Kadhal Konden Score

Happy Birthday Yuvan Shankar Raaja! And Congrats on 100!





It is one of those few Tamil movies and the first one, the complete background score of which, was released on a CD after the movie's release. I don’t know if Yuvan Shankar Raja’s background score was seriously noticed before "Kadhal Konden", at least I didn't (Recently came to know that Thulluvadho Ilaimai background score was done by Viji Manuel – Ilaiyaraaja’s Keyboard Player). It also has got something to do with the director Selvaraghavan who with his subsequent movies proved that he is one of the few directors who understands the importance of music and especially the background score in movies. I picked to write on the background score of 'Kadhal Konden' because I was able to put this together without even watching the movie again. When I listen to the OST CD (which doesn't have a descriptive title given to each track) the scenes start to play with all of its details and emotions in my mind. Creating such an impact on the audience with the background score is difficult.

“Kadhal Konden” is about the life of Vinoth who goes through a varied range of emotions. It demands a wide variety of sound in the background score to create a sound scape of Vinoth's varied moods and emotions. No single theme can bring in all these mixed feelings of a character. Yuvan has gone in for a variety of motifs, and it is good that no single theme is derived from the melodies of the songs in the movie. Furthermore, these background score pieces are also enjoyable as standalone tracks. But I want to emphasize that music, even if catchy, if not relevant to the scene and if it doesn't add that extra something to the emotions in the scene is of no help as background score material. In Kadhal Konden, each music piece has achieved its purpose by being such an inherent part of the movie experience and it goes far beyond from sounding just catchy. In his father’s style, Yuvan Shankar Raja has gone for a live orchestra with dominant usage of strings section, flute and piano to orchestrate these themes and this orchestral richness helps in enhancing the involvement of a viewer in the movie. Let us go on a sympathetic journey into Vinoth's life through Yuvan's score.

Vinoth’s Ecstasy



This theme was released along with the songs in the CD - as “Kaadhal Konden theme” - even before the release of the movie. I thought Yuvan was going to use the same theme with different orchestration throughout the movie but fortunately, he didn't. As I told, every single scene or emotion of Vinoth has its own theme and its own pattern of development as the movie progresses. This theme is such a vibrant and enthusiastic piece with a peppy rhythm and tune that is perfectly in synch with how Vinoth feels after kidnapping Divya. He dances with so much joy and adding a thumping energy to this joyous moment is this theme's addictive rhythm. The real master stroke is the usage of this theme in the clash between Vinoth and Aadhi in the climax. It goes on to prove how far Selvaraghavan has gone in conceiving the scenes in the scripting stage with music in mind. It is one of the movie’s highlights. It perfectly suits the climax action sequence and the reason being Vinoth's passion and undying hope for a happily ever after life with Divya, as he kicks Aadhi with mad wild enthusiasm.

Vinoth’s Excitement and Mystery



It is heard when Vinoth walks into Divya’s room for the first time. He is so excited to see the grandeur of the room. Vinoth rolls over her bed and does all crazy things like a kid. Yuvan bursts out with a grand orchestral burst piece at the start as if some grand palace is being shown (in the eyes of Vinoth, even this small room is a palace). The strings playing a theme in high tempo to punctuate the high speed actions of Vinoth and flute piece playing a pleasant melody to add an innocent flavour together conveys everything to make sure that what is conveyed to our ears is exactly in synch with what is conveyed to our eyes. The mystery part comes when suddenly Vinoth starts to behave strangely. This music cue with tense strings implies the mystery behind Vinoth. I like the way the mystery part played slowly on strings gradually moves to a solo flute piece that sounds Divya’s sympathy for Vinoth. This kind of seamless transition and blending in synch with the cuts and emotions on the visuals is very important for an effective background score.

Vinoth – An Alien



The uneasy look of the other students, the mix of feelings like nostalgia, fear and embarrassment of Vinoth are well brought out in this theme. The slow beats in the background sounds the hesitance in every step Vinoth takes forward as he walks into the classroom and finally it ends with a very unique mandolin sound playing some middle-eastern notes, as Vinoth opens a window of the classroom. I don’t know who decided to go for music in the background for this scene, because it would have worked even without music or with just few chords on strings, but such a complete theme linking every single happening in the visual takes the impact to next level.

Vinoth uncomfortable with urban life



This piece appears when Vinoth's impatience and intolerance with the way people live in cities is emphasized. The mysterious piano start, a strange eerie sound (quite terrifying) and the fast running strings when Vinoth runs away from the ugly city people, are all put together nicely for implying Vinoth’s discomfort.

