Counterpoint with violins

Here is the masterpiece. Listen to And we had a talk in Raja’s famous album How to Name it (1986). Bourre is a dance form of the seventeenth century and JS Bach did a lot of music for court dances. Raja has taken ‘Bourre in E-minor’ of Bach and played Hamsadhwani raga as a counterpoint to it. If you start comparing the scale matching in this piece and his harmonization of the CCM with WCM, you will understand the genius that Raja is. Nobody, anywhere in the world, has done anything like this before. The HTNI album is full of such gems. I would like to mention one more track on this album Study for violin the Mayamalava gowlai based Tulasi Dhala (you can hear Yesudas sing this piece in Rudra Veena) mixed with a WCM composition that matches the same violin (appears like two) in the lower and higher octaves.

Let’s take some simple examples from film music. Back to Poomalaye ThoL Serava from Pagal Nilavu (1986). Listen to the 1st interlude and see the play of violins and the melodies they play. Specifically, pay attention to the following counter melodies involving violins: a) 0:01 to 0:12 secs and again 1:28 to 1:39 - these sections have violin and violin playing counter melodies b) 0:12 to 0:19 secs - violins playing counter to synthesizer c) 0:30 to 0:33 - violins and violins in counter melody d) 0:58 to 1:15 secs - violins in counter melody with synthesizer again.  Hear the track...



Ennulle Ennulle from Valli (1992). Listen to the 1st and 2nd interludes and the violins transport you to a different world. This song also qualifies for the first category on voices as the chorus does a counterpoint on the violins which also is playing against another melody on guitar. If you observe closely, there are three melodies going on simultaneously- violins, guitar and voices and you feel that everything has its place.

Another great example is Maalaiyil Yaaro from Chatriyan (1992). The first and second interlude are not just examples of violin based counter point, but also another great WCM technique called chromaticism, (http://en.wikipedia.org/wiki/Chromaticism) something no other Indian composer has touched till date! Specifically, this track uses a technique called 'tremolo' where several violins play micro notes that have a very minor degree of separation. Coming back to the topic of counterpoints with violins, pay particular attention to: a) 0:05 to 0:16 secs - synthesizer in counterpoint to violins in the background b) 0:17 to 0:24 - violins and flute in counterpoint c) 0:49 to 1:03 secs - violins and guitar in counterpoint. Hear the track...



The second interlude of Sangeetha Megam in Udhaya Geetham (1985) is almost like a simple demo of counterpoint on violins. Some more interlude examples: Metti Oli from Metti (1982), violins against a gush of background violins in Madai Thiranthu in Nizhalgal (1980). Pay attention to the following sections: a) 0:25 to 0:37 secs - violins and flute in counterpoint b) 1:22 to 1:35 secs - violins and violins in counterpoint. Hear the track...



Rasathi from Poovarasan (1996). The lyrics are folk, but focus on the orchestration. This is like hearing any Western Classical music bit! The track uses synthesized violins and real violins. Specifically, pay attention to: a) 0:03 to 0:09 secs - Synth violins and real violins in counterpoint  b) 0:10 to 0:25 secs - synthesizer in counterpoint with violins and c) 0:57 to 1:01 secs - Violins in counterpoint with background violins in tremolo.  Hear the track...




Mazhai Varuthu Mazhai Varuthu Kudai Konduvaa from Raja Kaiya Vachha (1991). The violin counterpoints with the background violins in this track are mind boggling. Specifically, a) 0:01 to 0:11 secs and 1:38 to 1:49 secs - brilliant counterpoint between violins and violins b) 0:49 to 1:05 - counterpoint between violins and violins. Hear the track...



Kanna Unai Thedugiren from Manadhil Urudhi Vendum (includes a guitar counterpoint with violins as well) (1988), Neela Kuyile Unnoduthan from Magudi (1984), Pothi Vacha Malliga Mottu from Man Vasanai (1983), Oru Naal Unnodu Oru Naal from Uravadum Nenjam (1977).

The great second interlude of Nilavu Thoongum Neram from Kunkuma Chimizh (1985 - it is hard to believe that this is film music!). Specifically, a) 0:01 to 0:14 secs  - violin and synthesizer in counterpoint b) 0:23 to 0:30 secs - violins and violins in counterpoint and c) 1:09 to 1:16 secs - violins and violins in counterpoint.  Hear the track..




Ananda Ragam Ketkum from Paneer Pushpangal (1981). This track is loaded with counter melodies all over the place. Some sections of interest: a) 0:10 to 0:20 secs and again 1:09 to 1:20 secs - violin and flute counterpoint b) 0:22 to 0:24 secs - violin and violin in counterpoint c) 0:57 to 1:00 secs - violin and violin in counterpoint d) 1:28 to 1:34 secs - violin and violin in counterpoint e) 1:53 to 1:56 secs - violin and violin in counterpoint. Hear the track..




Some others that I will feel bad if I do not mention specially Agaya Vennilavae from Arangetra Velai (1990) the interlude has mind blowing counterpoints on violin and flute. Specifically, a) 0:01 to 0:17 secs - violin and violin in counterpoint b) 1:05 to 1:10 secs - violin and violin in counterpoint. Hear the track.. 




Another very worthy mention is the prelude of Nilavondru Kandaen from Kai Rasikaren (1984) and its interludes a masterpiece of sorts by Raja. In particular, a) 0:04 to 0:33 secs has several counterpoint combinations - violin-violin, violin-flute, violin-synthesizer b) 0:47 to 1:00 secs - violin and synthesizer in counterpoint  c) 1:00 to 1:07 secs - violin and violin in counterpoint and d) 1:31 to 1:41 - violin and  synthesizer in counterpoint. Hear the track..




There are at least 500 tracks of Raja where you can see the use of this technique (counterpoint with violins) and none of them are the same! I just highlighted only some examples here.