Yaradhu sollamal nenjalli povadhu - Nenjamellam Neeye

There is a programme in vividhbharathi called 'guldasta' - a program for ghazals. It has been on air for more than 30 years as far as i know. Nowadays it is aired from 9.00pm to 9.30 pm. Though not a regular listener, I do give it a ear now and then.

If it should be given a name in thamizh, it can be named 'shankar ganesh neram'. You may be knowing that all fm channels in tamilnadu and even satelitte radio like 'KL radio' have programmes like "maestro neram" featuring raja's songs alone.

But the above case is a different one. Not because shankar ganesh have composed innumerable ghazals, but because they have lifted innumerable urdu ghazals and used it in their name, the programme shall be named as 'sg neram'.

The famous lifts are 'megame megame', 'tooth paste iruku brush iruku' etc. Another famous song 'yaaradhu sollamal nenjalli povadhu' from the movie 'nenjamellam neeye' is also a lift from a ghazal. All tfm listeners have unanimously agreed that it is a lift and there was no second opinion about it since sg's fame was such. But there are no web references to the original song. Also this time shankar ganesh have not done a 'ee adichaan copy' and thats why i think most tfm listeners could not pinpoint to this song.

Yesterday, i stumbled upon the original song aired on the program 'guldasta'. It has been years since i listened to this song.

This is a ghazal 'Main hawa hoon' by Hussain brothers from their debut album and interestingly its title also is 'guldasta', released in the year 1980.

Kadhal Kanavugale - Nanri Meendum Varuga

Casually i happened to watch this movie while browsing channels. Thamizhan tv beamed 'nanri meendum varuga', a film directed by mouli.

prathap caps dual roles in this movie. the first one, an industrialist, falls in love with suhasini and follows her wherever she goes and at last wins her love and they get engaged.

but fate has other plans and in a lorry accident he kicks the bucket. suhasini loses her mental balance and embraces tamil cinema's most favourite health condition 'amnesia'.

the second avatar of prathap is a telugu actor. when in the hospital she accidentally sees a photo of actor prathap in a magazine and starts recollecting her memories.

but, since she had lost her senses even before prathap had died (at the very thought of a lorry might hit him), she did not know that he is dead yet.

her relatives convince actor prathap to pose as the original prathap to make suhasini convalesce.

after initial hesitation he obliges and in the due course really falls in love with suhasini and they get married at last.

there are some hilarious sequences about the film industry. eventhough not as intelligent as 'server sundaram' it evokes humour. mouli has given voice for both the prathaps. jaishankar, visu, rajini, jaichitra all show their faces for a few seconds. there is one beautiful song involving the first prathap and suhasini sung by spb and sjanaki - kaadhal kanavugale neeradum en ninaivugale. shyam once again gives a great melody and not to mention about spb and sj's beautiful improvisations.

//UPDATE ON 18.9.2011:

CAME ACROSS A GOOD VERSION

I love you[1]
UPDATE END//
http://www.raaga.com/play/?id=42764

i tried to catch it in my cell phone. could get hold of only 2 minutes.

and there is another song 'pacha molaga', a good mockery of item songs in films. particularly the lines 'pachadi vachen kichadi vachen' with jayamalini's trademark hip gyrations.

medaiyil naane raja by deepan chakravarthi reminds 'dhol bhaaje dhol bhaaje' of hum dil de chuke sanam.eventhough this tamil film came more than 10-15 years before the hindi one, (i am well used to the inimitable notoriety of shankar ganesh and the ilk's  plagiarism ), i am forced to conclude there is an original tune for both these songs.







update on 9.6.2012

REVERSE MIGRATION - THE GANDHIAN WAY

THIS IS AN ARTICLE BY MOHAN DHARIA THAT APPEARED IN TODAY'S HINDU (19.11.2009). ONE OF MY DREAMS IS TO GO BACK TO SOME RURAL AREA, SETTLE THERE AND ENJOY THE UNPOLLUTED AIR. AND THERE IS A POSSIBILITY........I THINK.


An action plan for the future

Mohan Dharia

Only a process of reverse migration based on the Gandhian model can save India’s cities, and also rural India.

A report prepared by the United Nations Development Programme reveals that in India’s big cities more than 40 per cent of the people live in slums. Some of them have reasonable levels of income, but cannot afford other housing. For many reasons including the population load, slums are unhygienic. It is high time the root causes of unplanned and ugly urbanisation, and the destruction of rural life, are identified.

More than 40 per cent of Indians live in the urban areas and less than 60 per cent in the villages — and this dichotomy is growing. Even basic amenities such as water, streets, drainage, electricity, educational or medical facilities, and playgrounds are often not available.

On the eve of Independence, Kolkata and Mumbai were the only Indian cities with a population of more than a million. In 1980, the number of such cities was hardly 10. At that time, as the Union Minister for Planning this writer had insisted that without provision of adequate water, sufficient area for the construction of houses and infrastructure facilities, no city should be allowed to have a population of more than a million. But this was ridiculed. During the last 30 years, the craze for urbanisation under the garb of “growth” has spawned unplanned, ugly and congested cities in India. The only solution is to de-congest the cities, for instance Mumbai, moving out mills that make cotton, edible oil, vanaspati and so on that are dependent on raw materials coming from the rural areas, and stop any further influx into the cities. Simultaneously, population growth should be checked.

Satellite cities and towns where the raw materials are available should be created. These should be planned with facilities for housing, education and health. Commercial, industrial, educational and entertainment complexes should be built, surrounded by a green belt that is up to 2 km in breadth.

London witnessed such an experiment after the Second World War. The London Municipal Corporation succeeded in voluntarily moving out 15 lakh people to new modern satellite cities.

It is necessary to explore the basic cause of the influx from the rural areas. For want of employment opportunities, medical and educational facilities and infrastructure such as roads and communication in the rural areas, people prefer to come to the cities, particularly in search of employment.

Along with unplanned urbanisation, rural life is being destroyed. To prevent migration, the villages should be enriched. The 6,00,000 villages in the country should become self-reliant and have adequate employment opportunities, educational facilities, medical services, communication facilities and roads. They should become green and clean.

This may appear to be a dream. The organisation named Vanarai has sought successfully to prevent the influx into the cities. In fact, several families have returned from city slums to their own villages as these had become self-reliant. Only such a process of reverse migration based on the Gandhian model can save our cities, and also rural India.

Our land, water, cattle wealth, forests, the 7,000-km coastline, vast biomass resources, the bright sun, and species including medicinal plants are India’s real strength. Ever since Independence, these natural resources have remained under-developed. By effectively developing them, it has become possible for Vanarai to achieve reverse migration.

Water is the key issue for any sort of development process. India gets a significant quantity of water from rain or the melting of Himalayan ice. Despite investing thousands of crores of rupees on major, medium or minor dams, India has not been able to harvest even 10 per cent of the water that is available. It is possible to conserve every drop of rainwater that falls, take adequate care of drinking water and still make water available for protective or seasonal irrigation through a scientific watershed management programme.
Wasted lands not wastelands

Nearly half of India’s geographical area of 32.8 million square km is degraded land or wasteland. These are not wastelands but wasted lands. It is possible to make them productive with modern technology and scientific micro-watershed management. It is also possible to increase productivity. Compared to India’s rate of about 2,000 kg a hectare, countries such as China have a productivity of the order of 4,000 kg a ha. In some other countries this varies from 5,000 kg to 6,000 kg a ha. India has huge cattle wealth: there is one animal for every two persons. Here again productivity is low with respect to milk, wool, mutton, eggs and so on. There is tremendous scope to increase yields. Fisheries in inland water reservoirs and along the 7,000-km seashore holds significant potential. Efforts are needed to boost fisheries on a much wider, scientific scale.

Though 22 per cent of the land in India belongs to the Forest Department, nearly half of the forest land has no green cover. Similar is the case with natural resources including biomass and solar, wind and wave power. By developing natural resources, villages could be made self-reliant. And better basic education with contemporary computer literacy and medical facilities could be provided.

In villages like Gawadewadi near Pune, Varandh in the Konkan and Zari in Marathwada, Vanarai has achieved reverse migration. Many families have returned to their villages. They now earn better incomes and have a better quality of life in an environment-friendly atmosphere.

With due respect, this author disagrees with the opinion of many eminent scientists that India will suffer scarcity of water and food as a result of global warming. All natural resources including manpower in India can be fully developed. There is adequate drinking water and food in India. There cannot be any scarcity. On the contrary, India has the potential to feed other countries also to some extent.

The decongestion of cities by the creation of environment-friendly satellite cities, enrichment of villages and reverse migration are the means to save the urban areas and rebuild a clean and green rural India. This calls for vision, determination, unity and resolve on the part of all people.

(Mohan Dharia is a former Union Minister and a former Deputy Chairman of the Planning Commission. He is the founder-chairman of the Confederation of NGOs in Rural India, and president of the Vanarai Foundation. E-mail: vanaraitrust@rediffmail.com)

NARI KADHAI - MOONRAM PIRAI

Sadly when i searched for the 'nari kadhai' i could only find the telugu and hindi version. spb had sung the telugu version and kamal himself the thamizh version.

but, the original sung by kamal in 'moonram pirai' is a class act. hope to find it soon in youtube.





Listen to the thamizh version here:

This feature is powered by Dishant.com - Home of Indian Music

thamizh arivom தமிழ் அறிவோம்

I reproduce some of my posts in orkut regarding தமிழ். posts with the name "narayanan" and without a name are mine.

தமிழ் அறிவோம்


Feb 17
Narayanan

தமிழ் தமிழ் என்று கூவி வியாபாரம் செய்யும் இக்காலத்தில் எது தமிழ், எது தமிழ் இல்லை என்பதை முதலில் தெரிந்து கொள்வோம்.

ர, ல, ட இந்த எழுத்துகளில் ஆரம்பிப்பது தமிழ்ச்சொல்லே அல்ல.

உதாரணம் ரம்பம், லட்டு , டமாரம் போன்றவை. பெயர்ச்சொற்கள் வந்தாலும் அதன் முன் உயிரெழுத்து சேர்த்து தான் எழுத வேண்டும்.

உதாரணம்: இரவி, இலங்கை, அரங்கன். இது இலக்கணம்.

ஆனால் இன்று தமிழ் தமிழ் என்று உயிர் விடும் எவ்வளவு பேர் இப்படி எழுதுகிறார்கள். அல்லது கொதித்து எழும் இளைஞர்கள் தான் இதை எல்லாம் கண்டு கொள்கிறார்களா? தங்கள் மொழியைப் பற்றிய அறிவே இவர்களுக்கு இல்லை. ஆனால் கொதித்து எழுந்திட மட்டும் தெரியும்.

