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...