோ போட்டி முடிவுகள்

#RajaChorusQuiz 324

பாடல்: கொத்தமல்லிப் பூவே புத்தம் புது காத்தே
பாடியவர்கள்: மலேசியா வாசுதேவன்,
எஸ்.ஜானகி, குழுவினர்
படம் : கல்லுக்குள் ஈரம்

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37 thoughts on “#RajaChorusQuiz 324 தெம்மாங்கு பாட்டு ஒன்று

  1. கொத்தமல்லி பூவே
    புத்தம் புது காத்தே -கல்லுக்குள் ஈரம்

  2. “கொத்தமல்லிப் பூவே புத்தம் புது காத்தே வாசம் வீசு…” ஜானகியம்மா, வாசுதேவர், கோரஸ் குரல்களில் “கல்லுக்குள் ஈரம்” படப்பாடல்.

  3. கொத்தமல்லிப்பூவே புத்தம் புது காத்தே வாசம் வீசு வந்து வந்து ஏதோ பேசு….
    எஸ்.ஜானகி & மலேசியா வாசுதேவன்
    கல்லுக்குள் ஈரம்

  4. கொத்தமல்லிப் பூவே புத்தம் புது காத்தே… – ஜானகி & மலேசியா வாசுதேவன் – கல்லுக்குள் ஈரம்

  5. கொத்தமல்லி பூவே புத்தம் புது காத்தே வாசம் வீசு வந்து வந்து ஏதோ பேசு – கல்லுக்குள் ஈரம்

    Whenever I hear this song, I can’t help reminding this soulful song composed by one and only K V Mahadevan and sung by one and only C.S Jayaraman; What a voice that is! A deep throat-ed voice full of soul and life in it. I can spend my whole life listening to this beauty. Such a classic!
    இன்று போய் நாளை வாராய் என
    எனை ஒரு மனிதனும் புகலுவதோ
    மண்மகள் முகம் கண்டேன்
    மனம் கலங்கிடும் நிலை இன்று ஏன் கொடுத்தாய் ஈசா

    I have always associated this raagam; Thilang as the raagam of Raavanan. K V Mahadevan has displayed Ravanan’s music skills thoroughly in this song.All the wrong doings are nullified by just this one song, that’s how I feel it. I can go on but will stop as this is the song or topic of discussion.

    I will now try to list out Maestro’s accomplishments just in this single song. Please hold your breath.

    By now, you would got the connection of இன்று போய் நாளை வாராய் and கொத்தமல்லி பூவே. Yes, கொத்தமல்லி பூவே was composed in the same raagam. Can you believe that this song is also in the same raagam? OMG! When one associates Thilang raagam as the one which brings deepest pain out, Maestro does the opposite. He uses this raagam for a light mood and most of all he brings the relaxation quotient. Exactly opposite mood! Maestro also used this raagam for even serious situation in சிந்து பைரவி (மனதி உறுதி வேண்டும்), but this is the ultimate, out of the box thinking!

    Second, this song comes as a title song. So this means, this song was not composed for any particular situation. Maestro has to conceive and imbibe the whole movie context and give the whole mood in this song. Like in a capsule form. We will detail it little later. There itself you can see the mighty pressure. We can literally hear the song and guess ow Maestro handled it easily. Even here for an opening song without any situation, he has used Thilang raagam. How dare!

    Third and most stunning of all is he transformed such a classical raagam for an outright folk song. Yet, if you hum இன்று போய் நாளை வாராய் and கொத்தமல்லி பூவே புத்தம் புது காத்தே consecutively, you can feel how close and connected they are in terms of notes. Maestro has not deviated an inch from the raagam grammar for conceiving it in folk.

    Fourth, yet, if you hear how he starts, it’s another surprise. He starts in a classical fashion with mridangam. If one hears the prelude, we will guess it would be a classical dance song. On top of it, he did not change the genre from classical to folk (in terms of arrangements) just before the pallavi starts which we usually hear. He stays in classical mode till the last note of prelude and suddenly we get stunned when SJ starts with கொத்தமல்லி பூவே. How did both connect then is the best kept secret which Maestro only knows. How quickly he jumps to (folk) different rhythm pattern at the start of pallavi.

    Fifth, this song do not comply to the standard pallavi-interlude-charanam-interlude-charanam format. Once the pallavi/anupallavi completes, Female singer (Aruna?) starts the authentic folk phrase. If one had not listened to the first pallavi and just start listening only from Aruna’s portion, he/she would assume the song has just started. Maestro double tricks here. Not to mention the flute play after her singing. Such a gorgeous play of flute that I will long for another like this in my lifetime. I literally starve to hear such pieces in today’s music, but I am 100% confident that it will never happen. Not just that, the shehnai play after the flute is another blinder.