Feb 17
Narayanan
தமிழ் என்று இன்றைய இளைஞர்கள் நினைத்துக் கொண்டிருக்கும் பாதி சொற்களுக்கு மேல் தமிழ் கிடையாது. தமிழ்ச்சொல்லே ஆனாலும் அதைக் கேள்வியே படாத தலைமுறை தான் இன்று உள்ளது. இருக்கட்டும். அது அவர்கள் இஷ்டம். ஆனால் ஒன்றும் தெரியாமல் உணர்ச்சிவசப்பட மட்டும் தெரிந்தால் அவர்களை யாரும் மதிக்க மாட்டார்கள்.

சில சொற்களைப் பார்போம். நல்ல பாம்பு. இது தமிழா இல்லையா?

இதில் என்ன சந்தேகம். நல்ல என்பதும் தமிழ் வார்த்தை. பாம்பு என்பதும் தமிழ் வார்த்தை. நல்ல பாம்பு என்பதும் தமிழாகத் தானே இருக்க வேண்டும்.

அது தான் இல்லை.

சரி. அது என்ன நல்ல பாம்பு. அது யாரையும் கடிக்காதா? அல்லது அது கடித்தால் உயிர் போகாதா? யாருக்கு நல்லது அந்த பாம்பு?

நல்ல என்றால் தெலுங்கில் கருப்பு என்று அர்த்தம். நல்ல பாம்பு என்றால் கருப்பு நிறமுள்ள பாம்பு அதாவது கருநாகம் என்று அர்த்தம்.

அதே போல் தான் நல்லெண்ணெய் என்ற சொல்லும். மற்ற எண்ணெய் எல்லாம் கெட்ட எண்ணெய் என்று அர்த்தமா ? எள்ளில் இருந்து எண்ணெய் எடுத்தால் அது கருநிறத்தில் இருக்கும். அதனால் அது நல்ல எண்ணெய். அதுவே நல்லது என்று பொருள் படும் தமிழ்ச்சொல்லாய் ஏற்கப்பட்டு பின் கூட்டு விதியால் நல்லெண்ணய் ஆகிவிட்டது.

மேலும் தமிழ் கற்போம்.

Feb 17
Narayanan
தமிழைப் படுத்தாதீர்கள்!!
தமிழ் என்பதே மிகவும் அழகான வார்த்தை.

த - வல்லினம்
மி- மெல்லினம்
ழ் - இடையினம், என்று தன் பெயரிலேயே மொழியியல் பிரயோகம் கொண்டது.

தமிழ் ரசனையுடன் இருந்தால், அதனை ரசித்து அனுபவிக்கத் தோன்றும்.

தமிழ் வெறியுடன் திரிந்தால், மற்றவர்களை அடிக்கத் தான் தோன்றும்.

பல பிறமொழி வார்த்தைகள் தமிழில் கலந்து தமிழாகிப் பல நூற்றாண்டுகள் ஆகிவிட்டன. அதை எல்லாம் தமிழ்ப்படுத்துவது என்பது, தமிழைப் படுத்துவது தான்.

டம்ளர் என்பது தமிழ் இல்லை என்பது எல்லோருக்கும் தெரியும். குவளை என்பதே சரியான வார்த்தை. ஆனால் குவளை என்பது எத்தனைப் பேருக்கு புரியும். அதை விட எளிமையான டம்ளர் என்ற சொல்லைப் பயன் படுத்தினால் என்ன குடியா முழுகி விடும். இல்லை என்றால் அதையும் விட எளிமையான கிளாஸ் என்ற தமிழ் வார்த்தையைப் பயன் படுத்தினால் போகிறது.

இது போல், ரசீது, தயார், தயாரிப்பு, தம்புரா, வாத்தியார், லிங்கம், சிவம், ஜன்னல், ஆப்பிள், அதிகாரி, தந்தம், சூரியன், சந்திரன், நட்சத்திரம், விதி, மதி, சதி, சுகம், துக்கம், டீ, காபி, என்று ஆயிரக் கணக்கான ஏன், லட்சக்கணக்கான பிறமொழி வார்த்தைகள் தமிழில் இருக்கின்றன. லட்சம் என்பதே தமிழ் கிடையாது!!

இவற்றை எல்லாம் அப்படியே உபயோகிப்பது நலமா அல்லது கஷ்டப்பட்டு இவற்றிற்கு கொட்டை வடி நீர், சுய முயற்சியால் பெற்ற தற்காப்புக் குறைவு அடைவு (aids) என்று யாருமே உபயோகப்படுத்தாத வார்த்தைகளைக் கண்டுபிடிப்பது நலமா என்று நீங்களே தீர்மானித்துக் கொள்ளுங்கள்.


Feb 18
Babu
sir, you are going like 'madai thirantha vellam'
athu seri, 'madai' enbathu thamizhaa?

good sir, keep rocking

Feb 18
Narayanan

yes. madai is thamizh. but the principal meaning is 'cooking'. you might be knowing the word 'madaippalli'.

dam and sluice are also meanings of the word.


Feb 18
Vaidhyanathan
thamizh arivom
madai enbathu thamizhthaan ithu oru kuriyeetu sol
naanarintha varai athu madaithozhil athaavathu samayalai kurikkum(padikka nala puranam)
melum neerthekki allatho anai kattu moodi enbathaakavum payanpadum


Feb 19
Narayanan
தூய தமிழில் பேசுவதாக நினைத்துக் கொண்டு சில பேர் இலக்கம் என்று சொல்கிறார்கள். அது ஸம்ஸ்க்ருத வார்த்தை என்பதே தெரியாமல்.

லக்ஷ்மணன் என்பது தமிழில் இலக்குவன்.
லக்ஷ்மி என்பது தமிழில் இலக்குமி.
லக்ஷம் என்பது தமிழில் இலக்கம்.

கோடி என்பதும் அவ்வாறே. லட்சியம், அலட்சியம், சிங்காரம் என்பவையும் அவ்வாறே.

தமிழில் 247 எழுத்துகள் உள்ளன. ஆனால் 103 எழுத்துகளில் தான் தமிழ் வார்த்தை ஆரம்பிக்க முடியும் என்பது நன்னூல் விதி.

ஒற்றுப் பிழை இல்லாமல் இன்று எழுதுவோர் மிக மிகக் குறைவு. அதுவும் orkut போன்ற வலைத்தளங்களில் தமிழ் படும் பாடு சொல்லி முடியாது. டைப் அடிப்பதும் கஷ்டம். பிழை நீக்குவதும் கடினம். நானே சில இடங்களில் பிழையுடன் தான் அடித்திருக்கிறேன்.

கவனித்து திருத்துவதற்குள் வேறு யாரவது post செய்து விடுவார்கள். phpbb2 போன்ற வசதியும் orkut-இல் கிடையாது எடிட் செய்வதற்கு. சில பேர் எழுதுவது செம காமெடியாக இருக்கும். ஆனால் சில சமயம் வயிறு எரியும்.

என்ன செய்வது 'என் செல்வங்களே' என்று கண்ணாம்பா ஸ்டைல்-இல் கண்ணீர் விடத் தான் முடியும்.


Feb 19
Narayanan

தமிழ்ப் பெயர்கள்
கருணாநிதி, ஜெயலலிதா, ராமதாஸ், கோபால்சாமி, ஸ்டாலின், வரதராஜன், ரஜினிகாந்த், விஜயகாந்த்- இவற்றில் எதுவுமே தமிழ் கிடையாது.

அதனால் என்ன குறைந்து போய் விட்டது? இந்தப் பெயர்கள் நாள் தோறும் தமிழ்நாட்டில் இருக்கும் அத்தனை வீடுகளிலும் ஒலித்துக் கொண்டு தான் இருக்கின்றன.

பெயர் என்பது என்ன? ஒருவரை அழைப்பதற்கும், அடையாளம் காட்டுவதற்கும் பயன் படுவது அவ்வளவு தானே?

மேலே சொன்ன பெயர்கள் எல்லாம் தமிழ்ப் பெயர்களாகி விட்டன. மக்களும் ஏற்றுக் கொண்டு விட்டார்கள். இதை எல்லாம் தமிழ்ப்படுத்துவது இயலாத மற்றும் வேண்டாத காரியம்.

ஆனால், மக்கள் பல ஆயிரம் வருடங்களாக ஏற்றுக்கொண்ட தமிழ்ப்புத்தாண்டை வேறு நாளுக்கு மாற்றுவேன் என்று அடம்பிடித்தால், உன் பெயரை முதலில் தமிழில் மாற்றிக்கொள், பிறகு புத்தாண்டை மாற்றலாம் என்று தானே சொல்லத் தோன்றும்.


Feb 19
Babu
நல்ல வேளை, தமிழ் புத்தாண்டு பொங்கலுக்கு மாற்றப்பட்டது, நாம்
செய்த புண்ணியம். கொஞ்சம் அசந்தால் ஜூன் 3 என்று மாற்றி விடுவார்,
கேட்டால் சூரியனின் பிறந்த நாள் தானே, ஒளி பொங்கும் புத்தாண்டாக
அமையட்டும் என்று அசட்டுத்தனமாக பதில் சொல்வார்.


Mar 1
Babu
ரொம்ப நாள் கழித்து மற்றொருமுறை, நேற்று
சுஜாதாவின் 'கற்றதும் பெற்றதும்' படித்தேன்.
அவர், தமிழ்நாட்டின் "டாப் டென் மோசடி" என்று பட்டியலிட்டு
இவ்வாறு கூறுகிறார்.

"ஒன்பதாவது இடத்தில் இருப்பது - தமிழ் அனங்கு, தமிழ் தாய்,
தமிழ் அன்னை என்று மொழியை வைத்து மக்களை
உணர்ச்சிவசப்படுத்தி மொழியை வளர விடாமல் தடுப்பது ...
மொழி ஒரு செய்தி தொடர்பு சாதனம் என்பதை மக்களுக்கு
புரிய விடாமல் 'தாயை பழித்தாலும் தமிழை பழித்தால்
தாங்க மாட்டேன்' போன்ற அபத்தங்களுடன் மொழி தூய்மை.

