Raja's rhythm innovation stage 5

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.

Raja's rhythm innovation stage 6

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..
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Raja's rhythm innovation stage 7

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.