Divya speaks to Vinoth



Yuvan gradually raises the pitch of the theme in every next phrase of melody that is playing on a huge string section to sound how Vinoth’s excitement level and emotions are rising from inside. It is one of the most emotional pieces of the movie that perfectly adds a waltz-like rhythm to the emotional beats of Vinoth's heart at that moment. One may complain that the music is so loud in this scene, and it overlaps with what Divya is speaking to Vinoth. But I think this is deliberate. Divya talking to Vinoth is more important than what she talks to him. When Divya approaches Vinoth, we already know that she has accepted him as a friend and she is going to repeat what Vinoth was talking alone a little while ago. So it is not the words of Divya that is important in the scene, instead it is the emotions of Vinoth. But when director makes Vinoth dumb and shows just his eyes with the images in his spectacles silently speaking for him, it is the composer who has to add a voice and sound to Vinoth’s emotions. And Yuvan has done it so perfectly in this scene. You can listen to the same cue in one more moment in the movie when Vinoth does some tricks to bring all the necessary things for Divya to make her feel comfortable in the middle of the forest. Now, it is Vinoth’s turn to surprise Divya. This time, the theme is for Divya’s surprise.

Vinoth and Divya in Canteen



This is one of the beautiful and difficult scenes in the movie where there are no dialogues but just the minds of Vinoth and Divya silently speaking a strange language. The music plays a vital role here with flute, piano, guitar, mild strings and vocals alternatively performing beautiful melodies matching the cuts in the scene. Every single look and variation in the actions of Vinoth in the scene is perfectly punctuated by switching the beautiful romantic theme on various instruments. The flute and female vocals bring in all sympathetic sound needed. This theme can be termed as the love theme of Vinoth as this is where he first gets acquainted with Divya and also the variations of this theme are used for many other scenes in the movie.

Vinoth in the Symposium



This piece starts subtly and hesitantly with the strings sounding Vinoth's hesitation to speak before a huge audience in the symposium. Slowly the strings come forward to play the notes more boldly, when we come to know that Vinoth has started to speak confidently, leaving all the inhibitions behind. The oboe piece is beautiful in this theme, and gives a sort of a victorious sound and the highpoint is when slowly the strings paves way to the haunting flute piece (the canteen theme) for Vinoth hugging Divya, as Vinoth shares the moment of pride and joy with her.

Vinoth’s Disappointment



This piece is heard just before the intermission when Vinoth comes to know that Divya is in love with Aadhi. It starts with a sad solo violin version of the love theme (Canteen theme) which slowly moves to a more emotional flute piece with strings providing ample support from behind. Also percussions are added aptly at right places like thunder in the already stormed heart. The percussion beats synch with the shots of shutting doors of the shops around Vinoth as though the whole world is again closing down putting him in the same old lonely zone.

Vinoth’s Childhood



This piece is a story told in music. I am just going to list the images crossing my mind when I listen to this music (please note, last time I saw the movie was almost 2 years back). The piece starts with sad strings playing for Vinoth being sent as a child labour to a factory by his mother. Then follows a sad melody played on a vibraphone, the very sound of vibraphone brings in the image of kids and the sad melody suggests that they are being tortured. Slowly the flute takes over (which could be easily mistaken as an Ilaiyaraaja composition), the haunting flute sounds the sweet acquaintance of Vinoth with another girl working in the same place and the following female vocal suggests the longing of kids to live a free life, (as they watch kids playing happily with their parents outside), then suddenly after a brief mysterious piece suggesting that something wrong has happened to that girl, a sad chorus bursts out for her painful death and more than her death the music is for Vinoth, who has become all alone again. Then the sudden transformation to somewhat relaxed mood happens with the sound of the very first note of the flute suggesting the freedom of kids, the percussions that follow are for Kids escaping and the flute theme along with strings playing a very pleasant melody suggesting that the kids are finally free and flying away a bird let out after being locked in a cage for years. Do I need to say anything more about this piece? Just experience it for yourself.

Unnai Thozhi



Natpinilae



Thathi Thathi



Vidaamalae



Very rarely does surprise small songs which were not previously released in the soundtrack makes so much impact on very first listening. And the due credit should go to the lyricist Na.Muthukumar, because in all the four songs, it is not just the music but also the beautiful lines aptly written for the situation that helps to elevate the scene. Like the music, the lyrics also instantly stick to our mind. I feel no music could have registered the dilemma in Vinoth’s mind as convincingly as the words Unnai Thozhi enbadha, en Paadhi enbadhaa, Unnai Kaadhal Enbadha, En thedal enbadha. So are the lines for Natpinilae song. Adding beauty to the lines is Yuvan’s piano. Thathi Thathi is a very peppy tune. I felt the music really added a lot to this long funny scene without which the scene wouldn’t have had the same impact. The instrumental version of this song appears again when Divya falls in love with Aadhi. Vidamalae is heavily inspired by Rahman’s Salaam Bombay, but as I said before, what is important is that the music is apt for what Vinoth goes through at the moment and hence it works. The heavy rhythms are a perfect choice to sound the fire inside Vinoth.

Vinoth’s Destiny



So much happens in the climax and this music is a summary of it. The musical moment is when Yuvan brings in the canteen theme sung by an innocent female vocal when Vinoth understands that Divya has a soft corner for him and decides to let himself go. The chorus that follows is a mass for Vinoth’s death. It is a perfect closing piece for the romantic musical thriller. The music in these final moments makes the impact of the movie's ending to linger for a longer time.