முதல் குரங்கு பேசியது தமிழ், தொல்காப்பியம் கி.மு ஐயாயிரம்
ஆண்டு எழுதப்பட்டது போன்ற அபத்தங்களை வைத்து உசுப்பப்படுகிற
ஜல்லியடி, இதற்கேற்றபடி எழுதப்படுகிற ஆராச்சி கட்டுரைகள்,
மேடை பேச்சுகள்"

என்று 30 ஆம் பகுதியில் கூறியுள்ளார். அவர் இதனை எழுதிய வருடம்
2000. இன்றும் அது பொருந்துவது காலக்கொடுமை. .


போலி தமிழ்ப் பற்று


மக்கள் தொலைக்காட்சிக்கு என்று ஒரு தனி வகைத் தமிழ் இருக்கிறது. எல்லோரும் ஒரு மாதிரி தமிழ் பேசினால் இவர்கள் தனியாக ஒரு தமிழ் பேசுவார்கள்.

'மத்திய' என்பது வடமொழியாம். அதனால் 'நடுவன்' அரசு என்று தான் சொல்ல வேண்டுமாம். ஆனால் அதிகாரி என்ற வார்த்தை தமிழ் வார்த்தையாம். அதை அப்படியே வைத்து கொள்வார்களாம்.

இன்னும் சில பத்திரிகைகள் இருக்கின்றன. செயலலிதா என்றும் சூலை மாதம், சனவரி மாதம் என்றும் தான் அச்சடிப்பார்கள். ஜ என்பது தமிழ் கிடையாதாம்.

ஆனால் ஸ்டாலின் என்று அச்சடிப்பார்கள். அப்போது மட்டும் ஸ தமிழ் எழுத்து ஆகி விடும்.

கார் என்று சொன்னால் தமிழ்ப் பற்று எப்படி வெளிப்படும். மகிழ்வுந்து என்றால் தான் நீ அக்மார்க் தமிழன். ஆனால் ஆப்பிள் பழத்தை ஆப்பிள் என்று தான் சொல்ல வேண்டும். ஏன் என்றால் இன்னும் இவர்களுக்கு சரியான வார்த்தை கிடைக்க வில்லை. செம்பேரிக்காய் என்று சொன்னாலும் சொல்வார்கள். அப்படி அவர்கள் கண்டுபிடிக்கும் வரைக்கும் ஆப்பிள் என்று சொல்லிக் கொள்ளுங்கள்.

இது போல் இன்னும் எத்தனையோ உதாரணங்கள்.

all arising out of identity crisis. போலி அடையாளங்கள் இருக்கிற வரைக்கும் இப்படிப் பட்ட முட்டாள் தனங்கள் செய்யத் தான் வேண்டி இருக்கும்.


Feb 9
Vaidhyanathan
agreed
we need to develope our language . still miles to go for that more and more kalaisorkal thevai.language grows at the rate at which it assimilates external words and keeps up its individual splendour .TAMIL is no no doubt growing phenominally except by certain pseudo dravidian politicians and araivekkakattu pvt tv channel comperers


Feb 10

@vaidyanathan, thanks for ur reply. sanskrit and thamizh both are god given languages.

by sanskrit i mean the deva bhasha and not the sanskritam modified by panini. panini streamlined the language in vedas and named it sanskrit.

and lord shiva himself gifted agasthiya rishi with the language thamizh.

but any language can grow only if it accomodates new words and phrases from other languages and thamizh has done that tremendously.

if thamizh is still spoken by 15 crore people across the globe, then it is due to its accomodative nature. the thamizh we use today has almost 50% of words from other languages.

but this process was stalled by the dravidian politics starting from justice party, for the last 60 odd years.

we need not translate all the words or create new tongue-twisting words for other language words. we can directly handle them. there is nothing wrong in it.
Feb 10
delete
invisible Narayanan
because it is easy for identification and saves lot of time and makes lot of people use it.

what is the use of finding a word for 'cycle' when the word 'cycle' has become a part and parcel of every tamilian's life.

then what are they going to do about legal terms like 'quid pro quo' or 'sine die' or 'suo motto' or ad hoc, or ad idem.

and what about medical terms? we can try hard and formulate few 100 words. what about the rest? even if we coin who are going to use it.

what about other areas of specialised studies? are we going to tamilise all engineering and accounting and technological terms into thamizh. is it possible? even if it is possible, to whose welfare?

real and good thamizh exists in our ancient texts. those who want to learn and speak good thamizh let them first them know thirukural, kamba ramayanam and villi bharatham by heart and then think about making new words. all the necessary words are already there.


Feb 10

let us play a game.
anybody please tell a sentence in thamizh. i will tell u how many words are non tamil in that.


Feb 10

makkal tv - one of its kind.
of course, i respect makkal tv for its gutsy attempt of not resorting to cinema as their main source of existence.

if we take cinema out, then almost all channels will go bankrupt.

but, makkal tv is brave enough to do that and lot of programmes are decent and worth watching.

but, everything is adjudged by who is saying what? with the credibility that pmk enjoys among the public, even if it says some gud things like 'madhu vilakku' et al, people are reluctant to accept what they say!

nannan and his bigotry make it queasy to watch his programmes. and forcible utterances of non-existent thamizh words makes one wonder whether they are watching a thamizh tv channel itself.

Feb 10

correction
in the above post, it should read as 'whose avail' instead of 'whose welfare'
Feb 11
Dan
Well said Narayanan....again i dont understand onething...what is there to boast on language or to be over zealous in it....many people dont understand the basic thing behind language..after all its a mean of communication wherein our ideas has to be communicated to the intended person/group.....but in our country, many states are crazy to be zealous after their language...esp in Tamilnadu and esp DMK or DK parties....they make it as a business and treat it in terms of vote bank.....i remember a educational minister who did this stupid work of experimenting the equivalent tamil words for Doctor, Ph.D ,etc., and finally Cho asked in Thuglak...the tamil equivalent for "Stalin"..for that this chap couldnt reply anything...forgot his name..


Feb 11

welcome dan. you are right. it is a business here.


Feb 11
Babu
இன்று பெரியார் என்றும், தமிழ் என்றும் அறை கூவும்
பாதி போலி நாத்திகர்களுக்கு சுத்தமான தமிழில் பல
நூற்றாண்டுகளுக்கு முன் படைக்கப்பட்ட திவ்ய பிரபாந்தமும்
கம்ப ராமாயணமும் தெரிந்திருக்க வாய்ப்பில்லை.

வைஷ்ணவ மதத்தினரும் சைவ மதத்தினரும் ஏதோ தமிழ் அற்றவர்
போலவும், பெரியார் வழியில் வரும் இந்த திராவிடர்கள் தான்
மறத்தமிழர் என்று போலி பிரச்சாரம் செய்யும் இவர்கள் முதலில்
ஒன்றை புரிந்து கொள்ளட்டும். இந்து மத வழிப்பாடும், பாடல்களும்
இல்லாவிடில் இன்று இவர்களுக்கு தமிழ் தெரிந்திருக்காது, என்றோ
அழிந்திருக்கும்.

ஆனால் இவர்களை பொறுத்தவரை பிராமணர்கள் - ஆரியர்கள்,
தமிழ் மீது பற்றில்லாதவர்கள். திராவிடர்கள் - தமிழை காப்பவர்கள்.

தமிழ் என்ன கன்னி பெண்ணா அல்லது கணவனை இழந்த
விதவையா அல்லது இலங்கை தமிழர்கள் போன்ற அகதியா, அதனை
காப்பாற்றுவதற்கு. அது வெறும் மொழி. இவர்கள் இன்று பெயர்
பலகைகளில் ஆங்கிலத்தை அழித்து தமிழில் எழுதுவதாலோ
அல்லது 'தொல்' என்று போட்டுக்கொள்வதாலோ தமிழ் வளர்ந்து
விட போவதில்லை. எல்லாம் போலிகள்.


Feb 11

adra sakka adra sakka.


Feb 12
Hariharasudhan
pinni buduven..badavaaa....
these stupid DK and its branches talking about tamizh and tamizh patru....
somebody brilliantly pointed out that these buggers cannot pronounce the letter "zha"
in tamizh which is the beauty of the language.....

ex: captain vijayakanth claiming to be marathamizhan cannot say the following
1. tamizh ----- he says tamilan
2. shajahan -- chachakaan
3. sharukah - he says saarugaaan
4. suhaasini - sugaaacine
5. Hariharasudhan -- arikara sudhan (en peru ingey repair..)

on top of these....they have named it "SUN TV" --- as their family Sat channel (though itz split now)
where as in
kannada it is udaya TV
malayalam it is SURYA TV....
why wasnt it KATHIRAVAN TV , AADAVAN TV in tamizh....

90% of these guyz in film industry could not say tamizh as tamizh....
vikram, suriya, vijay etc.,etc., poor prakash raj makes an attempt to speak great tamizh...


Feb 12
Hariharasudhan
typical chennai tamizh
we being in metros...itz difficult these days to even speak in pure tamizh for 5 continuous minutes......

a typical simple conversation between 2 youngsters in beach road -- idhula % of tamizh vaarthaigal evlonnu neengaley kanakku podungo.....

guy1: Sir...inga ICE HOUSE eppadi sir poganum...

guy2: bus-la poreengala, auto-la poreengala illai CAR-u yedavadhu vechurukeengala

guy1: car ellam illa sir...BIKE-thaan

guy2: abdiyaa....seri...ibdee road-la straightaa poyi, signal-ai thaandi, left-la odichaa oru park-u varum...angathaan iruku

guy1: thanks sir...

guy2: enna sir...vandila light-ai kaanum

guy1: yen sir....??

guy2: police maama thollai jasthi ...adaan sonnen...

guy1: nalla velhai...purse-la inniku license iruku
------------------------------------

ha ha ha


Feb 12

welcome hari. andha 'brilliant somebody' naan daan. hahahha


Feb 12
Vaidhyanathan
on tamil;
real tamil lovers are those who practise tamil not as politics but as a way of life.they know how to respect and accept other languages and keep nururing that of their own as well.
only in our state certain netas imply hating other languages means loving tamil,but i have been in tribal orissa for more than 71/2 years now i know hindi as well as oriya but that has not prevented myself from satiating me by reading quality Tamil literature like ponniyin selvan,kambanin kaaviyam.
I am now reading periya puranam.
our politicos never understand that language is just for communications and nothing else.they just flare up emotions and arouse ego to attain selfish interests
mozhi, inam,madham,jaathi ellavatraiyum vida muthanmaikkuriyathu maanudam thaan ithu saanro aaynthu aritha mudibu-this may satisfy mr balaji the other guy who is very much active on lankan issue.it is also used to flare up mozhi,ina veri which already has taken 2 young lives.


