Friday, December 2, 2016

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.



Tech Notes

The flash player has been fully replaced with HTML5 embedded audio tags.

For those who read this blog regularly, please treat this as a little nuisance and continue reading.

Thanks

Ravi Natarajan

Piano based PolyCaRe arrangements in 201x – Background Scores

We will continue the journey on PolyCaRe arrangements of Raja, with his compositions based on piano as the background melody instrument. In this post, we will particularly focus on his background score compositions in the 201x. As we made it very clear in the definition, the PolyCaRe arrangement not only requires a background piano melody, it also requires two call and response melodies in the foreground played according to our rules of CaRe arrangements.

Let’s first start with the background score of Nandalala (Tamil 2010). This segment, which is part of the background score has piano as its background instrument. Here is how the segment is structured:


Score
Film
Year
Background instrument
CaRe - Instrument1
CaRe - Instrument2
Nandalala BGM
Nandalala
1991
Piano
Flute
Synthesizer

  1. The first four seconds has only the background piano melody that forms the background melody for the entire composition
  2. For the next 20 seconds, between 4 and 24 second, there is a very long flute melody that plays with the piano background melody in the background.
  3. There is a short five seconds call by the synthesizer between 24 and 29 seconds as the background melody of the piano continues
  4. Between 30 and 35 seconds, there is a response by the flute to the synthesizer call with the background piano melody
  5. Again, between 36 and 40 seconds, the piano background melody alone plays
  6. Between 40 and 57 seconds, there is this long flute melody (slightly different from #2) that plays with the piano background melody in the background.
  7. Between 58 and 72 seconds, there are two flute calls that are made for which the clip does not have the response


The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 5 foreground melodies playing on top of the constant background piano melody in these 72 seconds. It must be stated that technically, it does not fully comply with our rules for a CaRe arrangement as the final two flute calls are not answered by the synthesizer. Given the melodious arrangement, I have included this PolyCaRe arrangement that almost meets our requirement more than 75%

Let’s hear the segment from the background score of Nandalala




Piano based PolyCaRe arrangements in 199x –interludes

We will continue the journey on PolyCaRe arrangements of Raja, with his compositions based on piano as the background melody instrument. In this post, we will particularly focus on his interlude compositions in the 199x. As we made it very clear in the definition, the PolyCaRe arrangement not only requires a background piano melody, it also requires two call and response melodies in the foreground played according to our rules of CaRe arrangements.

Both the clips in this section are from the interludes of one song – O Butterfly from Meera (Tamil 1992). This segment, which is part of the background score has piano as its background instrument. 

Here is how the segment is structured:


Song
Film
Year
Background instrument
CaRe - Instrument1
CaRe - Instrument2
O Butterfly
Meera
1992
Piano
Flute
Synthesizer

  1. The first five seconds has only the background piano melody that forms the background melody for the entire composition
  2. Between five and 17 seconds, there are seven CaRe arrangements where the call is made by the flute and the response is from the synthesizer. The background piano continues while this is going on in the foreground

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 14 foreground melodies playing on top of the constant background piano melody in these 17 seconds.

Let’s hear the piano/flute/synth PolyCaRe arrangement of O Butterfly…



The other interlude part in the same song is arranged as follows:

Song
Film
Year
Background instrument
CaRe - Instrument1
CaRe - Instrument2
O Butterfly
Meera
1992
Piano
Flute
Solo Violin

  1. The first 2 seconds is only the piano part (played with a synthesizer, I guess) which is the background melody for the entire composition. The overall melody will sway you so much, I strongly recommend that you hear just this piano part from start to finish in one go to confirm that the background melody is indeed being played. Ignore everything else. The solo violin can take your mind off the piano, but stay with it for one iteration. You will notice on the next iteration the foreground CaRe arrangements that ride on this background piano melody
  2.  Between 3 and 8 seconds, it is a long call by the flute for which there is a short response from the solo violin for 2 seconds
  3. Between 10 and 15 seconds, the flute melody is layered on top of the solo violin which is layered on top of the piano. However, you need to play it one more time to figure that the flute melody of this segment is exactly the same melody of the #2
  4. Between 16 and 17 seconds, the solo violin makes a call for which there is a rapid response from the flute, following which, Raja innovates what he does with #3
  5. Between 19 and 22 seconds, it is a short version of #3 where three melodies are arranges one on top of the other
  6. If you play this clip in slow speed and patiently listen to the CaRe arrangements in this clip of 22 seconds, you will be able to uncover about 25 melodies in these 22 seconds. Crazy genius!


Let’s hear the piano/flute/solo violin  PolyCaRe arrangement of O Butterfly…

Wednesday, November 2, 2016

Guitar based PolyCaRe arrangements in 198x –interludes

Before we start going down the journey of PolyCaRe arrangements that are guitar based in Raja’s 198x interludes, I would like to call out a particular song in the 198x that I would call it the ‘King of PolyCaRe’ – it has several PolyCaRe arrangements throughout its prelude and interludes. You will see the song Jilibili Palukula from Sitara (Telugu 1983) repeated in several places in this section.

As stated before, the PolyCaRe compositions are based on guitar as the background melody instrument. In this post, we will particularly focus on his interlude compositions in the 198x. As we made it very clear in the definition, the PolyCaRe arrangement not only requires a background guitar melody, it also requires two call and response melodies in the foreground played according to our rules of CaRe arrangements.