Yuvanum GVPrakashum

Suddenly, it feels like Yuvan Shankar Raja has become this under rated composer, at least in the online music related forums or maybe I am not in those forums where they discuss Yuvan’s music. With Aadhi Baghavan and Moondru Paer Moondru Kaadhal, Yuvan does some interesting things. Yuvan creates these melodies that takes unpredictable turns phrase after phrase but never once loses its melodic grip and the melody almost always reaches finds its sweetest destination – catch the brilliance in Oru Thuli Vishamaai. At the same time, he cares for an Aahaa Kaadhal which is simple, straight, conventional melody that gently caresses the listeners’ hearts. However, sometimes, Yuvan takes this unpredictability aspect of the melody a little too far; he stretches it to an extent that you forget where it all began – say, the charanam in Mazhai Mazhai. It becomes like a sentence formed with too many punctuations and conjunctions, the core idea is lost somewhere. Further, in some such songs in MPMK, he is audacious enough not to add even a gentle rhythm layer that could help a listener catch the overall skeleton of the melody as and when it unfolds. Of all things, I like Yuvan Shankar Raja for he is probably one of the very few composers in Tamil Film Music now who cares to compose long instrumental interludes, which are more fascinating and musically richer than the song itself.

Composers of now are very good at composing sweet, sprightly romantic melodies, but fail miserably when asked to compose melodies for somber or dark moods. None of these songs are impactful, effective and doesn’t at all invoke the intended emotions in a listener. I used to go into this specific somber zone and remain dull for days together on listening to Naan Kadavul songs. Only such song I liked of G.V.Prakash is Or Mirugam from Paradesi. May be it is too early for G.V.Prakash to work in films of Bala or Bharathi raja. Even in Aadukalam, that En Vennilavae was such a bore. In Annakodiyum Kodiveeranum, I like Nariga oranga, though it reminds Rahman’s Kaattu Chirukki a lot. Aavaarankaattukkulla is lovely. Ghatam is the code Rahman cracked in Usilampatti Penkutty to invoke folk feel without ever entering Ilaiyaraaja territory, and everyone since then seems to be following the same code. And there are some parts of Annakodiyum Kodiveeranum that beautifully invokes Ilaiyaraaja – sample the soothing section that starts with Anji kuyil Koovaadho in Poththi Vechcha song.

Mankatha Music Review

So, Venkat Prabhu raised a voice for Yuvan Shankar Raja in Vijay TV Awards show. I haven't watched the show yet and I don't know what exactly he said. I don't know who other nominees in Best Music Category are, so don't know if not nominating Yuvan is a mistake. I, personally, liked Mankatha music. I wrote a review last year a month after the release of the album but never posted it in the site. Now, here it is.

When was the last time in the recent past we heard a theme music for a film, which when we hear even after a decade, has the ability to instantly flash the film’s name in our mind? I don’t remember any except Yuvan Shankar Raja’s Mankatha Theme. Of course, most of Ilaiyaraaja’s films have such theme music in the background score of the film, but they aren’t part of pop culture anymore. And that part-of-pop-culture quotient is a measure of the potential of the theme to become a favorite ring tone of millions of mobile users. The entire song Vilayadu Mankatha, which was released as a single much before the entire soundtrack album of the film was released (Harris Jeyaraj’s Lesa Lesa single started this trend), is built around this theme. The catchy trumpet theme has got the power, punch and the attitude. The soundtrack album also has an instrumental Mankatha theme which is based on this trumpet theme. Yuvan Shankar Raja plays a very tricky game with listeners with this instrumental track. It begins with string section playing the first half of the main trumpet theme. That is expected. That is the way to hint at a theme. You can’t play the complete theme instantly in the very beginning of the piece. That is a nice strategy to keep the listeners interested in the piece. We anticipate that after playing enough with the notes of the first half of the melody, the composer would lead us to a satisfactory end with the theme playing in its entirety at least once at an unexpected point before the track ends. While I was waiting for the composer to surprise me, Yuvan totally surprised me by not playing the theme in its entirety until the end. And that worked too. Well done Yuvan! Strings section plays some meandering phrases of melody and intermittently half-theme is hinted and it interestingly reaches another sub-theme that is exactly same as the second interlude of the song Yaar Solli Kaadhal Vandhadhu from film Padhinaaru.

With A.R.Rahman taken an oath not to invoke even faintest of Ilaiyaraaja in his music, there is only one composer in Tamil film music, who can bring together the honey-dipped brand of melody patented by Ilaiyaraaja with orchestral layers patented by A.R.Rahman. Yuvan does that quite brilliantly in Vaada Bin Ladaa from Mankatha. The relentless Synth bass layers, the Tabla beats that becomes a pickle to main course that is Techno beats, the Veena and flute pieces with a classical tinge that glides over Synth layers are all typical A.R.Rahman elements. The melody lines, especially in Charanam, travels tastefully on Ilaiyaraaja territory. Sadly, that which we could call Yuvan elements are in the irritating voice mix that cruelly butchers the singers’ (Suchitra and Krish) performance. Yuvan – we youth are matured to understand that it is hip song even without such unnecessary assault on singer’s voices and rendition.