Feb 13
Dan
this one is hilarious
http://www.youtube.com/watch?v=m5mSL-99dYM&feature=related
i really like this tamil .......


Feb 13

mozhi vyaabarigal yaarum thee kulippadhillai. adhai nambi emaarum sadharana makkal daan madigiraargal.

thangal pillaigalai thamizh katru tharum palligalil serpadhillai. ooruku daan upadesam.

mozhi matravargaludan thodarbu kolla oru vazhi. avvalavu daan.

yaavarukkume thangal thai mozhi meedhu patru irukka daan seiyum. thai meedhu iruppadhu pola. adharkkaga matravan thaayai pazhippadho, mattam thattuvadho anaagarigamanadhu.

thai meedhu anbu irukalam. aanal veri iruka koodadhu. edhu melum veri irundhaal veezhchikku thaan vazhi vagukkum.


Feb 13

soakka sonnaba dan-u. sugurra irundhichu.

Answers to Carnatic Quick Crossword 3

Across:

7. Fourth chakra (4) VEDA. All of us know that the chakras are named with mnemonics. Indu - named after moon, which we have only one. Netra - eyes, which are 2 in number etc. Veda- we have 4 vedas. so fourth chakra named as veda.

8. Manohara, if you can adjust , you can go up easily (8) AROHANAM. anagram of 'manohara' and the anagrind is 'adjust'.


9. She is born to dharmavathi, but follows kamala, abhaya, meena et al (6) AMBIKA. a charade. ambika is a janya raga of dharmavathi. and the word 'ambika' comes in the kritis kamalambika, abhayambika, meenambika etc.

10. A thevaram sung without oriental help completes a cycle (8) AVARTHAM. anagram of 'a thevaram' without 'e'. oriental means 'east' and 'e' stands for east.

11. Dikshitar's famous surati is about him (8) ANGARAKA.

13. Koluvai _________ (6) UNNADE

16. & 15. Hana the purist, without a point sounds dissonant (9) THANARUPI. anagram of 'hana purist' without 's'. 'point' is a clue given for the directions NEWS, as these are points in a compass. and it is a vivadi raga so 'dissonant'.

17. Tansen is often referred to as (4) MIAN

18. One type of nadaswaram (6) TIMIRI. another type is bhaari. just like alto and soprano in sax.

19. Arre oh sambha, vigilantly listen to this janyam of sucharitra (8) SAMBHAVI. wordplay. SAMBHA VIgilantly.

21. Auspicious (8) MANGALAM

24. Maintain a gamaka without nishadam (6) NAMITA. jumble 'maintain' without 'ni'.

25. GKB and MMD made him immortal (8) NANDANAR

26. Hindustani practice (4) RIAZ

Down:

1. To listen to this doyen, mess with magudi 'n' lose direction (10) SEMMANGUDI. add mess+magudi+n' and remove 's' which is a direction 'south'.

2. Marry Mary? No, not until i hear raja's saramathi (4,4) MARI MARI. homonym indicated by 'hear' . 'Marry Mary' sounds like 'mari mari'.

3. KB's favourite raga but 'this veena does not know' how to play it (6) SAHANA. 'indha veenaikku theriadhu' is a famous song in the serial 'rayil sneham' by KB which was tuned by v.s.narasimhan in this raga.

4. & 6.Basic elements of indian music (4,4) RAGA, TALA

5. A koundar somehow sang kalyani at the end of shankarabharanam in lieu of bilahari (8) DORAKUNA. anagram of 'a koundar'. thyagaraja's original is in raga bilahari. kvm had tuned a 'dorakuna' in kalyani which comes in the climax of the movie 'shankarabharanam'.

12. Say Madhyama differently , say upside down, to meet this composer (5) SYAMA. anagram of 'say ma'. 'differently' is the anagrind. and it comes upside down in the grid.

14. A divine note (10) DHAIVATHAM

16. Keep dancing hana till you come to form (8) THILLANA. anagram of 'hana till'

17. Ghanam krishna iyer's atana is as sublime as this great mountain (8) MAHAMERU. http://www.saigan.com/heritage/lyrics/gki31.html

20. Chandram bhaja _______ (6) MANASA

22. One of the chakras is inverted (4) BANA. (5th chakra pancha bANa - the five arrows of Cupid) is upside down in the grid.

23. KL saigal's classic bhairavi, Babul ____ (4) MORA. this classic song 'babul mora' is in hindustani bhairavi , our sindhu bhairavi.

T.NAGAR - A GUIDE

This 'very useful' tips about t.nagar, i got from a mail.

Where is this T.Nagar?
Nobody knows accurately. It is just this lovely place in Chennai, which if you decide to visit for the second time, you get a free seasonal pass for a window-side bed in Kilpauk hospital.

Sounds like a holiday package..what if I manage a third visit?
You get one year free admission at Yervadi, next to Sethu Vikram. Cost of chain included in the package.

Oh! You said it's a lovely place. Do people go there for sight-seeing?
Kinda yeah, it is Chennai's own version of "Suicide Point"

Can we shop there?
There are just two things you can do at T.Nagar. One,shop and two,die. The former is optional though.

My wife wants some good silk sarees. Where do I take her?
Push her into Pothys and run. This is your best chance to live with some self respect in future.

What if I stay?
You automatically qualify for Bihar elections.

What if I go in too?
If you are Gopi, you'll come out as Gopi 65.

I heard gold is pretty cheap at some place there?
Very cheap yeah, not just the rate. I guess you are talking about Ranganathan Street, Annachi shop.

Ya ya. How do I go there?
You just need to stand at the start of that street. Close your eyes. Open your eyes. You are inside Annachi shop, courtesy : fellow shoppers.

Can I take my vehicle?
Shut up! Even Laloo wouldn't do that!

Oh is it very crowded?
Yeah, by the time you count the number of people around you, they can telecast Junoon twice.

Junoon?? What's that?
Kadavule! Paathathu illiya Junoon neenga? Periya athu megaserial. Pesuvaanga maathi maathi thamizh athula.

Oh! By the way, do men shop in T.Nagar?
Wise men stay away. Married men do shop.

I heard there are lots of platform shops?
There is no platform. Only shops.

Whatever, how good are they?
Very good infact. You get all sortsa brands including Nykee, Ribok and Adeedas. At cheap rates that too!

Hey isn't that phony? The spellings are all messed up!!
Naah. They have been changed according to numerology, that's all.

Fine. Is there any good restaurant there?
Ya, Saravana Bhavan.

Wow! What would I get there for, say 50 rupees?
Quite a lot. Half a dosa, 5 ml Sambhar and some pebbles.

Pebbles? Why??
Huh, you are dumber than a crow! To raise the level of sambhar ofcourse.

That's bad. But I heard there's a hot chips too?
You'll be a hot chip yourself once you step into Ranganathan Street.

How is the air pollution level in T.Nagar?
One deep breath and you'll die on the spot, money back guarantee.

So many issues, eh? Finally, what's the best thing about T.Nagar?
Variety. So many shops, so many dresses and so many accessories. Even if you escape death by other mean, you'll be confused to death!

Answers to Carnatic Quick Crossword - 2

4.The Lord of the First Dhivyadesam in South Africa, is an offspring of Kalyani (7) RANGA in SA = SARANGA

6. & 3 dn. Lakshmi and Parvathi, who share Ramanan (3,3)MAA- lakshmi, UMA- parvathi(in this song, PS glorifies vishnu and shiva side by side, maa ramanan - lakshmi's lover is vishnu, uma ramanan, parvathi's lover is shiva, mara janaka - manmatha's father is vishnu, kumara janaka - karthikeya's father is shiva etc.)

7.Hindustani Shankarabharanam (7) BILAVAL

10.hari, i could not find food even if i sing it from the right(5) reverse of AHIRI (hari,i anagram) is IRIHA

11.Disciple of MLV (5)SUDHA

13. see 8 dn.

14.Girl singing this subtle swaram (3)ANU in anu-swaram

15.Vaas used to sing this raga while getting a tan (7) VASANTA - (vaas + tan anagram)


Down:
1.Parvathi of 'Thiruvilaiyadal' is a daughter of harikambodhi (7) SAVITRI

2.The path in 'Dur Marga Chara' is upside down (5) MARGA - when upside down is AGRAM

3.see 6 ac.

5.A Bihar medley is a majestic melody (6)ARABHI - anagram

8.& 13.ac : Put flowers before Slumdog heroine, and she will sing this raga (6,7) PUSHPA-flowers, LATHIKA - name of slumdog female protagonist

9.Tisram is represented by ______(7) THAKITA

12._________ Krishnaswamy Pattammal (5) DAMAL

14.A difficult talam, without roman numbers (3) TALAM without L,M =ATA.'talam' is used as a recursive clue.

Answers to Carnatic Quick Crossword -1

across:

5. AMBUJAM KRISHNA - straight clue
8. coffee - JAVA, with LI = JAVALI
10. I, jogged-RAN, january beginning-JAN, with KARAN = KARNARANJANI
11. I, value added tax-VAT,lass-HEMA = HEMAVATI, it was a little confusing i agree, it cud have been rupavati or senavati also. so, hemavati, rupavati and senavati all 3 are correct.
12. voice-VANI, parrot-KEERA = KEERAVANI


down:
1. wcm composer-VIVALDI ,without L (life's beginning)= VIVADI
2. croon-SING, more when trimmed is MOR = MORSING
3. A, divine swan - HANSA, = SAHANA
4. MADHYAMAVATI - straight clue
6. BHIMA, PLS = BHIMPLAS
7. SALLABAM or SALLAPAM - straight clue
9. SENJURUTI= JENJOTI or JINJOTI or JENJUTI

i had purposefully avoided anagram indicators, which would have made it very easy.

Answers to Ilayaraja Crossword - 2

Maestro Crossword

You can play the crossword on the grid itself. Just type in the squares and enjoy.

Answers to Ilayaraja Crossword -1

Aging gracefully

Do you realize that the only time in our lives when we like to get old is when we're kids? If you're less than 10 years old, you're so excited about aging that you think in fractions.

"How old are you?" "I'm four and a half!" You're never thirty-six and a half. You're four and a half, going on five! That's the key.

You get into your teens, now they can't hold you back. You jump to the next number, or even a few ahead. "How old are you?" "I'm gonna be 16!" You could be 13, but hey, you're gonna be 16!

