In the second interlude, towards the end, you will hear the flute and guitar playing simultaneously. I must highlight some of the finer technical details here. The same rhythm pattern of the trumpets was used by Ilayaraja to compose the first line.ģ) Ithuoru pon malai from Nizhalgal – Tamil: The chirping of the birds and everything else in this song makes this a delightful number sung by S P Balasubrahmanyam. After the first few lines by SP Balu, the prelude music starts with guitars and violin and ends with the rhythm pattern by the trumpets. But, the highlight in my view is the opening line “Panivizhum malar vanam” which is set to a rhythm pattern! Ilayaraja took a rhythm pattern and built a melody around it. The use of chorus in this fashion was the innovation in the early 1980s.Ģ) Panivizhum malar vanam – Ninaivellum Nitya – Tamil: Again there are several outstanding features in this song – the use of guitar, violin and the flute as individual pieces and together.
#Best ilayaraja songs full
You have to listen to this song at full volume in a closed room to feel the magic of the chorus.
It appeared that Ilayaraja used chorus as a replacement for typical musical instruments. The many uses of chorus effects by Ilayaraja will take up several blog posts! However, in a majority of the cases, the chorus adds a magical and haunting effect to the song. The chorus adds a special dimension to the entire song and elevates an outstanding song to a magical level. But the one feature that stands out is the use of chorus. So here goes:ġ) Poonthalir aada from Paneer Pushpangal – Tamil: This song has many outstanding features – the use of guitar, lovely rhythm, humming and of course a melodious tune. I wanted to highlight as ‘special’ only a few of the 12 songs, but ended up with 10 specials. The player will continue to play Ilayaraja’s songs in the current window while you are browsing) ( A tip to enhance your listening pleasure: When listening to the songs in any of the players, if you want to browse further on this site or another one, open a new window for further browsing. Click the play arrow below to enjoy the creativity and novelty in his songs. You can also skip songs, but it limits the number of times you can skip. If you are in the USA or Canada, you can also enjoy the songs on the player below. Just close your eyes, visualise the imagery he creates with his music and enjoy the beautiful effects from the playlist below. Ilayaraja’s tunes were way ahead of time and the accompanying visuals were very poor and in quite a few cases, bordering on the ridiculous and laughable.
As in the previous posts, I will not advise anyone to see the visuals of these songs. It should be easy to identify and relate to the song, regardless of the language. This is primarily because most of the movies are made in both the languages. Most of Ilayaraja’s tunes are the same across both the languages. I have created this mix of 12 songs from Tamil and Telugu songs. We need to understand the finer technical details to understand the novelty that Ilayaraja brought to his music. However, as an exception, I will delve into finer technical details in only two of the following songs. I am not delving deeply into the finer inner technical details of the composition, arrangements, lyrics or the raga base. I am trying to share the enjoyment of film music from the ‘outside’ by following the contours of the tune and feeling the effects of the orchestration and vocals. However, in this post, I will highlight the experiments, innovation and the ‘newness’ that Ilayaraja brought to film music. Invariably, his tunes have great arrangements and something ‘new’. As I keep mentioning, it is very difficult to separate the great orchestration and the innovation in his songs. In the earlier two posts on orchestration (links given below), I highlighted distinctive features of Ilayaraja’s orchestration.
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