Ilayaraja instrumental music movie#

After that, she did not sing for any Tamil flick. So, the role of the maestro Ilayaraja is unmissable.

Ilayaraja instrumental music movie#

вЂњThe Engirundho Azhaikkum song in the 1988 movie En Jeevan Paduthu was also a melody and music was again by Ilayaraja. вЂњThe lyrics was by Gangai Amaran and the Aararo song was such a fantastic melody and it was Lata MangeshkarвЂ™s first song in Tamil.вЂќ While Sivaji GanesanвЂ™s family was instrumental in making her sing for a Tamil song for the first time, Ilayaraja played a key role in making it happen, he said. вЂњHer first song in a Tamil movie happened in 1987 and it was Sivaji ProductionвЂ™s Prabhu starrer film Anand and music was composed by Ilayaraja,вЂќ Bharat said. Though Lata Mangeshkar had sung Tamil songs right from the 1950s these were for a couple of Tamil remakes of Hindi films and were not much noticed, the film critic said.

His songs are best left alone, not to be tweaked.SPB brilliantly equalled her and the marvelous music composition by Ilayaraja and great choice of smart, rhyming words by ace lyricist Vaali and the energy shown by Kamal Haasan and Amala on screen has all made the вЂValayosaiвЂ™ song an вЂeverlasting duet,вЂ™ he said. For while you listen to the original track you might look at scope for improvements but when you do try improvising the output is unexciting. That is perhaps the reason why while you remix his song it still doesnвЂ™t come close to his original. Its astonishing considering his music bank has over 6000 songs. Most of his songs can be simply identified with an interlude or a prelude. We can easily have over 10000 new tunes with his preludes and interludes alone. Imagine this for over 10000 preludes, interludes, themes or BGMS that would take ones breath away. Violins and flute dominated most of his interludes yet every interlude carried its own characteristics rarely crying attention of a repetition.

The instruments never tried to sing nor did the singers try to sound like an instrument. Overall the tenor of the song from the beginning to the end never wavered. He never let musicians and singers overlap, his preludes and interludes were for his creative best with instruments and while the singers took centre stage, he let the rhythm play, never for once letting the instruments override the singers. His objectivity in composing is very ordered. His signature preludes and interludes will defy time generations to come. He never would slip in an instrument as an element of surprise in the ensemble already decided. He was no magician, for he by no means believed in tricks. On the whole the song would retain the flavor to its end. Only in isolation would the pieces be deciphered. A rich folk song would be layered with delightfully crafted western pieces that in no way cluttered the nativity of the song. In an era and subsequent as well, where fusion music meant mixing of two genres like oil and water, IRвЂ™s blend of Indian and western music was so flawless and sonorous. He is undoubtedly the virtuoso recitalist when it came to fusion music. ItвЂ™s the novices who would call him folk king, for his understanding of western music is very profound. Mystifying is his ability to structure a song in his mind and to write the notes for it to be played by the musicians later. While composers before and after him composed the traditional way creating tunes and orchestrating it later, IR wrote music for his tune. Its more than tempting to call him the most вЂњCompleteвЂќ music composer.