And then the greatest day of your life . . . you become 21. Even the words sound like a ceremony . . . YOU BECOME 21. YESSSS!!!

But then you turn 30. Oooohh, what happened there? Makes you sound like bad milk. He TURNED; we had to throw him out. There's no fun now, you're just a sour-dumpling. What's wrong? What's changed?

You BECOME 21, you TURN 30, then you're PUSHING 40. Whoa! Put on the brakes, it's all slipping away. Before you know it, you REACH 50 . . .. and your dreams are gone.

But wait!!! You MAKE it to 60. You didn't think you would! So you BECOME 21, TURN 30, PUSH 40, REACH 50 and MAKE it to 60.

You've built up so much speed that you HIT 70! After that it's a day-by-day thing; you HIT Wednesday! You get into your 80s and every day is a complete cycle; you HIT lunch; you TURN 4:30; you REACH bedtime. And it doesn't end there. Into the 90s, you start going backwards; "I Was JUST 92."

Then a strange thing happens. If you make it over 100, you become a little kid again. "I'm 100 and a half!"

May you all make it to a healthy 100 and a half!!

HOW TO STAY YOUNG

1. Throw out nonessential numbers. This includes age, weight and height. Let the doctors worry about them. That is why you pay them.
2. Keep only cheerful friends. The grouches pull you down.
3. Keep learning. Learn more about the computer, crafts, gardening, whatever. Never let the brain idle. " An idle mind is the devil's workshop." And the devil's name is Alzheimer's.
4. Enjoy the simple things.
5. Laugh often, long and loud. Laugh until you gasp for breath.
6. The tears happen. Endure, grieve, and move on. The only person who is with us our entire life, is ourselves. Be ALIVE while you are alive.
7. Surround yourself with what you love, Whether it's family, pets, keepsakes, music, plants, hobbies, whatever. Your home is your refuge.
8. Cherish your health: If it is good, preserve it. If it is unstable, improve it. If it is beyond what you can improve, get help.
9. Don't take guilt trips. Take a trip to the mall, even to the next county; to a foreign country but NOT to where the guilt is.
10. Tell the people you love that you love them, at every opportunity.

AND ALWAYS REMEMBER:
Life is not measured by the number of breaths we take, but by the moments that take our breath away.

-George Carlin on Aging

Ilaiyaraaja Interview (1989) - Frontline

FRONTLINE : Why do you avoid journalists and critics?

Ilaiyaraaja : Why should I meet journalists and critics? First if the critics assume that they know music, they can straight evaluate my music and write about it, no one is going to prevent it. If they don't know music, I have nothing to talk to them about. I am not avoiding out of any fear of controversy or anything of that sort. All these critics approach me with a hell of preconceived notions. They literally use me as a mouthpiece to voice their notions about music. Why should I give room for this?

FRONTLINE : What is your view about music?

Ilaiyaraaja : To me, music is nothing but fraud. The moment you play all the seven notes, music is completed. Then going on repeating it - in different permutations and combinations - is nothing short of cheating. The person who successfully cheats a large audience for an extended period is called the "big" composer. Genuine music, to me,is the one which has no purpose. It should be as natural and as purposeless as the flow of the river. I have a purpose in creating my music. The purpose is business. Saint Thyagaraja sang songs to attain God. So even he had a purpose for his music. At least, he never sold his music. But take a farmer for instance. While ploughing, he spurts into a crescendo of music with no purpose. That is true music.

FRONTLINE : Will the vidwans and musicologists agree with your view about music?

Ilaiyaraaja : Please tell me, who are the vidwans and musicologists? Saint Thyagaraaja, who spent his whole life as a wandering singer, sang his heart and soul out. The people who learn 15 krithis of that saint and practise them for their lifetime call themselves vidwans and musicologists. I have listened to all these living vidwans. There is always a tone of arrogance mightiness ringing in their voice and style of singing. I am very sure that Thyagaraja swamigal wouldn't have sung in this manner. His approach must have been the most simple, the most lucid and the most spontaneous. That is missing in the concerts. (Ilaiyaraaja sings a krithi to explain his contention). Therefore, there is no need for me to convince them.

FRONTLINE : Then how do you define music?

Ilaiyaraaja : Music is nothing but sound. There is music in the bark of the dog. There is music in the walk of every human being. Music is not a subject to be discussed. It has to be experienced. The universe is one which has its own rhythm pattern, and it goes on in a cyclic fashion without losing its equilibrium. Similarly, sound is ultimately a solitary note. It is not ascending. It is not descending. It is not vertical. Nor is it sinusoidal. It is dynamic. Yet this dynamism defies our general perception. We human beings have lots of limitations. We are able to perceive only the sounds within the audible frequency. There are notes above and below that. We forget them. Man has fragmented this solitary note into seven notes of the octave. Listen to the howl of the dog. Doesn't it have a swara prashta. Sa Re Ga.( Ilaiyaraaja sings and shows the similarity) There is no difference between the howl of the dog and the songs of vidwans. Actually, I have written a script in which I have recorded in what raga a dog barks on various occasions. This proves my theory - music is nothing but sound.

FRONTLINE : There are various systems in music - like Carnatic, Hindustani,Western, tribal and folk. And every system has its own schools. Which system do you think is the most well developed one?

Ilaiyaraaja : I do not like to make these types of value judgements. The person who assumes the role of a judge should be extremely well versed in the various systems of music which he com pares. A person who compares and rates Carnatic music higher than light music should know both the systems. But people who dismiss light music here do not know both the systems. Saying Hindustani is superior is superior to Carnatic, and even in Hindustani, Drupad is superior to Thumri or Kayal, opera is superior to symphony, sounds utter nonsense. No one knows all the systems of music thoroughly and hence no one is qualified to be a judge. But every one of passes value judgements about one music or the other. Further, to me, at a different level, all these systems and schools appear imaginary. But before going into the value judgements of other musical systems, let us have a look at the attitude of our own vidwans to wards our own classical music. If a musician sings a particular number very well, with excellent sangathis in the right places and right punctuations, we don't praise him. On the other hand, our vidwans will say : " Seventeen years ago at the Music Academy, I rendered this number in a much better manner. " For me, the past is past ; I am more concerned about what you are going to do. Talking about ancient glory never makes me happy. Now I am sure that a Thyagaraja Swamigal or a Dhikshitar is not going to be reborn, for obvious reasons. They just can't live with this generation of musicians who torture music. (laughs).

FRONTLINE : Your notion about music is reflected in your work. The list is endless. Do the producers and directors immediately accept your experimentations?

Ilaiyaraaja : Now I am a saleable commodity. Above that, I have a reputation on which the producers and directors have faith. My commercial viability, coupled with my reputation, gives me enough freedom to assert my right as a composer. They have confidence that if I do something, it would somehow reach the wider public. But I have the responsibility of proper films for experimentation. I cannot just throw away my labour in a gutter. So selecting producers and directors is my own prerogative.

FRONTLINE : After your entry, we find that for almost all songs, the tune is first set and then the lyric is written. Don't you think that you are curtailing the freedom of the lyricist?

Ilaiyaraaja : No. it is not like that. This type of question never arises when one understands the nature of the work. It is team work, where the director decides the situation for which I, as the music director, create music accordingly. The function of the lyricist is to write lyrics for that music. That is the demand of the work. If he is notable to write for the tune, it is his weakness. There is no point in finding fault with me. I am prepared to set the tune for any poetry. I am sure that i will be able to create a tune, because I know what my job is. As days progress, composing seems to become a simple and effortless job, a sort of daily routine. I don't expect others to praise my daily habit, composing.

FRONTLINE : There is a void in the field of lyric writing. Do you feel it? If so, what are the steps you have taken to fill it?

Ilaiyaraaja : Yes, I do accept that we don't have a good lyricist after Kavignar Kannadasan. But what can I do about it?

FRONTLINE : What is your approach to spotting talent in singing?

Ilaiyaraaja : I am convinced that if someone has talent, he will somehow move into limelight. But one cannot go and search and discover any talent. They have to emerge naturally. Take the example of Chitra. After listening to her once, I made her sing. Earlier, another girl called Jency came for the voice test. I felt that she was talented and I started giving her a chance right from the next day. But I cannot pressure others by saying : " Write well ; avoid repetition of words; be spontaneous. " It has to come naturally. Suddenly one good lyricist will emerge. Till then we must wait. What choice do we have?

FRONTLINE : Are the singers able to cope with you in your experimentation?

Ilaiyaraaja : With some amount of hard work and struggle, I am able to get what I want from the singers. We have to compromise at some levels, otherwise the work will never progress. I should be prepared to forgo certain things and the singers should also be prepared to do the same. Since this spirit is there, I am able to pull on without much of a problem. We also have enough talented singers.

FRONTLINE : Are the other musicians in your orchestra able to rise to the occasion in playing difficult numbers?

Ilaiyaraaja : No, there are limitations. I think I have done a lot in film music. And my difficult and experimental numbers have been received very well. The limitation of instrumentalists is obvious in many respects. But that is not a problem for film music. Really, we don't need extremely talented musicians for everyday recording. However, when you attempt some work for study purposes and other musical experiments, the limitation is glaring. We really need more talented musicians for these works. Most of the musicians who play for recording learn music only for their livelihood. The moment something stoops to the level of merely earning, you cannot expect much from it.

FRONTLINE : Some producers and directors who reaped the maximum benefit from your music have deserted you because of your busy schedule. Some people would consider this as an act of betrayal. How do you look at it?

Ilaiyaraaja : Is there any place in the world where there is no betrayal? Even our so-called close friends ditch us in life. What can I say about this? Today I am a profitable commodity. People mob me. Some who benefited from me are going to praise me and the rest, for whom I was not accessible, are going to slander me. How can I expect them to praise me? I have nothing against any one. I go to Prasad ( studio ) at 7 in the morning and work till 10 in the night. Today is the second Saturday and the whole industry takes rest, but I am at my work. Despite all these things, I cannot give dates to all of them simultaneously. It is humanly not possible. To be frank, I am not at all bothered about the people who have left me. I am not going to gain any thing nor lose anything. Who are the losers? Who knows?

FRONTLINE : You have thus far scored music for more than 400 films. After all, our films are the same. Are you planning to avoid film assignments to concentrate on recorded musical ventures like, 'How to name it '?

Ilaiyaraaja : Recorded music is still not a popular concept in our country. Film is the only medium through which one can reach a wider public. At present, it is very difficult to avoid films completely. But I have an idea on these lines. Just now I have completed my new album, " Nothing but wind'. They will materialise as time progresses.