Melody is all. The colorful Synth, peppy innovative rhythms, hook, symphonic orchestration, exquisite singing everything would fall flat is the melody is not right. And that Yuvan gets it incredibly right in Nanbanae song from Mankatha. The innately flowing melody carries within the pain of a betrayed love and adding to the heft of the emotions and serenity of the composition is Vaali’s musical poetry, which blends as one with the sonic contours of the notes in the melody. Yuvan elegantly layers the song with a single Synth layer for rhythm, a recurring motif that is as emotionally impactful as the main melody on string section and his vocal parts that sings a consoling coda to each of the main stanzas sung by Madhusree. The subdued cry in the song demands the shrill of Madhusree’s soprano voice. However expressive and exquisite her voice may sound, listening to Tamil in her tongue is a torture. To be fair, she is far better and tried her best to deliver the lines with right diction but it just isn’t good enough. The composers site all sorts of reasons for using singers who cannot sing in Tamil properly. They are confident of their melody that they don’t mind if people don’t understand few words in the song. We miss the inherent musicality of the language that brings its own beauty to the language of music. The new Government in Tamilnadu has introduced new set of rules for a film to get Entertainment Tax exemption. I request add 5% more tax, even if one of the songs in the film has a singer singing a Tamil song with terrible diction. Gangai Amaran once said, “Just because he is composing at Night, these guys are also composing at Night”.

Venkat Prabhu always likes to have at least one song in his film with 80s Ilaiyaraaja sound and feel. That Ilaiyaraaja sound is something which Ilaiyaraaja himself, for whatever reasons, doesn’t invoke anymore in his songs. For Chennai – 600028, he asked Yuvan to compose a song similar to Edho Mogam from Kozhi Koovudhu and Yuvan made Yaaro Yaarodu Ingu Yaaro. Ilaiyaraaja’s music in 80s is characterized by live orchestration. Goa also had it share of folk songs tuned and orchestrated in typical Ilaiyaraaja style. And then there was the epic “Idhu Varai” which while sticking to the ethos of Ilaiyaraaja’s music, stands on its own as a soft rock ballad. With live drums, unadulterated acoustic guitar pieces in the interludes, live strings backing and a melody that structure of which is inspired from Ilaiyaraaja’s “En Kanmani En Kaadhalan”, “Nee Naan” is that Ilaiyaraaja type song in Venkat Prabhu’s Mankatha. Any day, this is a soothing template to have in a song. The contour of the melody is interesting but it depends a great deal on the orchestration to achieve its goal, which is good. It is difficult to sustain the melody for far too long with short phrases stacked in quick succession, but Yuvan pulls it off beautifully here. The song does finally settle down to longer phrases when Bhavatharini’s part begins and takes on a breezy melodic path until the end with the main melody sneaking in now and then.

Venkat Prabhu asks Yuvan Shankar Raja, “Yuvan, I want a song like Sarajo Samaan Nikalo”. Here it is - “Machi Open the bottle”. “I want a song in 80s Ilaiyaraaja template”. Here it is – Nee Naan. I want a theme Hip-hop song for the Youth – Here it is Vilayadu Mankatha. I want a sensuous song – Here it is “Vaada Bin Ladaa”. I want a song like “Jalsa Pannungada” with an instant hook line. Here it is – “Ballelakka”. Hook is the keyword. In contemporary Hindi film music, almost every song is written with a hook line, which gets repeated throughout the song. Even in the soundtrack CD’s back cover, the songs are titled, not with the line with which the song begins, but which the song wanders and meanders all the way to hit - the punch line, the hook. Fortunately, this isn’t a trend in Tamil Film music yet. Such songs have meandering and middling melodies that takes path leading to that one Hook line. It is the hook line that is important. Even if Tamil film music composers go for such hook phrases, the other parts of the melody are also given equal importance. Thankfully, in “Ballelakka”, the main melody is as interesting as the hook. The other most interesting aspect of the song is playing the hook with a marriage procession band. Despite being a part of Tamil Culture, we don’t find brass and rums of marriage procession band in our Tamil films songs. This is very welcome. The hook sounds even better on the trumpets of marriage procession band. When was the last time we heard a full length song in Tamil Cinema that used the format of marriage procession band? Deva’s “Vennilavae Vennilavae Vekkam yaenamma” from Kaalamellam Kaadhal Vazhgha I guess.

One can find two types of remix songs in a newly released Tamil Film soundtrack CD. It could be the remix of an old classic song or it could be the remix of the new song composed of the films’ soundtrack. I could understand the need to remix an old classic song but I don’t know why there should a song and its remix should feature in the Soundtrack CD of the film. In Hindi Films, they include such remixes before most of the time promotional videos are shot mainly shot for the remix songs. It would be played repeatedly on all Hindi film and music channels. Tamil Films are hardly promoted this way. Kamal Haasan tried promoting Nalathamayanthi with a promotional music video featuring him shot for an original song and not remix. The remix of the song from the film never feature in the film, not even in the end credits. So, I don’t understand why these songs are there in the CD. There is nothing interesting in Vilayaadu Mankatha Dance mix (by Premgi Amaran). Increase the tempo and add technical beats you get a typical remix. A dance remix is meant only for dancing and not for listening. Fair enough. I shut my case. What else could be done in a remix? Probably, it is time someone did and showed us.

