Blog trivia

If you are visiting this site for the first time, it is important to read this post. The intention of this blog is to present arguments in a pre-determined sequence. OLDER posts are actually NEWER posts within a month. As I keep adding new posts I change the time stamp to an earlier time so that you can read the posts in sequence. If you notice, all the posts within a month have the same date. Only the time stamp varies. Newer posts have earlier time to help you read in sequence.

If this site interests you and you want to read the earlier months (I would recommend starting from month 1 before reading month 2) start from the earliest month. I have ensured that within a month the posts are sequenced properly.

For those visiting this site regularly, please treat this as a small nuisance and continue reading!

For regular readers: I ran into issues with Google shifting their googlepages and as a result, some of the interludes in 2008 stopped working. I have fixed all of them. I still have a few issues with the other provider that I need to fix. To the best of my knowledge, 4 clips still do not work. I will get to them ASAP.

Thanks

Ravi Natarajan

Raja's rhythm innovation stage 14

This requires using only voices as rhythm for an entire track.

It is next to impossible to keep the listener interested with just voices still honoring all the constraints of a film music composition. You do not even have the freedom of an instrumental interlude. In other words, you need to have voices for rhythm, voices for interludes and the main melody obviously uses voices. It voices all over and yet, you need to still keep it interesting. This is the toughest experiment any composer can engage in. Raja comes out with flying colors with his track Naan Poranthu Vandhadhu from Maya Bazaar (1995). The rhythm backing with voices by Mano is very impressive. Raja has used choruses in most places and the melody is so pleasing.

Notice the pace of the voice based rhythm backing of the charanams – it is not blindly set at the same interval – Raja has carefully thought through the rhythm lines, written it and carefully orchestrated it. This is an orchestration nightmare – you need the right voices, the right pitch, the right intervals and total coordination between the chorus singers. This is not something where you can mask errors under a heavy bass guitar or strings – there is only one option – perfection! Raja has not compromised in any way because of his use of just voices – the song has its interludes and the interludes are different from each other. In the charanam, the voices back the main melody and the song has a nice prelude and a postlude too. Raja uses even laughter as music! In most the tracks that involve vocal harmony, Raja is invariably involved in the singing in some parts at least (he does it even in Nandhalala (2009) tracks), and he does it with this track also.

Some parts of the prelude are violin lines sang between the female and the male voices. The bass lines are beautifully executed using voices. In the first interlude, after Raja sings his phrases, there is about 5 seconds of outstanding simulation of a lead and bass guitar by just voices – that’s a master stroke. This is repeated in the first 5 seconds of the second interlude too. However, this time around, you have female voices too. The female voice is also used to simulate typically a phrase where Raja would use either a trumpet or shehnai.

Please observe the laughter of a group that Raja uses at the end of the track. The pitch of the laughter keeps swinging – goes a notch below and then a notch high and then a notch below. Those who understand conducting will know that getting these three phrases to perfection is a nightmare.

In my view, this one track is enough to demonstrate the grasp that Raja has with Western harmony when it comes to voices. If I ever have to prove the genius of this man with just one track, I will just go for this one! The track proves the composer’s mastery over rhythm, harmony, melody, arrangement and total commitment to perfection. Now, who can set the bar higher than this?

Let's hear the master stroke from the genius. I have the second interlude, charanam and the third pallavi in the below track. You will also be able to appreciate the sweat that has gone into the conducting of the laughter too. I will leave you with this track, as it speaks more than any words can...

A humble request to Tamil pundits!

The approach that we took to analyzing Raja’s rhythms is by no means all encompassing. There are several rhythm innovations that Raja has demonstrated in his 5000 odd tracks that no ONE method can capture it all.

