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.
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.
1 comment:
ennada paandi from Valmiki is another song where the only accompaniment is predominantly percussion (even while singing).
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