This site attempts to showcase the Indian musical genius - Ilayaraja and his work with both Western and Indian Classical music over the last 5 decades.
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...
Errata: Mr. Napolean Selvaraj (Arunmozhi) clarified that he and Viji Manuel were the main singers behind the song and not Mano as I have stated here.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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).
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.
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!
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…
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.
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!
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.
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.
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).
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.
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.
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!
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.
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.
This requires creating a track with no percussion rhythm at all.
This is a challenge as the entire track needs to be guided by strings only. This is a bit harder to do than the traditional percussion driven rhythm. Typically done with guitar or violins, this is not the typical cinema style that all composers would venture. Remember, Waqt Ne Kiya of SD Burman – this track is guided by the cello and the guitar. Raja has done several of these. Two outstanding tracks that are worth mentioning…
The track Naan Ondru Kettal Tharuvaya from Ilaya Raagam (1995) is an interesting track. The first pallavi, and charanam are backed only by the guitar and the synth and there is no other rhythm support. However, the second charanam and final pallavi are supported by drums. Looks like an initial attempt by Raja before he turns on full experimentation.
Let's hear the first pallavi and charanam of Naan Ondru Kettal Tharuvaya. Please note that the interlude does have percussion support...
Therke Veesum Thendral Kaatru from Kolangal (1995) has no percussion at all with the exception of a couple of taps on the drum in the prelude. The entire track is guided by the guitar. The charanams are guided by the guitar and moroccos. The track is a treat on Western Classical string arrangement, that is typical of Raja.
Let's hear the first pallavi and charanam of Therke Veesum Thendral Kaatru. Please note that even the interludes do not have any percussion...
Sandirarum Sooriyarum from Avatharam (1995) is an amazing solo by Raja which is entirely guided by violins, cello and sax. There is no use of any percussion instrument in this entire track. There is use of cymbals if you consider it as a rhythm instrument a couple of times. The lyrics are entirely folk but the orchestration is fully Western – typical of Raja. This is one of my favorite tracks of Raja as a singer and anyone who loves Western classical music is in for a treat.
Let's hear Sandirarum Sooriyarum ....
There are several bit songs where Raja has done it without any percussion. Some examples: a) Saranam bhava from Sethu (1999) b) Yamunai Aatrile from Dhalapathy (1991)
This stage demonstrates the grip the composer has over rhythm arrangement. While most composers stay away from it, some do attempt...
This requires creating a charanam or pallavi with parts of it in Indian and the remaining in Western rhythm.
This stuff is tough as you have the additional constraint of not screwing up the melody which drives the vocals. This requires top talent in vocals as any novice singer will be thrown away by the changing rhythm pattern – this is true even if you are singing tracks. This also requires an expert orchestra where the bass guitar, the violins backing the melody and the rhythm players must play in total harmony to the composer’s creation. In short, unless you are Raja, you would stay away from it!
The final pallavi of Poo Malarnthida from Tik Tik Tik (1981) alternates beautifully between the mirudangam and the drums. The track was a great innovation during its time, where Raja demonstrated how he can switch between a traditional Karaharapriya and western orchestration. Also, the transition between the interludes and the charanam is handled beautifully by Raja. For the transition between charanam 1 (western) and pallavi 1 (western) Raja uses mirudhangam. For the transition between charanam 2 (western) and pallavi 2 (western), the same Raja uses a beautiful violin swaram. As I do not have good audio quality clip, I am not unfortunately including the audio for you to hear this wonderful composition.
Thom Thom Thom Ena from Oorellam Un Paatu (1991) – the charanam 1 and 2 of this track is set with both mirudhangam and drums. This is a very well orchestrated charanam for a semi-classical track, where the western drum does not interfere with the Indian classical melody.
Idhazh Inikka from Agnippaarvai (1992) has an interesting pallavi where Raja switches between Indian and western rhythm arrangement. Raja loves competition songs as this gives him the opportunity to showcase his talent. This track’s prelude gives you a flavor of things to come as Raja starts off with a mixed Western and Indian rhythm arrangement even for the short prelude. The Pallavi also follows the mixed arrangement and interlude 1 also shows a mixed arrangement but different from the prelude and the pallavi!
Let's hear Raja's work with Idhazh Inikka... Observe the prelude that has a mixed arrangement, followed by the pallavi and interlude 1...