For instance, our approach does not capture some very complex rhythm experiments that Raja has done with time signatures: example, Thappu Thakilu MeLam from Manjeera Dhwani (1998 Malayalam). Or his heart beat rhythm experiment with the song Om Namaha in Geetanjali (1989 Telugu). Or his lap tapping rhythm of Paruvame in Nenjathai Killathe (1981). Or Thatharam from Guru (1997 Malayalam). Recently I uncovered a devotional film song where Raja has used some amazing rhythm arrangement. I am not touching on usual cinematic stuff such as a moving train’s, or bottle sound being used as rhythm – too many MDs have done it (it’s easier to list ones who haven’t). The point is, if you approach the subject from a different angle, you are bound to uncover a lot more.

I am no great expert in Tamil, but someone who has the basic ability to read, write and speak the language. The Tamil language has evolved well with modern times and has adopted a number of technical terms such as email, web, genetics etc, to varying degrees of success. While some of the Tamil language equivalents have gained traction, others are rarely used and speakers switch to their English equivalents quickly.

I looked for the word ‘innovation’ and most translation available online truly suck. Most of them consider innovation as newness, which is incorrect (example, புத்தாக்கம்). While there are too many definitions in English for the true meaning of the word innovation, this definition, coveys the meaning very well:

Solving old problems in new ways

Now, how do you convey this message in Tamil – ‘Ilayaraja’! My humble request to Tamil pundits is this – please, do not reinvent the wheel. Everyone who speaks the Tamil language will understand the true meaning of this word if you heed to this suggestion. Gramatically you are breaking some rules by making a noun into a verb – but isn’t that what innovation is all about? Is it not what Ilayaraja has done all his life? – understand the rules very well, only to break them! And the pundits should act fast before ‘ilayaraja’ becomes synonymous with innovation in ‘malayalam’, or ‘telugu’ – that should be embarassing!

We will get back to the topic of rhythms at a later stage covering off some rhythm instruments and Raja’s work on poly rhythms.

Fusion Demystified

I am sure some of you get lost with ‘knowledgeable’ Raja fans bragging about the fusion Raja does between various schools of music. These pundits use a lot of technical terminology of ‘ragams’, ‘scales’ etc, that you are not able to connect with. When they tell you about ‘Ninnukori’ or ‘Thoongatha Vizhigal’ from Agni Natchathiram (1989), you are lost as all you hear is a nice tune with heavy westernized rhythm work. However, you have a keen ear and can at least tell a folk number from a Western number or from a Carnatic number.

Raja has done great service by demonstrating what fusion is so that a lay person can easily comprehend. Here are four examples, where anyone who has a good musical taste (no formal training required) can easily understand how the various musical systems can beautifully co-exist. In other words, what musical fusion is all about...

Suramodhamu from Aditya 369 (Telugu 1991) is an excellent such number. To start with, the song sounds like Carnatic (set to Kalyani ragam) and towards the end, SPB jumps in and the rhythm arrangement switches from mirudhangam to drums. Even in the lyric, it talks about rock-n-roll! How did Kalyani become rock-n-roll? Let’s not worry about it. That’s fusion example 1.

Let's hear Suramodhamu ...

That was easy, wasn't it?

There is a duet version of Vanamellam Shenbagapoo in the film Nadodi Pattukaran (1992). This starts off with a female voice in a Carnatic setting (set to ragam Madhayamavathi) and everything goes with mirudhangam and the works that you are led to believe that you are ready for a Cutcheri. From the second charanam, SPB jumps in with full folk and the rhythm switches to a folk melody based rhythm! When did madhayamavathi switch to folk? Leave it to the master! That’s fusion example 2.

Let's hear Vanamellam Shenbagapoo...

Again, simple stuff, isn't it?

There is an unassuming song by Jayachandran which begins ‘Naadirukkum Nilamaiyile’ in Ullam Kavarntha Kalvan (1987). Raja freaks out showing what fusion is all about – the song starts off as folk, switches to Carnatic (set to ragam Shankarabharanam). Touches on Western phrases (rum bum tu ru etc.) and finally switched back to folk! He liberally uses tabla, mirudhangam, ghatam and also demonstrates various emotions - all in one song. That’s fusion example 3.

