Raja’s rhythm innovation stage 10

This requires creating a creating a charanam or pallavi with parts of it in two different Indian rhythm instruments.

Raja is famous for usage of several Indian instruments – especially the folk ones in film music more than any other composer. Only he can think of such combinations in such complex rhythm arrangement. Be prepared for a great ride!

Rasave Unnai Naan from Thanikattu Raja (1982) is an interesting track. The song’s lyric is set to folk but uses very sophisticated rhythm arrangement. The charanams in particular are set to a 6/8 rhythm with a combination of tabla and conga drums. The first 3 beats are on a tabla, a rest is followed by two beats on the congo drums and finally by one beat on the tabla.

The pallavi of the track Adukku Malligai from Thanga Magan (1983) uses three rhythm instruments in a vary innovative way – the conga drums, morocco, and the tabla to support the melody. As usual, Raja throws the mesmerizing flute as a bonus on the prelude…

Let's hear the prelude and pallavi of Adukku Malligai from Thanga Magan....




The pallavi of Varam Thantha Samikku from Sippikkul Muthu (1985) (Vatapatra in telugu – Swathi Mudhyam) uses mirudhangam and ghatam as rhythm for the pallavi. Now, how often you see such Carnatic rhythm instruments in film music?

The pallavi of the song Raathiri Poothathu from Dhayam Onnu (1988) is an interesting one. It is set to a 5/8 (kanda chapu) where it is organized as 3 beats on the congas, one rest and a beat on the tabla. The charanam is set to the standard 6/8 time signature. Why would someone think about a complex arrangement such as this beautifully supported by the bass guitar? It simply demonstrates his thirst for innovation and commitment to orchestration excellence. Though conga drum is not an Indian instrument, it was too good not to mention this track!

Let's hear the prelude and charanam of Raathiri Poothathu. Strikes me as a last minute decoration to a beautiful melody...



The track Puzhayorathil from Adharvam (Malayalam 1989) uses an interesting combination of drums and another percussion instrument (?) throughout the song.

Perhaps no composer has used folk instruments more than Raja in Indian film music. Example, Amman koyil - Aranmanai Kili (1993) uses urimi and thavil for this folk composition. There are hundreds of such Raja compositions and is hard to list all of them. I am sure other readers can quote many more examples as he is an expert with folk instruments.

Let's hear Amman Koyil...




Another good folk example - Kottaiya vittu – from Chinna Thai (1992) uses urimi and duffel for rhythm. There are three versions of this song in the film and the kids chorus version (Uma Ramanan) is the best from a rhythm perspective. As I mentioned in the moods section, Raja throws his shehnai liberally to this folk song. The same song is sung as a bit song by SPB in the film and that is arranged differently by Raja. The song has its prelude in ghatam and the pallavi (the track has no charanam) in tabla. Duffel and urimi – how many composers can think of a combo like this? The previous example was thavil and urimi! I recently heard this track played in one of the musical competition programs on TV. Synth pad and tabla would hardly cut it!

Let's hit the duffel and urimi melam in Kottaiya vittu...



The track Nenjukkule Innarennu from Ponnumani (1993) uses ghatam and claves (sticks that create a sharp sound) in its prelude and pallavi. Observe that there is a sad version of the same song in the film, where Raja avoids the prelude and uses a 6/8 tabla arrangement.

Let's hear the ghatam and claves in Nenjukkule Innarennu....




Vaaranea vaaranea vattamulla arakkan from Devathai (1997) uses thavil and duffel/frame drum and urimi in its pallavi. Another great folk example from Raja.

Let's hear the folk rhythm play of Vaaranea vaaranea vattamulla arakkan...




Chendakkoru Kolundada from Manasikkare (2003) uses a combination of Chenda (a popular instrument in Kerala) and the tabla throughout the pallavi of the song. Here is a visual and demo of chenda – (Chenda). You must be wondering what happens to this instrument in Raja’s hands.

Let's hear chenda and tabla in Raja's Chendakkoru Kolundada...



The track Marakudaiyal from Manasanikkare (2003) is another amazing track where Raja uses thimila (thimla info) and thavil throughout the pallavi of the song. Thimila is a type of percussion instrument that is popular in Kerala.

Let's hear thimila in Raja's Marakudaiyal ....



Trying out combinations of rhythm instruments is part of a composer's job. Some do it to a degree and others just excel at it. Rhythm combinations are just part of the Raja playground that is hard to match. Notice that it is not mindless application of rhythm combinations. They are carefully chosen to meet the background of the song in the film and does not in any way screw up the soul of the song.

