in this week issue th write had said that arr will tell the basic outline of the song and
he will give freedom to them and they will work on their own. it will make everyone feel that he is not giving notes and asking them to play,once he has said that he will give notes on rough basis and will take additional inputs by the player if he liked. writing in a way that he will make others play looks like he is not composing at all.the writer should communicate well in his writing. murali To: [email protected] From: [email protected] Date: Thu, 11 Jun 2009 09:12:10 +0000 Subject: [arr] Re: Oru Kanavin Isai (ARR's biography in Vikatan) - Week 10 - Scans and Translation --- In [email protected], Aravind AM <aravind...@...> wrote: > > Hi everyone, > > Here are the scans and translation of this week's article. > > Week 10, Part 01 > http://www.flickr.com/photos/aravind_am/3615929836/ > Week 10, Part 02 > http://www.flickr.com/photos/aravind_am/3615929850/ > > > Week 10: > > > > > Throughout the history > of Tamil film music, the trends have kept changing. During one period, it was > completely based on Carnatic music. This was the time when brilliant singers > like Thyagaraja Bhagavathar, PU Chinnappa, Kittappa, T.R.Malalingam were > themselves > actors. The high-pitched carnatic songs gave way to soft melodies on the > arrival of Viswanathan-Ramamoorthy on the scene. The duo gave us many timeless > classics, in the voices of TMS, P Susheela, PB Shrinivas, which make some > people still say, “nothing can match those old songsâ€�. > >  > > Then came another > genius, Ilayaraja. He brought in folk music in to Tamil film music. Thousands > of songs, in which he fused western classical with carnatic, became the > favourites of masses. > >  > > When Tamil film > industry was waiting for the next generation of music, came Rahman. He brought > in a new digital revolution. He reached out to the entire country through his > music and attained world fame. ‘Roja’ proved to be a perfect opening for > everything that followed. > >  > > During his jingles > days, Rahman had composed for many ad films of director Amshan Kumar. He > speaks > about his experience with Rahman - “Many film music composers considered ad > jingles as something below their standards. They would rather sit idle at > home, > rather than compose for ad films. During that period, I heard of this > brilliant > young composer in Saamiyaar Madum, Ashok Nagar. Electronic music was a new > technology those days. I’d listened to such sharp music only in Andrei > Tarkovsky’s films. I was overjoyed when I listened to music of such quality, > from Dileep. > > Our work usually began > at 10 pm, and would go on till wee hours of the morning. Once, the composing > that started at 10 pm got completed only at 6 am next morning. I came out of > the studio, completely satisfied. I found Mani Ratnam and singer Minimini > waiting there. I didn’t realize then that they were waiting to compose a > song > which would go on to become a world famous song! > >  > > I didn’t see Rahman > making them wait, as a negative thing. It just showed his sincerity and his > dedication to complete each work to complete satisfaction. I think, this > dedication is what has taken him to such great heights.â€� > >  > > When Roja released, it > swept everyone like a storm. Many years back, Illayaraja’s song > “Machaanai Paatheengalaâ€� created a wave in the industry. After many > years, Rahman managed a similar feat with his “Chinna Chinna Aasaiâ€�. > >  > > Rahman totally changed the way music was composed too. He didn’t have a > separate conductor and arranger, and didn’t write down notes for the > instrumentalists. > > >  > > He completely knows each person’s talent. He gives them complete > freedom, and made them sing/play independently, and picks and chooses the best > out of those and completes his recordings. > The singers and the instrumentalists are usually in the dark as to which > one of the pieces performed by them would be chosen by Rahman. He works like a > talented weaver, weaving in multiple layers and multiple colours. > > Right from Rahman’s early days, Sound engineer H.Sridhar was Rahman’s > right hand. The recent death of this extremely talented technician affected > Rahman deeply. Along with Rahman, he created many technology revolutions in > sound recordings. He once remarked about Rahman’s music â€" “I knew > Rahman even > before Roja happened. We would often meet and discuss > about the new developments in recording technology and music trends. According > to me his secret of success is that he considers each song as his first song. > He would retire to his prayer room before recording for a song. We would be > astonished to see him completely fresh and totally charged up after the > prayer. > I’ve never seen him as a dictator. He would always respects the creativity > of > his singers and instrumentalists. > >  > > During the recordings, he wouldn’t talk much with the instrumentalists. > He would move out after explaining the basic idea, and they would play freely. > He would record everything, and use the best of those. ‘We shouldn’t rely > on > just the technology. There should be soul in the music’, he would often > say.â€� > >  > > Rahman is a techno-junkie. If you give him the latest headphone, within > minutes he would open it up in to parts and understand how it functions! The > same eagerness flowed on to his musical side, and made him keep thinking on > how > to make recordings sound better. > >  > > After Roja, a majestic musical garden bloomed up for him. > >  > >  > >  > >  > > > > > Cheers, > > Aravind > > > Rahmania show interviews: http://rahmania.4shared.com > > > > > Bollywood news, movie reviews, film trailers and more! Go to > http://in.movies.yahoo.com/ > Million thanx bro..Yu're doing a great job..Keep it coming bro... :-) _________________________________________________________________ Stay updated! Add Facebook, LinkedIn, MySpace & Hi5 friends to your Windows Live network instantly. Add Now! http://profile.live.com/webactivities/?mkt=en-in
