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.
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.
1 comment:
Another excellent example is Eriyile elandha maram (Karayellam Shenbagappoo) - especially the 2nd interlude has got a whole lot of folk instruments with a mixed rhythmic structure.
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