Mankatha Background Score

The catchy trumpet theme has the power, punch and the attitude needed to back a charismatic hero, which Ajith is in this film. Yuvan Shankar Raja plays a very tricky game with listeners with this instrumental theme. It begins with string section playing the first half of the main trumpet theme. That is expected. That is the way to hint at a theme. You can’t play the complete theme instantly in the very beginning of the piece. That is a nice strategy to keep the listeners interested in the piece. We anticipate that after playing enough with the notes of the first half of the melody, the composer would lead us to a satisfactory end with the theme playing in its entirety at least once at an unexpected point before the track ends. While I was waiting for the composer to surprise me, Yuvan totally surprised me by not playing the theme in its entirety until the end. And that worked too. The theme always ends the moment it hits its peak note. Maybe, that is to imply the infallibility of the hero, because the second half of the theme actually descends down from the high point the theme reaches in the middle. This theme is used throughout the film whenever Vinayak Mahadev (Ajith) makes a surprise entry or does something unexpected in a scene. There aren’t many variations of this theme in the film except the one with additional heavy Rock Guitar layers and it plays in a crucial scene. The other important theme in the film is the strings-heavy heist theme which is used throughout the episode in which the Heist is planned and executed. Obviously, it is inspired by scores of various Hollywood action films, but sounds quite catchy and effective in this film. A piece with prominent brass section backed just by Tabla beats is used for a comical situation in the film. It sounds quite fresh and totally in sync with the situation for which it is used. Yet again, after Saroja (the Car toppling scene) and Aaranya Kaandam, Yuvan plays a western classical piece (or is it an Original composition?) for an action scene in this film too. Our film makers or sound designers are yet to learn their lessons when it comes to mixing the score with the film. As always, it is too loud in Mankatha too. Between, Background score assisted by Karthik Raja, Bhavatharini and Premgi Amaran it seems. Whatever that means!

Some of the cues from Mankatha Background Score

1. Trisha Intro

2. Tabla for Trumpet

3. The Spy

4. Hangover

5. The Heist Theme

6. Mankatha Theme

7. Violence Symphony

Avan Ivan Background Score

Avan Ivan is Bala's worst film. Yuvan Shankar Raja has done his job right. Listen to some of the cues I liked in the background score of the film.

Opening Credits

Highness

Unlock

Love Theme

Ombodhu

Aaranya Kaandam Background Score

Aaranya Kaandam is a Yuvan Shankar Raja Musical. This film cannot be what it is without this score. The background score is intrinsically woven into the design of the visual narrative. The film throws up a challenge for a composer and Yuvan Shankar Raja lives totally up to it and How! I do not remember the last time I heard so many different genres of music in the background score of one film (Thiruda Thiruda?). And yet none of them sounds alien to the film’s universe. There are distinct themes for all principal characters of the film. The themes do not undergo many variations through the course of the film, but recur aptly at the right moments. However, the main theme of the film is a Chord and not any melody. Yuvan Shankar Raja is in a hugely exciting phase of his career. He is the only composer in Tamil Cinema now, whom all kind of filmmakers approach for all kinds of films (low or a high budget, stars or no stars, commercial or art). He cleverly caters to each of their demands in the way they ought to be. Now, for Aaranya Kaandam score, Yuvan Shankar Raaja, Take a Bow and release the Soundtrack CD as you promised me on twitter.

Needle Drops

Is Ilaiyaraaja doing the background score for Anubhav Sinha’s “Ra.One”? He definitely is doing one song in the film about which Sukhwinder Singh has given an interview. I don’t think Ilaiyaraaja would agree to do only one song in a film and so there is a good chance of the news about him writing the score, being true. I heard that it is a science fiction film. If Ilaiyaraaja is doing, it is going to be Budapest Symphony Orchestra again and as it is a big budget Shahrukh Khan Film, there is a very good chance of background score getting released in the soundtrack CD. Let us wait and watch.

It is confirmed. A.R.Rahman is doing the background score for Danny Boyle’s next “127 Hours”. Matt Dunkley - the Orchestrator, has posted a message in his webpage that he is orchestrating and conducting A.R.Rahman’s score for 127 Hours in London.

August 2010 - orchestrating and conducting A.R.Rahman's beautiful score to Danny Boyle's new movie "127 Hours", which will close the London Film Festival.

