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.
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.
No comments:
Post a Comment