FRONTLINE : The term 'rerecording ' has become popular even among the village folks, thanks to you. ( Film background music is referred to as rerecording in industry circles). What special care do you take to make your background score so different?

Ilaiyaraaja : All the musicians who visit my recording theatre appreciate the speed in which I am able to work and the quality I am able to produce. But I don't find any reason to it. The ideas come automatically to me according to the mood of the film. If i don't get any idea, then the film is like that. I have a screening of the film the day previous to the recording. The next day, when I am sitting with 60 musicians in the theatre, the reel is screened again. As I view the film, I start eliminating the ideas which others in the profession would adopt for the particular situation. I don't even use the instruments which others will use for a particular sequence. Therefore, I have to think fresh. A man settled in life with a secure job approaches life in a casual manner. But a man for whom most of the chances are closed approaches life with all-out courage and from a new view point, which enables him to achieve a lot more than the former. I am like the latter. That is the reason for the freshness and novelty in my background score.

FRONTLINE : Are you prepared to support new directors who want to make experimental films?

Ilaiyaraaja : Definitely, yes. But before that, what is experiment? I don't understand. Most of the experiments never take people into consideration. There cannot be an experiment without people. It is indulgence. I don't subscribe to it. People who have listened to my music and studied it will notice that I have popularised the various elements of Indian and Western classical music by slightly dilut ing them. A rich harmony is taken to a rickshaw-puller by adding a folk element to it. 'Marimari Ninne' and 'Maha Ganapathim' are popular among the villagers not because of any vidwans. They are popular because I have used them in a proper manner. To me, experiment means taking things on a high pedestal to the masses in such a way that they will accept them. Other than this, all experiments are a process of fooling oneself and the general public.

FRONTLINE : Who is the composer you like most?

Ilaiyaraaja : Bach. The reason is that he composed music in the formative days of Western classical music. There are three different types of counterpoint among which writing invertible counterpoints is the most difficult one. His compositions are so complete with every note falling in the right place with amazing mathematical precision. That is his greatness.

FRONTLINE : Do you think you have the right recognition? Are you happy with your two national awards?

Ilaiyaraaja : I have not been recognised by this Government to which I pay my tax happily. The national awards don't mean much. It made no difference to me. The only recognition I have is that South Indians throughout the world listen to my music. But this doesn't help me even buy a train ticket on the emergency quota! I don't have any good quality instruments to record my music. I cannot even get the basic requirements to function as a musician. This is the recognition I get in my own country. source:

The Frontline (1989)

ilayaraja solo list

NAINA PILLAI

CARNATIC BASICS - 12

janya raagas contd........

you might have heard this song 'do re mi' in the movie sound of music.

let us continue with janya ragas. all the above janya ragas i mentioned like mohanam, hamsadwani are in pentatonic scale. that is having 5 notes like srgpd or srgpn.

in carnatic five note ragas are called audava ragas. six note ragas are called shaadava ragas.
that is having 5 notes in both aarohanam and avarohanam is audavam, and 6 notes up and down is shaadavam. we have already seen having all 7 notes is sampoornam.

there can be these combinations also. 5 in the up, 6 in the down; 5 in the up, 7 in the down, 6 in the up, 5 in the down, 6 in the up, 7 in the down,
7 up 5 down and 7 up and 6 down

ragas having less thatn 5 notes are also there but not classified.


now 5 up 6 down is called audava shadavam e.g malahari
5 up and 7 down is audava sampoornam e.g abheri
6 up and 5 down is called shadava audavam e.g koumothakam
6 up and 7 down is called shadava sampoornam .e.g asaveri thodi
7 up and 5 down is sampoorna audavam e.g kendha viksheba
7 up and 6 down is sampoorna shadavam. e.g kakavasantha
6 up and 6 down e.g sriranjani
5up and 5 down e.g. hindolam

janya ragas can be classified into three types.

1.upaanga raga
2.bhashanga raga
3.vakra raga

all the above examples of janya ragas (audava shadava etc) are upanga raga, meaning they are purely derived from their parent raga. that is they have only the swaras that their parent raga has.

a bhashanga raga is one, which has foreign notes (anya swaram) other than its parent raga, either in the ascent or descent or in both. a very good example is bhairavi. it has both the dha1(in descent) and dha2 (in ascent). whereas its parent raga natabhairavi(20th) has only dha1.


a vakra raga is one which does not have the swaras in the order. e.g in ananda bhairavi, the aarohanam is s g r g m p d p s. here before ri, which is the second swara, ga appears. again after dha, pa appears. this kind of misarrangement is called vakra prayogam. so either in aarohanam, or in avarohanam, or in both if the swaras are not arranged in order , it is called a vakra ragam.

Carnatic Quiz Answers

carnatiquiz.blogspot.com

CQ1. GNANA VINAYAGANE, GAMBEERA NATTAI, SARAVANA BHAVANANDA

CQ2. RAMA NEE PAI, KEDHARAM, THYAGARAJA, ALATHUR BROTHERS

CQ3. AMBA PARA DEVATHE, RUDRA PRIYA, KRISHNASWAMI IYER, ALATHUR BROS

CQ4. PANCHA NADHEESHA , PURNACHANDRIKA, PATNAM SUBRAMANYA IYER

CQ5. SONNADHAI SEIDHIDA SAGASAMA, GNB,

CQ6. PAALINCHU, KAMBOJI, MADURAI SOMU

CQ7. PAPANASAM SIVAN

CQ8. NINNUVINA, NAVARASA KANADA, THYAGARAJA, RUPAKAM

CQ9. AADUM CHIDAMBARAMO, MS - GOPALAKRISHNA BHARATHI, BEHAG

CQ10. BHAVAMU LONA, MS - ANNAMACHARYA, SUDHA DHANYASI, ADI

CQ11. AYYE METHA KADINAM, DESIKAR - NANDHANAR, NADHA NAMAKRIYA (starts with PUNNAGAVARALI)

CQ12. MANA VYALA KIM CHARA, MALI - THYAGARAJA, NALINAKANTHI

CQ13. NAINA PILLAI http://narayananswaminathan.blogspot.com/2009/05/naina-pillai.html

CQ14. THIRUPUGAZH, 'ERU MAYIL' , NEYVELI SANTHANAGOPALAN - BAGESHRI

CQ15. SADANANDHA THANDAVAM, NEYVELI - BAHUDARI, ACHUTA DASAR

CQ16. SARASIJANABHA SODHARI, S.BALACHANDER - NAGA GANDHARI, DIKSHITAR

CQ17. VARA RAGA LAYA, SUDHA - THYAGARAJA, CHENCHU KAMBOJI, ADI

CQ18. MARATHI ABHANG, SUDHA - NAMDEV, MISRA MARU BEHAG, EKAM

CQ19. COMMON:
KARNA RANJANI RAGA

DIFFERENCE:
SUDHA, Om Namo Narayana, Ambujam Krishna
NITHYASHREE, Vanchathonuna, Harikeshanallur Muthaiah Bhagavathar

CQ20. CHINNAN CHIRU KILIYE - NEELAMANI, C.R.SUBBARAMAN

CQ21. MAHARAJAPURAM SANTHANAM

CQ22. CHATUSRA JATHI MISRA GATHI EKA THALAM / MOVIE: KAN KAATCHI

CQ23. MAHARAJAPURAM SANTHANAM / BASANT BAHAR

CQ24. SHANKARABHARANAM / HARIKESHANALLUR M.BHAGAVATHAR /SEETHA DORAISWAMY(photo)

CQ25. VASANTHA, KEDHARA GOWLAI, ARABHI

CQ26. Ragamalika, Ragamudra and Swaraksharam

CQ27. Gajananayutham - vega vahini, Dikshitar (Chakravagam)

CQ28. Varasidhi vinayakam, Kalpagam Swaminathan - Muthiah Bhagavathar, Kaanada

CQ29. MSG Narmada, Saraswathi

CQ30 . Raa raa seetharamani, MDR, Thyagaraja, Hindhola vasantham

CQ31 . Janakiramana, Thyagaraja, Sudha seemanthini

CQ32 . Varalandukommani, Thyagaraja, Dr.S.Ramanathan, Gurjari

CQ33 . Nannu kanna talli, Lalitha & Nandhini - Thyagaraja, Sindhu kannada, Adi

CQ34 . Vyasaraya

CQ35 . Nenarunchinanu, Thyagaraja, Malavi

CQ36 . Kambakkudi Kulathur Iyer, Madhyamavathi, Music by Devarajan

CQ37 . Nenarunchara, Mysore Nagaraj and Manjunath, simhavahini, Thyagaraja

CQ38 . Thyagarajaswamy http://www.sruti.org/sruti/srutiArticleDetails.asp?ArticleId=4

CQ39 . L.Shankar, double violin, Abheri http://en.wikipedia.org/wiki/L._Shankar

CQ40 . Interestingly Nagumomu is the only composition in Abheri by Thyagarajaswamy

CQ41 . Crossword: http://sunson.wordpress.com/2009/07/14/solution-to-carnatic-cryptic-crossword-puzzle-5/

CQ42 . Enta muddo enta soguso, Thygaraja, Bindumalini, accompanied by Kanyakumari

CQ43 . Giriraja sutha, Thyagaraja, Bangala

CQ44 . Niravadhi sukadha, Thyagaraja, Ravichandrika

CQ45 . Chittibabu playing 'Kommalo Koyala', a cuckoo in a branch, in maand.