Matt’s response in Facebook about the score -

"It's beautiful as always - with electric guitars mixed in with orchestral strings and samples. No songs as far as I know - it's more subtle under-score fitting the subject matter of the movie, which deals with one man's triumph over adversity and the power of the human spirit"

Now, the trailer is out with A.R.Rahman's name in the credits



I saw “Naan Mahaan Alla” on a cam-rip and therefore cannot comment on Yuvan’s background score as a whole. Even in that dirty, small sized cam-rip I saw, the film is thoroughly engaging. I ripped two themes that I could hum on the very first viewing of the film. Here they are

Naan Mahaan Alla – Villan Theme and Title Music

Naan Mahaan Alla – Love Theme

Score Quest Fest Answers

Score Quest Fest

Track 9 is from Punnagai Mannan. Composer – Ilaiyaraaja. I like to call this piece the prelude to the popular love theme. It appears when Kamal is deeply disturbed by the hallucination of him dancing with Revathi and angrily hits the Piano. It is a short piece with a beautiful melody and counter melodies.

Track 10 is from Raam. Composer – Yuvan Shankar Raja. It is the title score of the movie in which the scene takes us through every little detail of the place of crime. Yuvan uses a background score cue from the 7G, Rainbow colony and shifts to a new theme as the visuals shifts to the crime scene. I don’t remember where else the theme is used in the film as I didn’t like the film.

Background Score - 61 Is From

This piece is main theme of Mounam Pesiyathey. Composer – Yuvan Shankar Raja. It seems to be quite popular theme music. No one gave a wrong answer on this one. This piece is yet another sample showcasing Yuvan’s interest in doing background scores. A very breezy romantic piece it is. It is introduced right up in the title credits of the movie and again appears only after Surya falls in love. Listen to other versions of this beautiful theme in the videos below

An Itching Thought

In ‘Saroja’, there is a scene in which one of the characters is getting introduced is shot and edited like that of a daily soap. The background score in the scene was exactly was like that of daily soap rich with loud bangs and strings for each reaction shot which further enhanced the feel. When I first saw the movie, I did not know that the character who is being introduced is playing the role of a Television actor in the movie and I was wondering about where was his mind when the director Venkat Prabhu was shooting the scene. It was a well executed episode to fool the audience. In that scene, the background score that aptly imitated that of daily television soap played a very important role in fooling the audience.

But in a movie like ‘Luck By Chance’, where we clearly know from the very beginning that Konkana Sen is a small time actress who is doing these miniscule roles in movies, what is the necessity to use background score that is composed so authentic to the period and genre of the movie being shot inside the movie?

Listening Kadhal Konden

It is one of those few Tamil movies and the first one, the complete background score of which, was released after the movie's release. I don’t really know if Yuvan Shankar Raja’s background score was seriously noticed before "Kadhal Konden", at least I didn't. It also has got something to do with the director Selvaraghavan who with his subsequent movies proved that he is one of the few directors who understands the importance of music and especially the background score in movies. I picked to write on the background score of 'Kadhal Konden' because I was able to put this together without even watching the movie again. When I listen to the OST CD (which doesn't have a descriptive title given to each track) the scenes start to play out to its minutest details and emotions in my mind. Creating such an impact on the audience with the background score is difficult. Considering the track record of Yuvan’s 'inspirations', I am not sure whether the background score pieces used in this movie are genuine and original compositions of Yuvan but what is more important is that they fit every single frame of the movie to T.

“Kadhal Konden” is about the life of Vinoth who goes through a varied range of emotions. It demands a wide variety of sound in the background score to create a sound scape of Vinoth's varied moods and emotions. No single theme can bring in all these mixed feelings of a character. Yuvan has gone in for a variety of motifs, and it is good that no single theme is derived from the melodies of the songs in the movie. Furthermore, these background score pieces are also enjoyable as standalone tracks. But I want to emphasize that music, even if catchy, if not relevant to the scene and if it doesn't add that extra something to the emotions in the scene is of no help as background score material. In Kadhal Konden, each music piece has achieved its purpose by being such an inherent part of the movie experience and it goes far beyond from sounding just catchy. In his father’s style, Yuvan Shankar Raja has gone for a live orchestra with dominant usage of strings section, flute and piano to orchestrate these themes and this orchestral richness helps in enhancing the involvement of a viewer in the movie. Let us go on a sympathetic journey into Vinoth's life through Yuvan's score.

Vinoth’s happiness – This theme got released along with the songs - as “Kaadhal Konden theme” - even before the release of the movie. I thought Yuvan was going to use the same theme with different orchestration throughout the movie but fortunately, he didn't. As I told, every single scene or emotion of Vinoth has its own theme and its own pattern of development as the movie progresses. This theme is such a vibrant and enthusiastic piece with a peppy rhythm and tune that is perfectly in synch with how Vinoth feels after kidnapping Divya. He dances with so much joy and adding a thumping energy to this joyous moment is this theme's addictive rhythm. The real master stroke is the usage of this theme in the clash between Vinoth and Aadi in the climax. It goes on to prove how far Selvaraghavan has gone in conceiving the scenes in the scripting stage with music in mind. It is one of the movie’s highlights. It perfectly suits the climax action sequence and the reason being Vinoth's passion and undying hope for a happily ever after life with Divya, as he kicks Aadi with mad wild enthusiasm.