    Sixth, If you consider the flute and shehnai play as the interlude, what would you call Malaysia aNNan’s entry in the form of ‘thanthannaana’ themmaangu? Did you also notice the pause after the shehnai before MV takes over? Anyone expected how the shehnai would stop or what would come next? Absolutely no freaking clue. What a takeover by MV!! The voice and singing mesmerizes and it immediately gets me into that village. Again, this is not an interlude, it contains many small phrases which by themselves are songs, but songs inside a song. Only Maestro can conceive these ideas.

    The song has just started 🙂 After MV finishes his phrase, SJ does not start the charaNam, Maestro stresses the need to stress the raagam aspect. SJ’s alaapanaa exactly does that. Serene alaapanaa! Add to that, the divine melody in charaNams.

    Seventh, once SJ finishes, MV aNNan starts ஆத்தோரம் சின்ன குட்டி அத்தை பெத்த கன்னுக்குட்டி another short song. Beautifully sung by MV in rustic manner. The following santoor, female chorus humming, shehnai is a joy to hear. It brings the whole village narrative in front of our eyes as we hear.

    Eighth and most important one. If you see the visuals, as I said earlier it is a title song. Not just that, you can see this song happens during the morning when people are busy in their work in paddy fields. You have to appreciate Gangai amaran for bringing two moods as per the music. First, we can hear water splashing sounds and even cloth cleaning/tapping sounds, female chorus humming and the unbridled flow of melody. This gives us a picture that the song happens during the day and during their normal working routine when people sing to forget their tiredness. At the same time, the lyrics also talks about love and longing. Gangai Amaran blends both these moods in the lyric.

    Watch the lyrics when Aruna sings this phrase.
    நாத்த தெனம் ஊணி வெச்சேன்
    நானும் தெனம் தண்ணி விட்டேன்
    அத்த மக எண்ணத்திலே
    அத்தனையும் பயிராச்சு

    It starts with saying sowing, watering etc and gradually all this turns as a metaphor for love (அத்த மக எண்ணத்திலே அத்தனையும் பயிராச்சு) Bloody brilliant!

    Also if you hear SJ singing and lyric, it also mostly implies the same mood of both nature, love and longing. Even the case is same with aNNan’s short song in between. Normally that’s how village life goes on. They freely mix the nature and their personal emotions so that they get relief by letting it out.

    Ninth and the concluding part. From the whole song, we can infer the movie is something above love. Also as we travel with the song, the initial energy and the unbridled orchestration gets us the positive vibes, the short outbursts by Aruna and MV gets us the tinge of melancholy. This also tells how the story would revolve and how it would end. That’s how Maestro establishes Raavanan and Thilang connection as we knew Raavanan’s end.

    Maestro through this single song has encapsulated the whole mood of the film having a mix of happy feelings (female chorus, santoor, shehnai) with sad feelings (short song outbursts, SJ’s charaNams, the Thilang connection). That’s also the reason Maestro did not stick to conventional song format. You would have noticed there are 4-5 songs with smaller instrumental interludes, but that is also taken by female chorus which itself serve as independent songs.

    Maestro’s songs has done wonders in this song as described above. The details are enormous as we continue to hear. Imagine a river stream or a lake in early morning. It would be covered fully by fog. Still we would be enamored by that simple beauty. You can also smell the fragrance of the breeze. Stand still water with mist covered all over. As time progresses, you would see the pebbles in the water as the mist moves away subtly. You would also see the crystal clear water and would want to wet your hands and legs. By doing that, you would feel the chillness of the water, that in turn would bring joy and happiness in you. As time progresses by further, the mist moves on further behind so that you would see the trees on the other side. Added to that, you can see the vast land and landscape widening beyond, beyond your eyes and heart can grasp the beauty. Until we are there for few more moments, we can also see cattle walk by and the far snow-clad mountains talking continuously to skies through the snow and fog. As we continue to spend our time, we would listen to the echoes of the people and nature.

    All these nine elements/layers (and much more) which I described above will open upon us one by one (just like the scene did), as we continue to listen Maestro’s songs. He is like an endless landscape. With just two ears and two eyes it is hardly enough to grasp the whole scene at once, but again the beauty of his music will not allow us to leave the scene either. Just because he asks us to embrace nature through his ethereal music. His music and the nature are one and the same!

  6. கொத்தமல்லி பூவே புத்தம் புது காத்தே / ஆத்தோரம் கொட்டி வச்ச மல்லி..

  7. கல்லுக்குள் ஈரம் படத்திலிருந்து கொத்தமல்லிப் பூவே பாடல்.

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