CQ46 . Crossword :http://narayananswaminathan.blogspot.com/2009/07/answers-to-carnatic-quick-crossword-1.html

CQ47 . Crossword :http://narayananswaminathan.blogspot.com/2009/07/answers-to-carnatic-quick-crossword-2.html

CQ48 . Swaravardhini, Sriranjani, Hamsanandhi, Vasantha, Lalitha. http://kanniks.wordpress.com/2008/07/10/salangai-oli-naada-vinodangal-panchama-varja-panchamam/

CQ49 . Crossword :http://narayananswaminathan.blogspot.com/2009/09/answers-to-carnatic-quick-crossword-3.html

CQ50 . Vaasanthi thillana, Lalgudi Jayaraman

FILM NEWS ANANDAN

Maestro Quiz Answers 101-200

MQ101. RANGULALO, 1 INTERLUDE - ABHINANDANA, KANGALILE KANAVO FROM KADHAL GEETHAM, VELLI NILA FROM AMUTHA GANAM

MQ102. SATHAM VARAMAL, OVERTURE - MY DEAR MARTHANDAN

MQ103 - Nadu Samathula -Thirumathi Palaniswamy - 1st Interlude

MQ104 - Adukku malliga - Adutha Varisu - 2nd Interlude

MQ105. HE ORAYIRAM, PRELUDE - MEENDUM KOKILA

MQ106. KAVIRIYE KAVIKUYILE, PRELUDE - ADUTHA VARISU

MQ107. VAANAMADHIYE, ARANMANAIKILI

MQ108. MANASUKULLA NAAYANA SATTHAM, MALLU VETTI MINOR

MQ109. KIZHAKAALEY , NATTUPURA PAATU

MQ110. CHOLAM VEDHAKAYILE PRELUDE - 16 VAYADHINILE

MQ111. ILAYA NADHI MANASELLAAM

MQ112. KAATTU VAZHI ADHU ORU KANA KAALAM

MQ113. POO POO POO POOTHA PUDHU NELLU PUDHU NAATTHU

MQ114. ORU JEEVAN AZHAITHADHU, 1 INTERLUDE - GEETHANJALI

MQ115. PONNOVIYAM, PRELUDE - KAZHUGU

MQ116. NAGARU NAGARU VARUDHU, 1 INTERLUDE - SATHYA

MQ117. NAAN ENBADHU NEE ALLAVO, 1 INTERLUDE - SOORA SAMHARAM

MQ118. NILAVE THENRAL PADUM, 2 INTERLUDE - VEETLA VISESHANGA

MQ119. PUDHU ROOTULA DAAN, 2 INTERLUDE LULLABY - MEERA

MQ120. NILAVONRU KANDEN, 2 INTERLUDE - KAIRASIKARAN

MQ121. ENNA PAATU PAADA, 2 INTERLUDE - CHAKKALATHI

MQ122. ORU MAYA LOGAM, 2 INTERLUDE - MAYAKANNADI

MQ123. AATTAM INGEY , POO VIZHI VAASALILEY

MQ124. NADAPPADHU ,BRAHMA

MQ125. SANTHOSAM , MANITHANIN MARUPAKKAM

MQ126. CHITHIRAI MADHATHU NILAVU, 2 INTERLUDE - PAADU NILAAVE

MQ127. ILAYA NADHI- MANASELLAM

MQ128. AZHAGANA MANJA PURA - ELLAME EN RASA DAAN

MQ129. MUCHATHU MAADA PURA - PERIYA KUDUMBAM

MQ130. MAZHAI VARUDHU, 2 INTERLUDE - RAJA KAIYA VACHA

MQ131. Chinna Pura Ondru - Anbe Sangeetha - 1st Interlude

MQ132. Kaadhal Saagadhu - Mella Pesungal - Starting Music

MQ133 - Anbu Mugam Thantha Sugam - Rusi Kanda Poonai - 1st Interlude

MQ134 - Eerettu pathinaru - Raja Rajathan -Prelude

MQ135- Roja Ondru Ullankai - Oh Mane Mane - 1st Interlude

MQ136- Santhanam Muthu - Rushi kanda poonai -Prelude

MQ137 - ORE MURAI UN DARISANAM, 1 PRELUDE - EN JEEVAN PADUDHU

MQ138- Sugam Sugame - Naan Potta Saval -Prelude

MQ139- Sugamo Aayiram - Thunairuppal Meenakshi -Prelude

MQ140- Sandana Maarbile - Nadodi Thendral -1st Interlude

MQ141- Sindhu Nadhi Karai Oram - Nalladhoru Kudumbam -1st Interlude

MQ142 - Singalathu Chinna - Punnagai Mannan - 2nd Interlude

MQ143- Poovana Yetta - Ponmana Selvan - 1st Interlude

MQ144. Thalampoove - Kai Koodukum Kai - 2nd Interlude

MQ145. AZHAGE UNNAI, PRELUDE - VAALIBAME VAA VAA

MQ146. VAALIBAME VAA VAA, PRELUDE - RAM LAKSHMAN

MQ147.YAAR THOORIGAI, 1 INTERLUDE - PAARU PAARU PATTANAM PAARU

MQ148.JEEVA HOOVAGIDE, 2 INTERLUDE - NE NANNA GELLARE

MQ149.YE RAASATHI, 1 & 2 INTERLUDES - EN UYIR THOZHAN

MQ150.KANDU PUDICHEN, 2 INTERLUDE - GURU SISHYAN

MQ151.KOONDHALILE MEGAM VANDHU, OVERTURE - BALANAGAMMA, BEAUTIFUL BILAHARI

MQ152. YE NADU VIDI PONI, 1 INTERLUDE - SRI KANAKA MAHALAKSHMI RECORDING DANCE TROUP

MQ153. MANIYE MANIKUYILE, 2 INTERLUDE - NADODI THENRAL

MQ154. IDHAYAM POGUDHE, 2 INTERLUDE - PUDHIYA VAARPUGAL

MQ155. ORU KILI URUGUDHU, 2 INTERLUDE - ANANDA KUMMI

MQ156. Ye Thendralae - Nenjathai Killadhae - 1st Interlude

MQ157. Vizhiyorathu - Raja Paarvai - 1st Interlude

MQ158. Guna Abhirami at the temple BGM

MQ159. Mudhal Mariyadhi Stone lift BGM

MQ160. Ada Raakozhi Koovum neram from Maharasan

MQ161. Ippodhenna Thevai from Makkal Aatchi

MQ162. Va Va Pakkam Va - Thanga Magan - 1st Interlude

MQ163. Va Ponn Mayile - Poonthalir - 1st interlude

MQ164. ENAKENA ORUVARUM, 2 INTERLUDE - THAALAATU

MQ165. VAANENGUM, 1 INTERLUDE - MOONRAM PIRAI

MQ166. then poovey poovey vaa from anbulla rajinikanth

MQ167. POOJAIKETHA POOVIDHU, 1 INTERLUDE - NEE THAANA ANDHA KUIL

MQ168. Vaan Sivandhadhu - Anbin Mugavari - 1st Interlude

MQ169. Vaada Vaattuthu - Chakkalathi - 2nd Interlude

MQ170. Va Va Vanji Illan Manne - Guru Shishyan - 1st Interlude

MQ171. Va Kathuirruka Neram Ilai - Kathuirruka Neram Illai - 1st Interlude

MQ172. Vaanam Thodaatha - Chinnappa Dass - 2nd Interlude

MQ173. Un Perai Kettale Ethuvum - Pooncholai - 1st Interlude

MQ174. Oru Kaaviyam from Aruvadai Naal

MQ175. MMgowlai with tilang - DEVOTION piece from india 24 hrs album

MQ176. mohanam ragam piece - ILLUSIONS from india 24 hrs album

MQ177. poo poo poo from pudhu nellu pudhu naathu

MQ178. anandham pongida

MQ179. athikalai neram kanavil

MQ180. TELISINDILE, END HUMMING - SRI KANAKA MAHALAKSHMI RECORDING
DANCE TROUPE

MQ181. PAATU THALAIVAN, PRELUDE - IDHAYA KOVIL

MQ182. ILAM CHOLAI POOTHADHA - PRELUDE, UNAKKAGAVE VAAZHGIREN

MQ183. UN KENDA KAALU, KARISA KAATTU POOVEY

MQ184. Kannirendil from Avadharam

MQ185. Thayariyadha from Arangetra Velai

MQ186. Thayariyadha from Arangetra Velai

MQ187. ORU NAAL MALAIYIL - UDHAYAM 2006, DHEEMI DHEEMI - SHIVA 2006

MQ188. MALARNDHIRUCHU POONCHEDI, OOMAI NENJIN OSAIGAL, OVERTURE - ANANDA KUMMI

MQ189. Ich Liebe Dich - Puthu Paatu - 1st Interlude

MQ190. Illaya Nathi - Manasellam - 1st Interlude

MQ191. Indha Kaadhal - Kangalin Vaarthaigal - 2nd Interlude

MQ192. Indru Kaathal Meeruthu - Malargazh Nanaigindrana - Starting Music

MQ193. Intha Poovuku Oru - Poovarasan - !st Interlude

MQ194. Isai Medaiyil Intha - Illamai Kaalangal - 2nd Interlude

MQ195. Jilibili Palukula - Sithara - Telugu song - Starting Music, oru kili from ananda kummi

MQ196. Jodi Nathigal - Anbe Oodi Vaa - Starting Music

MQ197. THAMARAI KODI, PRELUDE - ANANDA KUMMI

MQ198. ROJAVAI THALAATUM THENRAL, 1 INTERLUDE - NINAIVELLAM NITHYA

MQ199. POGUDHE POGUDHE, PRELUDE - KADALORA KAVIDHAIGAL

MQ200. THANGAM IVAL ANGAM - NALLA THAMBI

Maestro Quiz Answers 1-100

http://maestroquiz.blogspot.com/


MQ1. SANDHYA RAGAPU SARIGAMALU, 2 INTERLUDE - INDRUDU CHANDRUDU, KADHAL RAGAMUM KANI THAMIZHUM FROM INDIRAN CHANDIRAN IN THAMIZH.