Vinoth’s Excitement and Mystery – It is heard when Vinoth enters Divya’s room for the first time. He is so excited to see the luxury and richness of the room. Vinoth rolls over her bed and does all crazy things like a kid. Yuvan bursts out with a grand orchestral burst piece at the start as if some grand palace is being shown (in the eyes of Vinoth, even this small room is a palace). The strings playing a theme in high tempo to punctuate the high speed actions of Vinoth and flute piece playing a pleasant melody to add an innocent flavour together conveys everything sp that what is conveyed to our ears is exactly in synch with what is conveyed to our eyes. The mystery part comes when suddenly Vinoth starts to behave strangely. This music cue with serious notes on strings implies the mystery behind Vinoth. I like the way the mystery part played slowly on strings gradually moves to a solo flute piece that sounds Divya’s sympathy towards Vinoth. This kind of seamless transition and blending in synch with the cuts and emotions on the visuals is very important for an effective background score.

Vinoth - An alien - The uneasy look of the other students, the mix of feelings like nostalgia, fear and embarrassment of Vinoth are well brought out in this theme. The slow beats in the background sounds the hesitance in every step of Vinoth as he walks into the classroom and finally it ends with a very unique mandolin sound playing some Arabic notes, as Vinoth opens a window of the classroom. I don’t know who decided to go for music in the background for this scene, because it would have worked even without music or with just few chords on strings, but such a complete theme linking every single happening in the visual takes it to next level.

Vinoth uncomfortable with Urban life - This piece appears when Vinoth's impatience and intolerance with the way people live in cities is emphasized. The mysterious piano start, a strange err… sound (quite terrifying) and the fast running strings when Vinoth runs away from the ugly city people, are all put together nicely for implying Vinoth’s discomfort.

Divya speaks to Vinoth – Yuvan gradually raises the pitch of the theme in every next phrase of melody that is playing on a huge string section to sound how Vinoth’s excitement level and emotions are rising from inside. It is one of the most emotional pieces of the movie that perfectly adds a waltz-like rhythm to the emotional beats of Vinoth's heart at that moment. One may complain that the music is so loud in this scene, and it overlaps with what Divya is speaking to Vinoth. But I think this is deliberate. Divya talking to Vinoth is more important than what she talks to him. When Divya approaches Vinoth, we already know that she has accepted him as a friend and she is going to repeat what Vinoth was talking alone. So it is not the words of Divya that is important in the scene, instead it is the emotions of Vinoth. But when director makes Vinoth dumb and shows just his eyes with the images in his spectacles silently speaking for him, it is the composer who has to add a voice and sound to Vinoth’s emotions. And Yuvan has done it so perfectly in this scene. You can listen to the same cue in one more place in the movie when Vinoth does some tricks to bring all the necessary things for Divya to make her feel comfortable in the forest. Now, it is Vinoth’s turn to surprise Divya. This time, the theme is for Divya’s surprise.

Vinoth and Divya in canteen – This is one of the beautiful and difficult scenes in the movie where there are no dialogues but just the minds of Vinoth and Divya silently speaking a strange language. The music plays a vital role here with flute, piano, guitar, mild strings and vocals alternatively performing beautiful melodies matching the cuts in the scene. Every single look and variation in the actions of Vinoth in the scene is perfectly punctuated by switching the beautiful romantic theme on various instruments. The flute and female vocals bring in all sympathetic sound needed. This theme can be termed as the love theme of Vinoth as this is where he first gets acquainted with Divya and also the variations of this theme are used for many other scenes in the movie.

Vinoth in the symposium – This piece starts mildly and hesitantly with the strings sounding Vinoth's hesitation to speak before a huge audience in the symposium. Slowly the strings come forward to play the notes more boldly, when we come to know that Vinoth has started to speak confidently, leaving all the inhibitions behind. The oboe piece is beautiful in this theme, and gives a sort of a victorious sound and the highpoint is when slowly the strings paves way to the haunting flute piece (the canteen theme) for Vinoth hugging Divya, as Vinoth shares the moment of pride and joy with her.

Vinoth’s Disappointment – This piece is heard just before the intermission when Vinoth comes to know that Divya is in love with Aadi. It starts with a sad solo violin version of the love theme (Canteen theme) which slowly moves to a more emotional flute piece with strings providing ample emotional support from behind. Also percussions are added aptly at right places like thunder in the already storming heart. The percussion beats synch with the shots of shutting doors of the shops around Vinoth as though the whole world is again closing down putting him in the same old lonely zone.

Vinoth’s Childhood – This piece is a story told in music. I am just going to list the images crossing my mind when I listen to this music (please note, last time I saw the movie was almost 2 years back). The piece starts with sad strings playing for Vinoth being sent as a child labor to a factory by his mother. Then follows a sad melody played on a vibraphone, the very sound of vibraphone brings in the image of kids and the sad melody suggests that they are being tortured. Slowly the flute takes over (which could be easily mistaken as an Illayaraja composition), the haunting flute sounds the sweet acquaintance of Vinoth with another girl working in the same place and the following female vocal suggests the longing of kids to live a free life, (as they watch kids playing happily with their parents outside), then suddenly after a brief mysterious piece suggesting that something wrong has happened to that girl, a sad chorus bursts out for her painful death and more than her death the music is for Vinoth, who has become all alone again. Then the sudden transformation to somewhat relaxed mood happens with the sound of the very first note of the flute suggesting the freedom of kids, the percussions that follow are for Kids escaping and the flute theme along with strings playing a very pleasant melody suggesting that the kids are finally free and flying away like butterflies. Do I need to say anything more about this piece? Just experience it for yourself.