The arrangement is not the exact opposite of the Uthamaraasa track. Each charanam is divided into 7 phrases. In charanam 1, phrases 1, 3, 7 are set to Indian (tabla), phrases 2,4,5,6 are set to Western! In charanam 2, the composer decides to change order - phrases 1, 3, 5, 6 are set to Western phrases 2,4,7 are set to Indian (tabla)! This is an extremely difficult undertaking to orchestrate and Raja shows the way! This is another track that shows the experimental mindset of this gifted composer.
Let's next hear charanam 1 - starts and ends with the Indian rhythm. However, pay attention to the switching rhythm as described...
Let's next hear charanam 2 - starts with the Western rhythm and ends with the Indian rhythm. However, pay attention to the switching rhythm as described...
Oh Prema from Aswamedham (1992 - Telugu) is another track of Raja. Both the pallavi and charanam are partly orchestrated with Indian and Western rhythm in turns.
Unnai Maathi fromUthamaraasa (1993) is a typical Raja song that appears very folk from lyrical and arrangement. The pallavi is backed by both drums and tabla in alternate phrases. The female voice is backed by western drums and the male voice by tabla. The charanams are also set the same way – male voice backed by the tabla and the female voice by western drums.
Let's hear the pallavi of Unnai Maathi with switching rhythm arrangement...
Let's next hear its first charanam. The second charanam is arranged very similar to the first...
Vaa Veliye from Paatu Paadava (1995) – this is a competition song that has an unusual rhythm structure. The pallavi 1 is set to western rhythm. The interlude 1 and charanam 1 are set to western. The pallavi 2 in Indian/Western format, interlude 2 is set to western. The charanam 2 is very interesting – it has first 4 phrases set to Indian followed by 4 phrases set to Western. The entire swaram following is backed by western. The pallavi 3 set to Western.
Let's hear the Pallavi 1 (W) , interlude 1 (W) and charanam 1 (W) of Vaa Veliye...
Let's next hear the Pallavi 2 (I/W) and interlude 2 (W) of Vaa Veliye...
Let's follow this up with charanam 2 (I/W) of Vaa Veliye...
This track is unusual in structure and includes a swaram at the end that is fully supported by Western rhythm - this is followed by the pallavi 3 (W) - let's hear that...
Shiva kara damaruka from Kochu Kochu Sandhoshangal (2001 Malayalam) is an amazing track from both melody and rhythm viewpoints. Both charanam 1 and charanam 2 have 7 phrases, the first two are set to Indian, the next two with Western and the last three in Indian without affecting the melody in any way. I am yet to see an Indian film music composer who has done this. The melody flow in this song, set to a Hindustani style is truly an achievement by itself. I am not sure, what was the expectation of Sathyan (the director) from Raja for the dance songs of this film. Raja resets his own bar, having done all the innovations I have described so far.
Let's hear the smooth melody with switching rhythms of Charanam 1 of Shiva kara damaruka ...
Let's next hear the master composer repeat his performance inCharanam 2 of Shiva kara damaruka ...
Raja takes this technique to Kannada as well. In the 2009 film Bhagyadha Balegaara, the folk track Balegaara Balegaara, the charanams are structured in Indian and Western format alternating in this otherwise folk track. In this track, Raja tries to be a little different in his arrangement compared to his earlier attempts – he gives two phrases to the male voice (Kunal), the first phrase backed by Indian and the second by Western, he gives the phrase 3 backed by Indian and phrase 4 backed by Western for Shreya, followed by 4 phrases of Indian rhythm arrangement. He tries to play around the phrasing in a duet with rhythms.
Let's hear the charanam 1 and pallavi 2 of Balegaara Balegaarawith switching rhythms as described...
The experimentation mindset of Raja tries to apply any technique to semi classical, light or folk. He does not rest on his laurels and wants to keep experimenting till he gets to a point of total satisfaction. He tries to use every opportunity in every mood setting to try out his orchestration experiments. We are truly blessed to have a composer of his caliber in our times.
This requires creating preludes, interludes, pallavis, charanams using a percussion instrument (Western or Indian) and using claps, fingersnaps on the same time signature.
Using claps or finger snaps in film music is nothing new. Now how do you try to be different from the crowd? There are several ways that Raja’s creative mind has worked throughout his career.
One of the earliest tracks where Raja used claps with mirudhangam and tabla very effectively was Aayiram Thamarai Motukkale from Alaigal Oiyvathillai (1982).