Let's hear Naadirukkum Nilamaiyile...

In the hands of the master, everything gets easier. He does not even fuss about it!

Another example where the fusion is very obvious is En Jodi Manja Kuruvi from Vikram (1986). The song starts off with a Western rhythm arrangement and stays that way till it gets to the second charanam. When SPB goes ‘Eru pidikum’, the rhythm arrangement is suddenly the tabla with typical folk type arrangement! It’s easy for anyone to see the difference in arrangement and how Raja fuses two schools of music so flawlessly. That’s fusion example 4.

Let's hear En Jodi Manja Kuruvi...

I am not going to repeat myself anymore. In these 4 examples, Raja shows how easily he can switch between the three systems he is an expert, Carnatic, folk and Western.

We must all thank this genius for taking the mystery out of the fusion business. All the four tracks appear so effortless for this gifted composer.

No more confusion about fusion!

Raja's rhythm innovation stage 13

This requires using a complex set of rhythm patterns with both Indian and Western rhythm throughout the track – all components of the track.

This is the stage that is hard to scale, as you must have a complete mastery over rhythm arrangement. In reality, when I heard a couple of tracks where Raja has demonstrated this level of sophistication, I started tracking backwards on a possible journey that Raja might have made to get here. This is dead serious experimentation, where you must have total control over not just writing music but conducting it very well with a talented orchestra. This is a stage of both genius and hard work. I am sure there are a few more tracks that Raja might have done this, but I am aware of two, one each from Tamil and Malayalam. The Tamil one is set on a jazz setting with a folk lyric and the Malayalam one for a dance set to a Hindustani flavored tune.

Thangakili Kaiyil Vacha from Manam Virumbudhe Unnai (1999) – this song is has a folk lyric, but set to a mix of jazz and folk style rhythm arrangement. Let’s dive a bit deeper into this track.

1. The track starts off with an unassuming prelude with SPB’s voice accompanied by no instruments. You have no idea of the experiment that follows.
2. The prelude and the pallavi are set to a jazz rhythm in western drums (W1) – the lyric is very folky. Let’s call this particular rhythm pattern as W1.
3. The interlude 1 is interesting – very modern jazz arrangement complete with trumpets, chorus. The rhythm pattern continues with the W1 arrangement from the pallavi for almost all the 30 seconds, but for the last 4 seconds. The composer has a beautiful transition with only claps as rhythm. Let’s call this W2.
4. The charanam 1 is a very interesting. The charanam is divided into 8 phrases. The first six phrases are set on a 6/8 Indian tabla arrangement (I3). For the last two phrases, the composer switches to an ultra fast jazz beat complete with the bass drum (W4). The transition between the charanam and pallavi is done by just adjusting the tempo of the jazz beat cycle. I have not heard another Indian film song that uses this jazz technique.
5. Interlude 2 is equally interesting. It starts off with a 5/8 Indian tabla rhythm arrangement (I5) for about 20 seconds. There is about 10 seconds of no rhythm with just play of synth and flute. The last 5 seconds, the composer switches the arrangement to a 5/8 jazz rhythm (W6) before turning control over to the charanam.
6. Charanam 2 works on a different meter for the Indian rhythm. Structurally, both the charanams are similar. The composer chooses a faster 6/8 arrangement (I7) for the first 6 phrases. The last two phrases are set to the same rhythm arrangement as charanam 1 (W4).
7. Pallavi 3 works on the same jazz rhythm arrangement as the other pallavis. However, the composer throws claps into the mix creating another rhythm pattern (W8).
8. In summary, here is the rhythm flow by the composer: W1-W2-I3-W4-W1-I5-W6-I7-W4-W8. In all, the composer has chosen 5 Western rhythm patterns and 3 Indian in a single track. The flow of the melody is in no way affected by this behind-the-scenes experimentation.
9. By now, it should be clear, what it takes to set this bar. He just reset his own bar higher by several orders of magnitude. In today’s world of loops and libraries, here is still a composer, who is innovative to the core!
10. You start wondering if this composition is Jazz or folk. Let's say it the Raja way: How to Name it?