Very rarely does surprise small songs which were not previously released in the soundtrack makes so much impact on very first listening. And the due credit should go to the lyricist Na.Muthukumar, because in all the four songs, it is not just the music but also the beautiful lines aptly written for the situation that helps to elevate the scene. Like the music, the lyrics also instantly stick to our mind. I feel no music could have registered the dilemma in Vinoth’s mind as convincingly as the words “Unnai Thozhi enbadha, en Paadhi enbadhaa, Unnai Kaadhal Enbadha, En thedal enbadha”. So are the lines for “Natpinilae”song. Adding beauty to the lines is Yuvan’s piano. “Thathi Thathi” is a very peppy tune. I felt the music really added a lot to this long funny scene without which the scene wouldn’t have had the same impact. The instrumental version of this song appears again when Divya falls in love with Aadi. Vidamalae is heavily inspired by Rahman’s Salaam Bombay, but as I said before, what is important is that the music is apt for what Vinoth goes through at the moment and hence it works. The heavy rhythms are a perfect choice to sound the fire inside Vinoth.

Vinoth’s destiny – So much happens in the climax and this music is a summary of it. The musical moment is when Yuvan brings in the canteen theme sung by an innocent female vocal when Vinoth understands that Divya has a soft corner for him and decides to let his life go. The chorus that follows is a mass for Vinoth’s death. It is a perfect closing piece for the romantic musical thriller. The music in these final moments makes the impact of the movie's ending to linger for a longer time.

Answer for Background Score - 48

This piece is from Kanda Naal Mudhal. Composer – Yuvan Shankar Raja. This is the main flute theme of the movie which Yuvan beautifully puts to use throughout the movie maintaining and adding to the light and feel-good factor in it. After Nanda, I think this is the movie where Yuvan used flute to the maximum for all kind of emotions.

Answer for Background Score - 42

This piece is from Paruthiveeran. Composer - Yuvan Shankar Raja. It is the main love theme. It is so refreshing to listen Duduk instead of high pitched flute being used in a movie set in interior village and surprisingly it didn't sound alien. But I guess the melody of the this piece is heavily inspired one and an extended version of one of Illayaraaja's comic themes written for a hilarious Baghyaraj movie. Any guesses?

Yaaradi Nee Mohini Score

A new version of ‘Yaaradi Nee Mohini’ soundtrack is out in the market with the some of the songs repeated in different singer’s vocals, remixes of ‘Paalakattu’ by Dharan and D.Iman and five background score pieces from the movie. The collection of background score pieces is not as exhaustive as it was in Kaadhal Konden and 7G, Rainbow Colony, where it covered almost every small music piece written for the background score of the movie.

This soundtrack has got 5 background score pieces. ‘Person is a looser’ is the song with which the movie starts, Theme 1 is used when Dhanush gets confidence to face the interview after he sees Nayanthara standing on the other side of the glass window, Theme 2 is when he works hard to solve the system crash problem, I couldn’t guess the place exactly where Theme 3 is used, Theme 4 appears in the end credits. My favorite cue from the movie is a very funny Punjabi bit written for Nayanthara’s sister, which matches so well with her actions. And the main family theme of the movie is missing. This soundtrack seems to be a half-hearted effort made primarily to cash-in on the films success.

Answer for Background Score - 30

This piece composed by Yuvan Shankar Raja is from ‘7G, Rainbow colony’. This beautiful orchestral piece adds a serene touch to the love making scene that immediately follows ‘January Matham’ song. The orchestration sounds heavily inspired by 'The Beautiful Mind' score by James Horner.

Plagiarim or Inspired?

Listen and decide it for yourself.

Illayaraja - First Interlude piece of the song 'Manathilae Oru Paatu' from Thaayam Onnu



Yuvan Shankar Raja - Katradhu Tamizh Love Theme

Answer for Background Score - 23

This piece is from Katradhu Tamizh (Tamizh MA), composed by Yuvan Shankar Raja. A deeply disturbing piece used as love theme throughout the movie.

Answer for Background Score - 12

Yes. This piece is from 'Poovellam Kaetuppar'. It is the love theme of Surya and Jyothika. It is used throughout the movie. A beautiful romantic piece and all its variations are well orchestrated. Good to know that many remember this BGM from a not so good movie.

7G,Rainbow colony and Michael Nyman connection

Theme from the movie 'The Piano' composed by Michael Nyman



A theme cue from the movie '7G, Rainbow Colony' by Yuvan Shankar Raja



one of many reasons why I can never keep Yuvan up in the list with IR and ARR....

More to come in this 'Plagiarism' section