Raja’s rhythm innovation stage 9

This requires creating preludes, interludes, pallavis, charanams using a percussion instrument (Western or Indian) and using claps, fingersnaps on the same time signature.

Using claps or finger snaps in film music is nothing new. Now how do you try to be different from the crowd? There are several ways that Raja’s creative mind has worked throughout his career.

One of the earliest tracks where Raja used claps with mirudhangam and tabla very effectively was Aayiram Thamarai Motukkale from Alaigal Oiyvathillai (1982).

The second interlude of Pothi Vacha Malligai mottu from Man Vasanai (1983) uses claps as rhythm for part of the interlude.

Another early track of Raja – Chinna Kuyil Paadum from Poove Poochoodava (1985) uses claps for the later part of each charanam.

The pallavi of the track Tham Thanthana from Athisaya Piravi (1990) uses a novel combination of claps, duffel and thavil.

Let's hear the prelude of Tham Thanthana ...




Raja’s famous track Rakamma Kaiya Thattu from Dhalapathy (1991) uses finger snap along with the drums in the pallavi of the song.

The great Telugu hit track of Raja, Abbani tiyani debba from Jagadekaveerudu Athilokasundari (1992) uses claps throughout the track with the tabla. The rhythm was so attractive, that the tune appeared in the Hindi film Beta (1992) – not sure if this was with Raja’s knowledge.

Let;s hear the enticing prelude, pallavi and interlude 1 of this highly imitated rhythm - Abbani tiyani debba ...



The track Konji Konji from Veera (1994) uses tabla and finger snap as the rhythm for the pallavi of the track.

Nilavu Paatu from Kanukkul Nilavu (2000) uses finger snap throughout with pallavi with the drums. The interludes also use finger snap. The finger snaps form the rhythm pattern for the whole song including the charanams. Very unique in its composition style.

Let's hear the Pallavi, interlude 1 and charanam 1 of Nilavu Paatu. Notice the slow pace used by the composer of a widespread fast pace technique ...




Adida Melathe from Kanukkul Nilavu (2000) uses claps and finger snap as the rhythm in the prelude.

Let's hear the prelude of Adida Melathe...




The track Thamara Kuruvikku from Achuvinte Amma (2001 Malayalam) has an interesting prelude of drums, claps and bass guitar.

Let's hear the prelude, pallavi and interlude 1 with Raja in full blast with claps in the fast track Thamara Kuruvikku...




Thevaram from Rasathanthiram (2006 Malayalam) is an interesting rhythm track. The pallavi uses claps with duffel and drums as rhythm.

This is typical of claps and Raja uses the claps in a fast paced song - faster than Thamara Kuruvikku in the Thevaram track. Notice the nativity of the rhythm...




In essence, both finger snaps and claps are another pair of weapons in Raja’s armor. He chooses to use one or the other or the combo along with all possible rhythm instruments. It ranges from the slow paced Nilavu Paatu to fast paced Thevaram.

While there are other composers who have used finger snaps and claps in their compositions, Raja started the tidal wave of combining these elements with any type of percussion instrument. Finger snap was restricted to only drums and claps with tabla before Raja. Now, everybody freely experiments, thanks to all the innovation and guidelines shown by Raja.