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.
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.
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