This piece is from Adhu Oru Kanaa Kaalam. Composer – Illayaraja. It is a compilation of cues from two most exhilarating moments from the movie. The symphony of strings, keyboards, flutes all running across each other playing a stirring melody (in the both the situations for Seenu running towards Thulasi) converges to a flute solo playing the haunting love theme (for coming together of Seenu and Thulasi). See and Listen to experience the exhilaration
Wednesday, July 29, 2009
Saturday, July 25, 2009
This piece is from Achamundu Achamundu. Composer - Karthik Raja. This is the theme instrumental piece as in the OST CD of the movie. I actually thought of watching the movie before putting this post and give my opinion on the background score of the movie, but I couldn't, I am yet to watch the movie. Anyways after Illayaraja, Karthik Raja is the only one who can write such orchestral pieces in Tamil Films.
Wednesday, July 22, 2009
Thursday, July 16, 2009
Thursday, July 9, 2009
Wednesday, July 8, 2009
This piece is a compilation of some of the Orffian chants and choirs of A.R.Rahman. The pieces are from Ayutha Ezhuthu (Yuva), Sivaji and Mangal Pandey in that order. The ‘Yuva’ piece appears first in the opening credits of the movie and comes back only after the three parallel narratives merge and move into full-blown action. Sivaji’s piece is fitting for the grand opening credits of the most awaited movie of the year 2007. The theme piece of Mangal Pandey is again a bombastic material to add to the scorching screen presence of Aamir Khan as Mangal Pandey when he first appears in the movie.
Friday, July 3, 2009
Thursday, July 2, 2009
A.R.Rahman in Apple Interview says
Describe your method for scoring a film.
I mostly don't write to specifically defined cues. I just watch the film a couple of times, stop watching it, then write something that comes to my mind from the film. This way, when I try to sync the music, the results are that much more wholesome. You get something extra that you don't get when you're looking at specific points in the timeline. The music is much more organic this way, not jumping cue to cue. It's more about counterpointing and, sometimes, walking hand-in-hand. Most of the time it works out. If you watch the picture and try to have a specific chord change here, a tempo change there, when the director comes back and wants to move picture, you find that you've wasted time. I think this way is more appealing to me and to the people watching the film. Click tracks and following the SMPTE are necessary for some things, but once you have everything in Logic, then afterwards you can edit and make minor changes.
Rahman’s is a complete antithesis to way Illayaraja works and yet his music works equally well (at least for me) – This bewildering thought never stops to amaze me.
Wednesday, July 1, 2009
This piece is from Geetanjali (Idhayathai Thirdathey in Tamil). Composer – Illayaraja. Prakash (Nagarjuna) who is going to die soon because of some incurable disease is dejected in life and mourns his own fate. On the other side Geetanjali (Girija), who also suffers from the same disease leads a happy life without worrying about what happens tomorrow. When the two meet, the attitude of Geetanjali amazes Prakash. After some serious contemplation, Prakash too decides to stop worrying and changes his own perspective towards life. Illayaraja’s lively riff of strings from ‘I Love you Mozart’ perfectly reflects the new rhythm to which Prakash's heart beat dances to as he embraces a fresh attitude towards life.