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.