Let's hear the prelude and the pallavi 1 of the track. Points 1 and 2 are applicable...

Let's next hear the interlude 1 full of Jazz, sax play followed by claps. Point 3 is applicable....

Let's next hear charanam 1, where the composer mixes the Indian and Western rhythm arrangement. Point 4 is applicable...

Let's next hear interlude 2, where the composer again throws another innovative mix of Indian and Western rhythm separated by some nice synth based counterpoint. Point 5 is applicable...

Let's next hear charanam 2, where the composer uses a slightly different Indian rhythm arrangement compared to charanam 1. Point 6 is applicable...

Let's next hear the final pallavi 3. The composer throws in some chorus, claps to complete the track. Point 7 is applicable...

Now, is this Rajazz or Jazzolk?

In Malayalam – Ghanashyama Vrindaranyam from Kochu Kochu Sandhoshangal (2001) is a mesmerising dance track. This is a track from the first Sathyan-Raja combination film. It is not clear what Sathyan had in mind when he narrated this song situation to Raja. Both the dance tracks in this film, Shivakara Damaruka and Ghanashayama Vrindaranyam can blow anyone’s mind for its orchestration. Let’s dive deeper into this track…

1. The prelude is completely done with synthesizer and is about 30 seconds and is backed by a drums rhythm – a slow 6/8 rhythm (W1). You get absolutely no inkling of the Raja experiment that is about to follow.
2. The pallavi is interesting to say the least. The pallavi has 6 phrases and the rhythm pattern alternates between Indian (I2) and Western (W3) in this fashion: I2-W3-I2-W3-I2-W3. It’s pretty easy not to observe this, as Raja arranges the transitions so smoothly that the melody is intact and unaffected. Note that there is no splitting of words to accommodate the rhythm intervals. That’s the work of a genius arranger and composer!
3. Interlude 1 is fully backed by the tabla. It uses two patterns, let’s call this I4 and I5. The second pattern I5 is set to a Hindustani flavor, when only the tabla plays.
4. Charanam 1 is structured with alternating rhythm patterns very similar to the pallavi 1. The charanam has 6 phrases. It alternates as W3-I2-W3-I2-W3-I2. Again, the flow of the melody is completely unaffected.
5. Pallavi 2 is set fully to Indian rhythm – I2. Please notice the way the transition from the charanam 1 to pallavi 2 is arranged – it flows as a continuous Indian rhythm (I2).
6. Interlude 2 is completely different from interlude 1. It starts off with a jathi recital by a male voice (Unnikrishnan?) which is backed by the congo drums (I6), followed by a flute and synth play followed by female humming.
7. Charanam 2 is structured with alternating rhythm patterns very similar to the charanam 1. The charanam has 6 phrases. It alternates as W3-I2-W3-I2-W3-I2.
8. Pallavi 3 is different from Pallavi 1 or Pallavi 2. The pallavi is repeated twice. The rhythm pattern for the first occurrence of pallavi is backed by mirudhangam (I7). The pallavi is backed by a loud bass drum and thimila (I8) for the second and final rendering of the pallavi.

The orchestration and conducting of this track requires several things: a) very talented orchestra b) extremely tight timing c) very good conductor and arranger and d) a genius composer with tireless energy.

With a melody such as this track, the composer could get away with a simple 6/8 rhythm and still deliver a hit track. This shows Raja’s commitment and an endless enthusiasm to experiment. You need to have imagination to set the bar so high, let alone achieving it.

This track qualifies for many of the stages that I have listed so far. The pallavi’s are arranged differently within the same song. The interludes are arranged differently. Only the charanam’s have a similar pattern.

In summary, here is the rhythm flow of this track: W1-I2-W3-I2-W3-I2-W3-I4-I5- W3-I2-W3-I2-W3-I2-I6- W3-I2-W3-I2-W3-I2-I7-I8. That’s Raja’s genetic code of rhythm arrangement for 4 minutes!

