Raja's spectrum of moods with Flute

Raja’s use of flutes in his compositions has delivered all kinds of moods. Let’s look at his compositions that evoke happiness. Kuzhaloothum Kannanukku from Mella Thiranthathu Kadhavu (1986) uses flute along with violins to create this mood. Mayil Aadum Thoppil from Chinna Pasanga Naanga (1992) uses flute with violins to create the same mood. Nee Oru Kadhal Sangeetham from Nayakan (1987) is another classical example – this uses veena and violins.Oru Thanga Rathathil from Dharma Yudham creates this mood along with the violins and bass guitar. Oru Kili Uruguthu from Anandha Kummi (1982) is another example. Some examples from Raja’s Malayalam work: Paadu Saki from Chaitram (1988) and Ponnavani from Rasathanthiram (2006). My top pick would be Kuzhaloothum Kannanukku…



Let’s move to the pleasant recollection mood. With flutes, these are typically folk melodies and the list is endless. Let me list some of the top of mind flute work of Raja from Tamil and Malayalam. Devan Koil Deepam Onru from Naan Padum Paadal (1984) is a non-folk example. Elangathu Veesuthe from Pithamagan (2004) is based on flute melody that conveys this mood. Koondukulla Yenna Vachu from Chinna Gounder (1991). or Oh Unnale from En arugil nee irundhal (1991) are other examples. Pachamalai Poovu from Kizhaku Vaasal (1990) or Sindhiya Venmani from Poon Thota Kavalkaran (1988) are samples from this long list. Siru Kootile from Paandi Naatu Thangam (1989) or Vana Kuyile from Priyanka (1994) are additional examples. Some more from Malayalam: Poo Kunkumapoo from Rasathanthiram (2006) or Enthu Parainjalum from Achuvinte Amma (2005). My top pick would be Enthu Parainjalum…



Let’s look at the romantic mood. Arguably Raja has used flute in romantic circumstances on too many tracks to list. Chinna Chinna from Mouna Ragam (1986) is an example where Raja creates a romantic mood with flute supported by violins and bass guitar. Enulle Etho from Rosapoo Ravikaikari (1979) is another classical example. Kalyana Thenila from Mounam Sammadham (1989), or Mounamana Neram from Salangai Oli (1983) are some awesome examples. Muthu Mani Malai from Chinna Gounder (1991) or Putham Pudhu Kaalai from Alaigal Oiyvathillai (1981) are vintage Raja in this mood. Sempoove from Siraichaalai (1997) or Singara Cheemaiyile from Ninaivu Chinnam (1989) or Thaalatum Poongatru from Gopura Vasalile (1991) or Un Paarvaiyil from Amman Kovil Kizhakkale (1986) are wonderful examples from the wide body of Raja’s work. Kathirum Kothi from Man of the match (1996 Malayalam) creates this mood beautifully. My top pick would be Putham Pudhu Kaalai…



Party mood obviously requires the pace to be fast. However, my view is that Raja uses flutes to modulate the flow of melody in his otherwise fast paced songs. This is one of the reasons for even the fast paced Raja tunes to have a smooth flow and is very soothing to the listener. Examples include: Aasai Adhigam from Marupadiyum (1993) or Aasaiyai Kaatula from Johny (1979). Aracha Sandhanam from Chiina Thambi (1990) or Chinna Rasavey from Walter Vetrivel (1993) are other examples. My top pick would be Aracha Sandhanam…



Perhaps no other composer has used flute so well to convey pathos. Let’s look at a few examples. My top pick for this mood category is Naan Padum Mouna Ragam from Idhaya Kovil (1985) – along with the guitar, the flute says it all. Malaiyoram Veesum Kaatru from Paadu Nilave (1987) is another great example.The second interlude of Nilave Mugam Kaatu from Ejamaan (1993) brings out pathos so well with flute. Om Namaha from Idhayathai Thirudhathe (1989) (Geethanjali – Telugu) is another example. Piraiyae Piraiyae from Pithamagan (2004) or Un Kuthamma from Azhagi (2002) brings out pathos very well. My top pick would be Naan Padum Mouna Ragam…



Devotion with flute – that must be easy. While Raja has done several tracks that bring out this mood, they bring out a sort of meditation type mood to be more precise. Intha Poovukoru Arasan and Rasati from Poovarasan (1996) create this mood beautifully with violins and synthesizer. As mentioned in the guitar section, Ponnil Vaanam Poothathu from Villu Paatu Karan (1992) creates this mood along with violins, cellos and synthesizers. Pallaviye Charanam and Nee Pournami from Oruvar Vazhum Alayam (1988) are fantastic tracks in this mood. Mouna Ragam and Kamalam Padha Kamalam from Moha MuLL (1995) are outstanding examples. Aaraaro from Anand (1987) does this magic with violins. Kaatril Varum Geethame from Oru Naal Oru Kanavu (2005) is a mesmerizing tune done with flute and synthesizer. Mandhiram Idu from Aavarampoo (1992) is my top pick in Tamil along with great violins in this mood. In Malayalam, the track Poovai Virijnu from Adharvam (1989) brings out this mood extremely well – my top pick.