The second interlude of Pothi Vacha Malligai mottu from Man Vasanai (1983) uses claps as rhythm for part of the interlude.
Another early track of Raja – Chinna Kuyil Paadum from Poove Poochoodava (1985) uses claps for the later part of each charanam.
The pallavi of the track Tham Thanthana from Athisaya Piravi (1990) uses a novel combination of claps, duffel and thavil.
Let's hear the prelude of Tham Thanthana ...
Raja’s famous track Rakamma Kaiya Thattu from Dhalapathy (1991) uses finger snap along with the drums in the pallavi of the song.
The great Telugu hit track of Raja, Abbani tiyani debba from Jagadekaveerudu Athilokasundari (1992) uses claps throughout the track with the tabla. The rhythm was so attractive, that the tune appeared in the Hindi film Beta (1992) – not sure if this was with Raja’s knowledge.
Let;s hear the enticing prelude, pallavi and interlude 1 of this highly imitated rhythm - Abbani tiyani debba ...
The track Konji Konji from Veera (1994) uses tabla and finger snap as the rhythm for the pallavi of the track.
Nilavu Paatu from Kanukkul Nilavu (2000) uses finger snap throughout with pallavi with the drums. The interludes also use finger snap. The finger snaps form the rhythm pattern for the whole song including the charanams. Very unique in its composition style.
Let's hear the Pallavi, interlude 1 and charanam 1 of Nilavu Paatu. Notice the slow pace used by the composer of a widespread fast pace technique ...
Adida Melathe from Kanukkul Nilavu (2000) uses claps and finger snap as the rhythm in the prelude.
Let's hear the prelude of Adida Melathe...
The track Thamara Kuruvikku from Achuvinte Amma (2001 Malayalam) has an interesting prelude of drums, claps and bass guitar.
Let's hear the prelude, pallavi and interlude 1 with Raja in full blast with claps in the fast track Thamara Kuruvikku...
Thevaram from Rasathanthiram (2006 Malayalam) is an interesting rhythm track. The pallavi uses claps with duffel and drums as rhythm.
This is typical of claps and Raja uses the claps in a fast paced song - faster than Thamara Kuruvikku in the Thevaram track. Notice the nativity of the rhythm...
In essence, both finger snaps and claps are another pair of weapons in Raja’s armor. He chooses to use one or the other or the combo along with all possible rhythm instruments. It ranges from the slow paced Nilavu Paatu to fast paced Thevaram.
While there are other composers who have used finger snaps and claps in their compositions, Raja started the tidal wave of combining these elements with any type of percussion instrument. Finger snap was restricted to only drums and claps with tabla before Raja. Now, everybody freely experiments, thanks to all the innovation and guidelines shown by Raja.
This requires creating a prelude, interlude or postlude with more than one Indian rhythm instrument.
There are several music composers that have created this in the past. However, Raja has been unique in some of the rhythm instrument selection. Let's explore this with some examples...
The interlude 2 of the song Enna Paada Sollathe from Aan Pavam (1985) is an interesting one that has a nice dialog between a female chorus, a small boy, udukku and bongos followed by the tabla just to demonstrate the variety Raja uses if he decides on rhythm – the voices just speak the jathi. Pay attention to how Raja shifts the arrangement from Indian to Western towards the end of the interlude – vintage Raja!
Let's hear the interlude...
The pallavi of the song Varam Thantha Samikku from Sippikkul Muthu (1985 – also Vatapatra from Swathi Muthyam – Telugu) uses mirudhangam and ghatam as the rhythm backing.
The prelude of the song Kadhal Kasakuthaiya from Aan Pavam (1985) uses an innovative combination of mirudhangam, kanjeera, tabla, morsing! The interlude 1 and interlude 2 use the tabla and Congo drums. This is a song set in the Carnatic raga Shanmugapriya. There is a liberal dosage of synthesizer, shehnai thrown into the mix by Raja to his rhythm innovation!
Let's hear the prelude...
A good folk example – Prelude of Arisi Kuthum Akka Magale from Man Vasanai (1983) uses duffle with urimi and udukku in its prelude apart from using brushes to get the feel of a sieve.
Another folk example – Kodanu Kodi Kanda Selvanai from Murattu Kaalai (1980) – Raja freaks out in the prelude – It all begins with a slow flute play followed by a duffle and another rhythm instrument (?), continues with mirudhangam and tabla. The rhythm arrangement is able supported by vibrant violins too.
