Raja's rhythm innovation stage 2

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.

Raja’s rhythm innovation stage 3

This requires structuring a song with Indian and Western rhythm with a complex transition using both rhythms between the charanam and the pallavi.

This is a complex case to orchestrate. In most of the compositions that use Indian or Western rhythm in a single track there are standard techniques used for the transition: 1) Cut out all rhythm and use violins to fill the transition (example, Thenmozhi from Solla Thudikkuthu Manasu (1989)) 2) Cut out all rhythm and use guitar to fill the transition (example, Vaanile Thenila from Kaaki Chattai (1985)) or 3) Use the bass guitar to facilitate the transition (Poove Ilaya Poove from Kozhi Koovuthu (1982)). This is another example of how Raja resets his own bar!

In the track Raadha AzhaikiraaL from Therkathi Kallan (1988), Raja uses the singing bass guitar throughout the track which has all the pallavis supported by the Western rhythm and all the charanams by the Indian rhythm – observe the transition between both the charanams and the pallavis – it’s about 2 seconds where there is a mini dialog between Indian and Western rhythm – I call it rhythm on steroids!

Let's hear the beautiful transition management of Raadha AzhaikiraaL...




Though not an exact example, the song Siru Kootile from Pandi Naatu Thangam (1992) uses a fantastic rhythm transition throughout the track. The song is supported fully by the tabla. However, notice every pallavi to pallavi transition (when the pallavi is sang twice), pallavi to charanam transition – Raja uses the congos to manage it beautifully. Sounded very RD Burman style (Hum Dono Do Preme from Ajnabee is a good RD example), but very innovative and clever in an otherwise folk composition! Also notice that the transition is set to a ¾ when the rest of the track follows a different time signature.

Let's hear Siru Kootile transition between the charanam and the pallavi transitions so well orchestrated by Raja...




 Now, let's go back to the famous 70s tune of RD Burman, who pioneered this transition using congo drums in his Hum Dono Do Preme from Ajnabee...




Another example of a nice congo transition that I find unique in Raja’s compositions is a pathos number – Malaiyoram Veesum Kaatru from Paatu Paadava (1995). Observe the transition between the charanam and the pallavi – Raja uses the RD Burman style Congo drums based transition and though the Congo drums play at a faster pace, the pathos mood is still preserved!

Let's hear the transition of Malaiyoram Veesum Kaatru, where Raja uses this technique cleverly in a pathos situation...




Vayasu Vandha from En Mana Vaanil (2002) is an interesting track from a rhythm perspective. The pallavi 1 is set to rhythm using thavil. The charanam 1 and charanam 2 is set to Western drums. The transition of charanam to pallavi is set using a nice thavil rhythm.

Let's hear Vayasu Vandha ...




Transition between pallavi and charanam in film music is very critical to maintain the interest of the listener. This is generally an area a lesser composer would dare not to experiment. Raja not only gets into unchartered territory but keeps resetting his own bar. We will continue our jouney on his other stages of rhythm innovation.

Raja’s rhythm innovation stage 4

This requires structuring an entire interlude with just rhythm and no string or wood wind sections

Ila Nenje Vaa from Vanna Vanna Pookal (1991). With the exception of a few guitar strains, both the interludes are carried out only by drums and tabla – no string section or brass. The dialog between the tabla and the drums in the interlude is so captivating. The challenge for Raja is two fold: 1) create an interesting interlude with just rhythm instruments and 2) defend his reputation as the best interlude composer in Indian cinema. This is hard stuff as this entire track is a great experiment with rhythm supported by a wonderful melody. At no point in the composition does the rhythm spoil the melody of the song.

Let's hear the captivating dialog between rhythm instruments in Ila Nenje Vaa ...




Even in his earlier track, Raja Rajathi Rajan Intha Raja from Agni Natchathiram (1989) uses percussion throughout its first interlude. However, the second interlude does have chorus voices supporting the percussion. Ila Neje Vaa takes this one step forward by using creative rhythm for both the interludes.