Let's now experience it bit by bit. Let's first hear the unassuming prelude and pallavi 1 with the mixed rhythm arrangement. Points 1 and 2 are applicable...

Let's hear interlude 1. Point 3 is applicable...

Let's next hear charanam 1 and pallavi 2. Notice that every phrase has a switching rhythm arrangement, very similar to the pallavi. Point 4 and 5 are applicable...

Let's finally hear the interlude 2, charanam 2 and pallavi 3 where the composer throws some more innovation into the mix. Point 6, 7 and 8 are applicable...

In both these tracks, Raja easily shows that he can easily throw 7 or 8 rhythm patterns into a song and create a very pleasing melody, folk, Jazz, dance song with a majority of his listeners not noticing. It’s hard to figure how this man is wired! I am sure that he is not making any extra bucks for this extra effort – he just gifts such gems for us to preserve!

Raja’s rhythm innovation stage 10

This requires creating a creating a charanam or pallavi with parts of it in two different Indian rhythm instruments.

Raja is famous for usage of several Indian instruments – especially the folk ones in film music more than any other composer. Only he can think of such combinations in such complex rhythm arrangement. Be prepared for a great ride!

Rasave Unnai Naan from Thanikattu Raja (1982) is an interesting track. The song’s lyric is set to folk but uses very sophisticated rhythm arrangement. The charanams in particular are set to a 6/8 rhythm with a combination of tabla and conga drums. The first 3 beats are on a tabla, a rest is followed by two beats on the congo drums and finally by one beat on the tabla.

The pallavi of the track Adukku Malligai from Thanga Magan (1983) uses three rhythm instruments in a vary innovative way – the conga drums, morocco, and the tabla to support the melody. As usual, Raja throws the mesmerizing flute as a bonus on the prelude…

Let's hear the prelude and pallavi of Adukku Malligai from Thanga Magan....



The pallavi of Varam Thantha Samikku from Sippikkul Muthu (1985) (Vatapatra in telugu – Swathi Mudhyam) uses mirudhangam and ghatam as rhythm for the pallavi. Now, how often you see such Carnatic rhythm instruments in film music?

The pallavi of the song Raathiri Poothathu from Dhayam Onnu (1988) is an interesting one. It is set to a 5/8 (kanda chapu) where it is organized as 3 beats on the congas, one rest and a beat on the tabla. The charanam is set to the standard 6/8 time signature. Why would someone think about a complex arrangement such as this beautifully supported by the bass guitar? It simply demonstrates his thirst for innovation and commitment to orchestration excellence. Though conga drum is not an Indian instrument, it was too good not to mention this track!

Let's hear the prelude and charanam of Raathiri Poothathu.Strikes me as a last minute decoration to a beautiful melody...



The track Puzhayorathil from Adharvam (Malayalam 1989) uses an interesting combination of drums and another percussion instrument (?) throughout the song.

Perhaps no composer has used folk instruments more than Raja in Indian film music. Example, Amman koyil - Aranmanai Kili (1993) uses urimi and thavil for this folk composition. There are hundreds of such Raja compositions and is hard to list all of them. I am sure other readers can quote many more examples as he is an expert with folk instruments.

Let's hear Amman Koyil...





Another good folk example - Kottaiya vittu – from Chinna Thai (1992) uses urimi and duffel for rhythm. There are three versions of this song in the film and the kids chorus version (Uma Ramanan) is the best from a rhythm perspective. As I mentioned in the moods section, Raja throws his shehnai liberally to this folk song. The same song is sung as a bit song by SPB in the film and that is arranged differently by Raja. The song has its prelude in ghatam and the pallavi (the track has no charanam) in tabla. Duffel and urimi – how many composers can think of a combo like this? The previous example was thavil and urimi! I recently heard this track played in one of the musical competition programs on TV. Synth pad and tabla would hardly cut it!

Let's hit the duffel and urimi melam in Kottaiya vittu...