MQ2. POOVADAI KAATRU, 1 INTERLUDE - GOPURANGAL SAIVADILLAI, KRISHNACHANDAR AND JANAKI

MQ3. EN PURUSHAN DAAN, 1 INTERLUDE - GOPURANGAL SAIVADILLAI, SP SHAILAJA

MQ4. JAPANESE MUSIC, 1 INTERLUDE OF 'NACHINA FUDDU' - INDRUDU CHANDRUDU

MQ5. DORA DORA DONGA MUDDU, INTRO - INDRUDU CHANDRUDU

MQ6. PRIYATAMA TAMA SANGEETHAM, 1 INTERLUDE - AALAPANA

MQ7. PRIYATAMA TAMA SANGEETHAM, PRELUDE - AALAPANA

MQ8. PRIYATAMA TAMA SANGEETHAM, 2 INTERLUDE - AALAPANA

MQ9. SEVVARALI THOTTATHILE, HUMMING OVERTURE - BHAGAVATHIPURAM RAILWAY GATE

MQ10. THENRAL KAATRUM, 1 INTERLUDE - BHAGAVATHIPURAM RAILWAY GATE

MQ11. ORU NAAL, PRELUDE - THIRUPU MUNAI

MQ12. ALAI MEEDHU THADUMARUDHE SIRU ODAM, PRELUDE - ANBULLA MALARE, TOLI CHOOPU FROM RAJKUMAR IN TELUGU

MQ13. KOTHA PETARO KOKKO, 2 INTERLUDE - DETECTIVE NARADHA

MQ14. ILA MANADHU PUDHU KANAVU, PRELUDE - SELVI

MQ15. AADUNGAL, 2 INTERLUDE SAX - GURU

MQ16. ENDHAN KANNIL, 1 INTERLUDE - GURU

MQ17. IVVU IVVU, PRELUDE - PREMA

MQ18. OORORAMA ANDHA PAKKAM, 2 INTERLUDE - IDHAYA KOVIL

MQ19. CHIC ENRA ADAIYIL, PRELUDE - INIYA URAVU POOTHADHU

MQ20. PRIYATHAMA NAA HRUDAYAMA, PRELUDE - PREMA

MQ21. JAANE DO NA, INTRO - CHEENI KUM, HINDI VERSION OF JOTHE ALLE AND VIZHIYILE

MQ22. IRU PARAVAIGAL, 1 INTERLUDE - NIRAM MAARADHA POOKKAL, BEAUTIFUL STRINGS AND PIZZICATO

MQ23. UNNAI NAMBI NETHIYILE, 2 INTERLUDE - CHITTU KURUVI,SOUNDS SIMILAR TO 'UCHI VAGUNDHEDUTHU' INTERLUDE

MQ24. KALAI NERA KAATRE, INTRO - BHAGAVATHIPURAM RAILWAY GATE

MQ25. ONTARI VAADANI, PRELUDE - PREMA

MQ26. THAEN MALLI POOVE, PRELUDE - THYAGAM

MQ27. AAN PAAVAM THEME MUSIC

MQ28. PAADA VANDHADHOR GAANAM, 1 INTERLUDE - ILAMAI KAALANGAL

MQ29. PAADUM VAANAMPADI, 1 INTERLUDE - NAAN PAADUM PAADAL

MQ30. PREMA ENTHA MATHURAM, PRELUDE - ABHINANDANA

MQ31. NADHAM EN JEEVANE, PRELUDE - KADHAL OVIYAM

MQ32. NADHIYIL AADUM POOVANAM, 2 INTERLUDE - KADHAL OVIYAM

MQ33. ADA POYA POYA, PRELUDE - DHARMA YUDHAM

MQ34. KANNAN VANDHU PAADUNGINRAAN, PRELUDE - RETTAI VAAL KURUVI

MQ35. UNNAI NAAN ARIVEN, 1 INTERLUDE - GUNA

MQ36. UNNAI NAAN ARIVEN, KEERAVANI AALAAP - GUNA

MQ37. ORU MALAI CHANDIRAN, 1 INTERLUDE - UNNAI VAAZHTHI PAADUGIREN

MQ38. OTHA RUBA, PRELUDE - GEETANJALI, TAMIL

MQ39. SUTTUM SUDAR VIZHI, 1 PRELUDE - SIRAICHALAI, KAALAAPAANI IN MALAYALAM

MQ40. MADHANI MADHANI, PRELUDE - KADAL MEENGAL

MQ41. ITHU SANGEETHA THIRUNAALO, PRELUDE - KADHALUKKU MARIYADHAI

MQ42. VAALAI PARUVATHILEY, PRELUDE - KANNE RADHA, SPSHAILAJA AND SUSHILA

MQ43. DHOORATHIL NAAN KANDA UN MUGAM, 2 INTERLUDE - NIZHALGAL

MQ44. PUTHAM PUDHU KALAI - 1 INTERLUDE - ALAIGAL OIVADHILLAI, USED IN AFRICAVIL APPU AS CHINNANJIRU YAANAI

MQ45. MALAI SOODA KANNE RADHA NAAL VARADHA, PRELUDE - KANNE RADHA

MQ46. THEVAI INDHA PAAVAI, 2 INTERLUDE - ANDHA ORU NIMIDAM

MQ47. EN VAAZHVILE, 2 INTERLUDE - THAMBIKU ENDHA OORU,THIS SONG TAKEN FROM SADMA-YE ZINDAGI AND BGM IN MOONRAM PIRAI-POONGATRU

MQ48. MAANJOLAI KILIDHAANO, PRELUDE - KIZHAKKE POGUM RAYIL

MQ49. MACHANAI PAARTHEENGALA, 2 INTERLUDE - ANNAKILI

MQ50. ANWESHANA, PADUM PARAVAIGAL HORROR THEME

MQ51. YAVVANALA POOVULANNI, 1 PRELUDE - DETECTIVE NARADHA

MQ52. POTHI VACHA, PATHOS, PRELUDE - MANN VASANAI

MQ53. MAAPILLAIKU MAMAN, JATHI - NETRI KANN

MQ54. ENAKU PIDITHA PAADAL, 1 PRELUDE - JULIE GANAPATHY

MQ55. OORADANGUM JAMATHULA, INTERLUDE - PUDHUPATTI PONNUTHAYEE, INTERESTINGLY BOTH THE INTERLUDES ARE SAME, ONE OF THE RARE CASES WITH RAJA.

MQ56. THAALAATU, 2 INTERLUDE - ACHAANI

MQ57. RASAVE UNNA NAAN, 2 INTERLUDE - THANIKATTU RAJA

MQ58. REMIX SONG INTERLUDE STARTING WITH ILAMAI IDHO IDHO- UN KANNIL NEER VAZHINDAAL. LISTEN TO THE COMICAL PLAYING OF TRUMPET.

MQ59. ENGEYO EDHO, PRELUDE - NADHIYAI THEDI VANDHA KADAL, JAYALALITHA'S LAST MOVIE

MQ60. MUNNAM SEIDHA THAVAM, 2 INTERLUDE - VANAJA GIRIJA

MQ61. ANBE ANBE ENGE ENGE, 2 INTERLUDE - SADHANAI

MQ62. PAARAMAL PAARTHA NENJAM, 1 INTERLUDE - POONTHOTTA KAAVALKARAN

MQ63. PAADI VAA THENRALE, PRELUDE - MUDIVALLA ARAMBAM

MQ64. KANNE INRU KALYANA KADHAI, 1 INTERLUDE - AANAZHAGAN

MQ65. ANJU GAJAM KAANJI PATTU, 1 INTERLUDE - RAASA MAGAN

MQ66. SALAKKU SALAKKU SELAI, 2 INTERLUDE - SEMBARUTHI

MQ67. THUVAKKAM ENGE- SOLLADHA RAGANGAL 2 INTERLUDE - MAHANADHI

MQ68. VEDHAM NEE, 2 INTERLUDE - KOVIL PURA

MQ69. POTTU MELA POTTU VACHI, 1 INTERLUDE - KANGALUM KAVIPADUDHE

MQ70. ADHI SIVAN, 1 INTERLUDE - KADAVUL, VELU PRABHAKARAN

MQ71. ASAI IDHAYAM, PRELUDE - KANMANI, MV, JANAKI

MQ72. PRIYATHAMA NA HRUDHAYAMA, 1 INTERLUDE - PREMA

MQ73. ADI NETRIRAVU NADANDHADHENNA, PRELUDE - INNISAI MAZHAI

MQ74. NALAM VAAZHA, PRELUDE - MARUPADIYUM

MQ75. MANIDHA MANIDHA, OVERTURE - KAN SIVANDHAL MAN SIVAKKUM

MQ76. ALAIGALIL MIDHAKKUDHU, PRELUDE - ANDHA ORU NIMIDAM

MQ77. KAATHIRUNDHEN THANIYE, 2 INTERLUDE - RAASA MAGAN,SUNG BY CHANDRASEKAR AND LEKHA

MQ78. ADI VAANMATHI - 2 INTERLUDE - SIVA

MQ79. UNNAI NAAN SERNDHIRUKKA, PRELUDE - ILAYA RAGAM

MQ80. OORELLAM UN PAATU DAAN, 2 INTERLUDE - OORELLAM UN PAATU DAAN, THERE ARE 3 VERSIONS.

MQ81. KANMANIYE PESU, 1 INTERLUDE - KAAKI SATTAI

MQ82. AALA ASATHUM MALLI DAAN, 2 INTERLUDE - KANNI RASI

MQ83. AATHADI PAAVADA KAATHADA, PRELUDE - POO VILANGU

MQ84. ANANDHA THEN KATRU, PRELUDE - MANIPOOR MAMIYAR

MQ85. ABC NEE VAASI, PRELUDE - ORU KAIDHIYIN DIARY

MQ86. CHALAKU CHALAKU SELAI, PRELUDE - CHEMBARUTHI

MQ87. Engengu Nee Sendra - Nenaikatherintha Manam - Starting Music

MQ88. KANMANI NEE VARA, 2 INTERLUDE - THENRALE ENNAI THODU

MQ89. Alai Meedu - Kadal Kavithai - Starting Music

MQ90. HUM HAIN AKELE, 2 INTERLUDE - NANDU, HINDI SONG BY S.JANAKI

MQ91. VAANATTHU THAARAGAIYO - POONTHOTTAM

MQ92. ARACHI ARACHI - MAHARASAN

MQ93. THAAYARIYAADHA THAAMARAI - ARANGETRA VELAI

MQ94. KANMANIYE KANMANIYE - CHINNA VATHIYAR

MQ95. UNNAI THEDI VENNILA, EN MANA VAANIL

MQ96. UNNAI NAAN PAARKAIYIL, PRELUDE -KANNUKORU VANNA KILI

MQ97. THOTTU THOTTU PALLAAKKU - KADHAL ROJAAVE

MQ98. VANDHADHU VANDHADHU - KILI PECHU KETKA VAA

MQ99. NADANTHAAL IRANDADI , CHEMBARUTHI

MQ100. OH BUTTERFLY, OVERTURE - MEERA

CARNATIC BASICS - 11

Poorvacharyas have compared the Saptaswaras to the sounds of birds and animals which is shown below-

Sadjam----------The sound produced by peacock
Rishabam----------The lowing of cow
Gandharam--------The bleat of the goat
Madhyamam------The cry of heron
Panchamam-------The note sounded by Kokila
Dhaivatham-------The neigh of horse
Nishadham--------The yelling of elephant

STARTING FROM SADJAM EACH NOTE IS HIGHER IN FREQUENCY JUST AS THE SOUNDS OF THE ANIMALS AND BIRDS MENTIONED.

the bleat of a goat is higher in frequency than the lowing of a cow.

similarly the cry of a heron is higher than the bleating of a goat