Let’s first start with the interlude of Ennodu Paatu Paadungal from Udhaya Geetham  (Tamil 1985). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:


Song
Film
Year
Background instrument
CaRe - Instrument1
CaRe - Instrument2
Ennodu Paatu Paadungal
Udhaya Geetham
1985
Guitar
Solo Violin
Guitar
  1. The first 2 seconds of the clip starts off with the guitar playing its simple repetitive melody
  2. Between 3 and 7 seconds, the call is made by the solo violin with the guitar continuing its background melody
  3. Between 8 and 11 seconds, the response from the lead electric guitar plays the is part of the first CaRe arrangement, while the background guitar continues with its repetitive melody
  4. Between 12 and 17 seconds, there is a different solo violin melody (played twice) for which the electric guitar responds twice. This is the second CaRe arrangement. Pay attention to the background guitar – it continues from the first second onwards, playing its repetitive melody
  5. Between 17 and 22 seconds, there is a solo violin melody (played twice) the CaRe arrangement of the previous step is repeated while the background guitar  continues from the first second onwards, playing its repetitive melody

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 10 foreground melodies playing on top of the constant background melody in these 22 seconds.

Let’s hear the interlude of the song Ennodu Paatu PaadungaL…




Let’s next analyze the prelude of Jilibili Palukula  from Sitara  (Telugu 1983). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song
Film
Year
Background instrument
CaRe - Instrument1
CaRe - Instrument2
Jili Bili Prelude
Sitara
1983
Guitar
Guitar
Synthesizer


  1. The first 4 seconds of the clip starts off with the guitar playing its simple repetitive melody, which will continue throughout the clip
  2. Between 5 and 14 seconds , the call is made by the guitar four times and the  synthesizer responds 4 times with the guitar continuing its background melody

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 8 foreground melodies playing on top of the constant background melody in these 14 seconds.

Let’s hear the prelude of the song Jili Bili Palukula…



Let’s next analyze the interlude of Poove Sempoove  from Solla Thudikudhu Manasu  (Tamil 1988). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song
Film
Year
Background instrument
CaRe - Instrument1
CaRe - Instrument2
Poove Sempoove
Solla Thudikudhu Manasu
1988
Guitar
Sitar
Guitar +tabla


  1. The first 10 seconds of the clip starts off with the guitar playing its simple repetitive melody, which will continue throughout the clip
  2. Between 11 and 20 seconds , the call is made by the Sitar four times and the  Guitar and tabla responds 4 times with the guitar continuing its background melody
  3. Between 21 and 26 seconds , the call is made by the Sitar four times and the  tabla responds 4 times with the guitar continuing its background melody. The sitar melody is different from the previous melody in the previous CaRe arrangement


The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 16 foreground melodies playing on top of the constant background melody in these 14 seconds.

Let’s hear the interlude of the song Poove Sempoove…




Let’s next analyze the interlude of Pothi vacha malligai from Man Vaasanai  (Tamil 1985). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song
Film
Year
Background instrument
CaRe - Instrument1
CaRe - Instrument2
Pothi vacha malligai
Man Vaasanai
1985
Guitar
Synthesizer
Flute

  1. Unlike the other clips, this interlude begins with the Synthesizer and the guitar doing two different melodies. However, if you play this clip a few times, you can notice the guitar melody that stays constant in the background
  2. In the entire 13 seconds, the synthesizer makes 4 calls for which the flute responds. The 3rd and the 4th call and the response are different from the first two calls and responses, but by the same instrument. Such melodic variations are quite standard in Raja’s CaRe arrangements

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 8 foreground melodies playing on top of the constant background melody in these 13 seconds.

Let’s hear the interlude of the song Pothi Vacha…




Let’s next analyze the interlude of Sihimuthu Needi from Ajeya  (Kannada  1985). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song
Film
Year
Background instrument
CaRe - Instrument1
CaRe - Instrument2
Sihimuthu Needi
Ajeya
1985
Guitar
Violins
Flute

  1. Unlike the other clips, this interlude begins with the Violins  and the guitar doing two different melodies. However, if you play this clip a few times, you can notice the guitar melody that stays constant in the background
  2. In the entire 12 seconds, the violins makes 4 calls for which the flute responds. The 3rd and the 4th call and the response are different from the first two calls and responses, but by the same instrument. Such melodic variations are quite standard in Raja’s CaRe arrangements

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 8 foreground melodies playing on top of the constant background melody in these 13 seconds.

Let’s hear the interlude of the song Sihimuthu Needi




Let’s next analyze the interlude of Vaanam Keezhe  from Thoongathe Thambhi Thoongathe  (Tamil  1985). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song
Film
Year
Background instrument
CaRe - Instrument1
CaRe - Instrument2
Vaanam Keezhe 
Thoongathe Thambhi Thoongathe 
1985
Guitar
Sax
Violins

  1. For the first two seconds, it is pure guitar plan and as the melody lines get fixed for the rest of the clip, the saxophone starts off playing a different melody from 3 seconds on. The guitar melody keeps playing in the background
  2. This is a simple clip and our focus is on the first 10 seconds, where for the two calls made by the sax the violins respond. What follows 10 seconds is not important from a PolyCaRe perspective

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 4 foreground melodies playing on top of the constant background melody in these 10 seconds.

Let’s hear the interlude of the song Vaanam Keezhe