The track Nenjukkule Innarennu from Ponnumani (1993) uses ghatam and claves (sticks that create a sharp sound) in its prelude and pallavi. Observe that there is a sad version of the same song in the film, where Raja avoids the prelude and uses a 6/8 tabla arrangement.

Let's hear the ghatam and claves in Nenjukkule Innarennu....



Vaaranea vaaranea vattamulla arakkan from Devathai (1997) uses thavil and duffel/frame drum and urimi in its pallavi. Another great folk example from Raja.

Let's hear the folk rhythm play of Vaaranea vaaranea vattamulla arakkan...




Chendakkoru Kolundada from Manasikkare (2003) uses a combination of Chenda (a popular instrument in Kerala) and the tabla throughout the pallavi of the song. Here is a visual and demo of chenda – (Chenda). You must be wondering what happens to this instrument in Raja’s hands.

Let's hear chenda and tabla in Raja's Chendakkoru Kolundada...



The track Marakudaiyal from Manasanikkare (2003) is another amazing track where Raja uses thimila (thimla info) and thavil throughout the pallavi of the song. Thimila is a type of percussion instrument that is popular in Kerala.

Let's hear thimila in Raja's Marakudaiyal ....



Trying out combinations of rhythm instruments is part of a composer's job. Some do it to a degree and others just excel at it. Rhythm combinations are just part of the Raja playground that is hard to match. Notice that it is not mindless application of rhythm combinations. They are carefully chosen to meet the background of the song in the film and does not in any way screw up the soul of the song.

Raja’s rhythm innovation stage 11

This requires using a single rhythm instrument, but using multiple patterns in a single track.

Annatha Aadarar from Apoorva Sagotharargal (1989) uses multiple tabla patterns through the song. The Prelude starts off with drums and congas and settles in a tabla rhythm. The prelude alone uses 4 rhythm patterns. The pallavi uses another rhythm on tabla. Interlude 1 uses two rhythm patterns and the first pattern is used very briefly. The charanam 1 uses 3 tabla patterns. Interlude 2 is interesting and it uses 2 more patterns, one of which is common with the first interlude but the initial drum pattern is unique. Charanam 2 is very similar to charanam1. In all, the track uses a total of 11 unique rhythm patterns!

The track Veetukku Veetuku from Kizhakku Vaasal (1990) uses multiple patterns within the same track.

Sandhu pottu from Devar Magan (1992) is an interesting track where the picturization demanded a track for a challenge to fight with sticks in a village setting. Raja chose two voices, one for the dialogues and another for singing. He goes further than that by throwing in a whole lot of rhythm patterns to make the track interesting. This is rated as one of the most difficult tabla work to play and you will never hear this played by any orchestra of the difficult tabla work. The prelude uses 2 tabla patterns. The 1st pallavi uses another two patterns. The first and second interlude uses a drums and tabla pattern. Both the charanams use a melody based rhythm and flows with the main melody. The dialogs of Kamal are backed with the Western drums. The last pallavi uses three tabla patterns. There are at least 8 tabla patterns apart from the drums work in this track.

Vanam Ellam Shenbagapoo from Nadodi Paatukaran (1992) is an interesting track The prelude alone uses at least 3 tabla patterns before the song begins. The pallavi uses pattern 3. Interlude 1 continues with pattern 3 and settles in a typical 6/8 pattern (#4). The charanam 1 uses a melody based rhythm (this makes it hard to count the patterns – let’s call this #5). Interlude 2 starts off with another new pattern (#6) and settles into a typical 6/8 pattern (#4). Charanam 2 uses a melody based rhythm (#5). Finally the postlude of this song uses at least two more tabla patterns (#7, #8). This is an interesting track as it uses a variety of patterns with one rhythm instrument – tabla. All the three songs described in this stage are hardly playable by regular orchestras and you will never hear them in live programs (unless it is Raja conducted). Prasad, the tabla expert who plays for Raja has been doing a great job for him for decades.