Raja’s rhythm innovation stage 11

This requires using a single rhythm instrument, but using multiple patterns in a single track.

Annatha Aadarar from Apoorva Sagotharargal (1989) uses multiple tabla patterns through the song. The Prelude starts off with drums and congas and settles in a tabla rhythm. The prelude alone uses 4 rhythm patterns. The pallavi uses another rhythm on tabla. Interlude 1 uses two rhythm patterns and the first pattern is used very briefly. The charanam 1 uses 3 tabla patterns. Interlude 2 is interesting and it uses 2 more patterns, one of which is common with the first interlude but the initial drum pattern is unique. Charanam 2 is very similar to charanam1. In all, the track uses a total of 11 unique rhythm patterns!

The track Veetukku Veetuku from Kizhakku Vaasal (1990) uses multiple patterns within the same track.

Sandhu pottu from Devar Magan (1992) is an interesting track where the picturization demanded a track for a challenge to fight with sticks in a village setting. Raja chose two voices, one for the dialogues and another for singing. He goes further than that by throwing in a whole lot of rhythm patterns to make the track interesting. This is rated as one of the most difficult tabla work to play and you will never hear this played by any orchestra of the difficult tabla work. The prelude uses 2 tabla patterns. The 1st pallavi uses another two patterns. The first and second interlude uses a drums and tabla pattern. Both the charanams use a melody based rhythm and flows with the main melody. The dialogs of Kamal are backed with the Western drums. The last pallavi uses three tabla patterns. There are at least 8 tabla patterns apart from the drums work in this track.

Vanam Ellam Shenbagapoo from Nadodi Paatukaran (1992) is an interesting track The prelude alone uses at least 3 tabla patterns before the song begins. The pallavi uses pattern 3. Interlude 1 continues with pattern 3 and settles in a typical 6/8 pattern (#4). The charanam 1 uses a melody based rhythm (this makes it hard to count the patterns – let’s call this #5). Interlude 2 starts off with another new pattern (#6) and settles into a typical 6/8 pattern (#4). Charanam 2 uses a melody based rhythm (#5). Finally the postlude of this song uses at least two more tabla patterns (#7, #8). This is an interesting track as it uses a variety of patterns with one rhythm instrument – tabla. All the three songs described in this stage are hardly playable by regular orchestras and you will never hear them in live programs (unless it is Raja conducted). Prasad, the tabla expert who plays for Raja has been doing a great job for him for decades.

Raja's rhythm innovation stage 12

This requires creating a track with no percussion rhythm at all.

This is a challenge as the entire track needs to be guided by strings only. This is a bit harder to do than the traditional percussion driven rhythm. Typically done with guitar or violins, this is not the typical cinema style that all composers would venture. Remember, Waqt Ne Kiya of SD Burman – this track is guided by the cello and the guitar. Raja has done several of these. Two outstanding tracks that are worth mentioning…

The track Naan Ondru Kettal Tharuvaya from Ilaya Raagam (1995) is an interesting track. The first pallavi, and charanam are backed only by the guitar and the synth and there is no other rhythm support. However, the second charanam and final pallavi are supported by drums. Looks like an initial attempt by Raja before he turns on full experimentation.

Let's hear the first pallavi and charanam of Naan Ondru Kettal Tharuvaya. Please note that the interlude does have percussion support...




Therke Veesum Thendral Kaatru from Kolangal (1995) has no percussion at all with the exception of a couple of taps on the drum in the prelude. The entire track is guided by the guitar. The charanams are guided by the guitar and moroccos. The track is a treat on Western Classical string arrangement, that is typical of Raja.

Let's hear the first pallavi and charanam of Therke Veesum Thendral Kaatru. Please note that even the interludes do not have any percussion...



Sandirarum Sooriyarum from Avatharam (1995) is an amazing solo by Raja which is entirely guided by violins, cello and sax. There is no use of any percussion instrument in this entire track. There is use of cymbals if you consider it as a rhythm instrument a couple of times. The lyrics are entirely folk but the orchestration is fully Western – typical of Raja. This is one of my favorite tracks of Raja as a singer and anyone who loves Western classical music is in for a treat.

Let's hear Sandirarum Sooriyarum ....




There are several bit songs where Raja has done it without any percussion. Some examples: a) Saranam bhava from Sethu (1999) b) Yamunai Aatrile from Dhalapathy (1991)

This stage demonstrates the grip the composer has over rhythm arrangement. While most composers stay away from it, some do attempt...