Let's hear the freaked out prelude...
Elumbalae Koodukatti from Ennai Vittu Pogathe (1988) is another innovative track from a rhythm perspective. The prelude is a peculiar combination of morsing, ghatam and khanjira.
Let's hear the prelude...
The track Thai Pongalum from Mahanadhi (1993) uses thimila and urimi throughout the track to create a folk feeling.
Let's hear the track...
All these are top of mind examples as I am sure there are several others that fit into this category. Also note the fact that the experimentation has happened throughout his career. It's doubtful if any other composer has used so many folk instruments in their compositions in India.
This requires creating a prelude, interlude or postlude with more than one Indian and Western rhythm instrument.
There are too many examples for this type of innovation as Raja uses this very frequently in his compositions. I will list a few top of mind examples, that does not include Raja’s common rhythm instrument - tabla.
The prelude and the interlude 2 of Andhi Mazhai from Rajapaarvai (1980) uses the mirudhangam and drums (more specifically hi-hat).
The prelude of the song Naan Vanagugiraen in Guru (1980) uses the duffle, drums, and tabla as the prelude.
Vandhadhe Kunkumam from Kizhakku Vaasal (1990) uses a combination of mirudhangam and synth drums through the pallavi and the 1st interlude. This track is set to the standard 6/8 rhythm all the way till the second interlude where the rhythm switches to the ¾ waltz for some time and returns to the 6/8 time signature before turning control to the pallavi.
Let's first hear the 1st pallavi and interlude 1. Pay attention to the synth drums and mirudhangam set to standard 6/8 time signature...
Let's next hear the interlude 2 set initially to the 3/4 waltz rhythm and observe the switch to the 6/8 within the interlude itself before the pallavi begins...
All the ludes (pre and inter) of the song Vannapoo thattu in the film Chinna Jameen (1993) is unique with a strange mix of thavil and Western drums sharing the same time signature.
Let's hear this interesting mix of thavil and drums...
Vennilavil venilavil from Adhiradipadai (1994) uses drums and vibraslap (Vibraslap) throughout the track for rhythm.
Raja has used vibraslap in several compositions. Let's hear the track...
Another very unique Raja rhythm experiment - Aasai idhayam –from Kanmani (1994) uses the bass drum and big cymbal throughout the track from the prelude to the final pallavi. The arrangement continues from the pallavi and the first interlude too. The first interlude initially does not appear like a typical Raja lude, but you are blown away by the flute and the violins at the end of lude – how can someone think of such a combination? What a drum arrangement with a mesmerizing flute and violins!
Let's hear the 1st pallavi and interlude of Aasai Idhayam...
The prelude of the track Appadi Paakarthinna Veandam from Ivann (2002) uses the drums, mirudhangam beautifully along with the synthesizer. The interludes use the hi-hat beautifully for rhythm.
Let's hear the enticing Appadi...
The prelude and the pallavi of the song Azhagana manjapura from Ellame En Rasathaan (1995) use a combination of a duffle and thavil as rhythm support.
Let's hear the prelude and pallavi of Azhagana...
The track Chella Thathee from Manasinakkare (2003 Malayalam) is an interesting track. The track is fully set on synth drums and the composer chooses to mix it with mirudhangam in the second interlude.
Let's hear the unique Chella Thathee ...
The track Siru Siru Siragugalil from Konji Pesalam (2003) is fully set to synth drums and mirudhangam. The pallavis alone are set this way by the composer.
Let's hear the pallavi of Siru Siru... Notice, the experiment leaves the melody intact and enhances it and not spoil it as we hear in several new tracks by current composers. That's the touch of the genius. The unique ability to choose the right rhythm for the right melody.. .
This requires using the main melody to guide the rhythm pattern, thus creating a melody based rhythm.
There are hundreds of tracks where Raja has used this technique – rhythm follows melody. On most occasions, he has chosen tabla for rhythm. Some examples from the long list:
Ada Uchanthalai from Chinna Thambi (1990) uses a melody based rhythm where the pace of the rhythm is adjusted to the melody.
Adi Gomatha from Senthamizh Paatu (1992) uses a melody based rhythm as well.
Let;s hear the 1st charanam and 2nd pallavi of Adi Gomatha. Please note the change of the timing (nadai) as rhythm follows melody...
Vandhadhu Vandhadhu from Kili Petchu Ketkavaa (1993), Hey Chithira from En Bommukutty Ammuvukku (1988), Poongatre Theendathe from Kunguma Chimizh (1985), Siru Kootila from Paandi Naatu Thangam (1989), all use this technique of rhythm following melody.
Let's hear the 1st charanam and 2nd pallavi of Vandhadhu Vandhadhu...
Let's next hear the 1st charanam and 2nd Pallavi of Hey Chitthira...
Another interesting melody based rhythm is used by Raja in the track Adi Vanmathi from Siva (1989). Let's hear the 1st charanam and 2nd pallavi. In all these tracks, Raja makes it interesting by adding his signature bass guitar and the moroccos for emphasis..
To quote an interesting view point in the TFMPage website on melody based rhythm:
Raja used the tabla for two reasons. One, it does give a local flavor to the songs. Secondly, the table gives a good steady background for the vocalist to take on more complex compositions. For example, in many songs, you will clearly hear the tabla giving a constant beat of say a tisram, like ta-ki-ta while the singer may be singing in a different rhythm, say the standard 4x4 or chatusram. This gives some tension to the song. This also helps the song's pallavi or charanam to have different takeoff points. Too much of rhythmic complication would have made it a nightmare for the singer.
The mixing of two nadais or gaits (one of the singer and one of the rhythm) and the different take off points are two important aspects of Raja that you don't tired of his songs. Same happens in the case of many modern songs. While the loops may be attractive at first, after a few listens, due to lack of any tension, you get very bored.
Raja also introduces a lot of asymmetry in his compositions. In the sense that two lines would go for the whole eight beat cycle while one line may go for only 7 beats and so on. Again, a source of musical tension and breaks the monotony.
This requires structuring a first pallavi and charanam in Western and follow it up with the second charanam and pallavi in Indian.
Though there are several tracks where Raja has used these techniques, let me draw your attention to two top-of-mind tracks...
Oh Vasantha Raja from Neengal Kettavai (1985) is another outstanding Raja innovation rhythmically – pallavi 1, interlude 1 and charanam 1 all use Indian rhythms complete with mirudhangam, tabla. Suddenly in interlude 2 and charanam 2 everything switches to western drums and finally returns to the final pallavi 3 in Indian rhythm!
Let's hear the pallavi 1, interlude 1 and charanam 1 and pallavi 2 of the song, all set to Indian rhythm....
Pay attention to interlude 2 and charanam 2 and you will notice that the composer has switched the rhythm to Western drums...
Lastly, let's now hear the final pallavi 3, where composer switches back to Indian rhythm...
Pazhamudhir Solai from Varusham 16 (1989) is a complex mix showing the composer’s ease with any type of rhythm arrangement – the pallavi 1 and the charanam 1 are in Western arrangement. The interlude 1 alone is set in Indian rhythm. Then the composer chooses to reverse everything – the interlude 2 is in Western and the pallavi 2 is set to Indian! In a way, this track also qualifies for stage 1. As this is a fast paced song, it is easy to miss out on the experiments that Raja does with this wonderful tune...
Let's first hear pallavi 1 set to Western rhythm...
Let's next hear interlude 1 set to Indian rhythm...
Observe that charanam 1, pallavi 2 and interlude 2 is set to Western rhythm, just opposite of interlude 1...
Next, let's hear the charanam 2 set to Indian rhythm....
Let's lastly hear pallavi 3, set back to Western rhythm...
Another example from Raja's Malayalam work - Ponnavani Poomuthe from Man of the Match (1996). The track starts off in a peaceful tabla based rhythm and continues all the way till the first charanam. The composer chooses to change the rhythm to Western drums from interlude 2 and charanam 2. The song returns back to its original Indian rhythm for the final pallavi.
Another song that has a strikingly similar rhythm arrangement to Ponnavani Poomuthe is the track Uruginen Uruginen from Anne Anne (1983). The track starts off in a bongos based rhythm and continues all the way till the first charanam. The composer chooses to change the rhythm to Western drums from interlude 2 and charanam 2. The song returns back to its original bongos for the final pallavi.
The nice part is, if you did not pay attention to the rhythm setting, it does not matter. In the hands of a master like Raja, transitions are so smooth between rhythm patterns, it is easy to miss his experimentation.
