The approach that we took to analyzing Raja’s rhythms is by no means all encompassing. There are several rhythm innovations that Raja has demonstrated in his 5000 odd tracks that no ONE method can capture it all.
For instance, our approach does not capture some very complex rhythm experiments that Raja has done with time signatures: example, Thappu Thakilu MeLam from Manjeera Dhwani (1998 Malayalam). Or his heart beat rhythm experiment with the song Om Namaha in Geetanjali (1989 Telugu). Or his lap tapping rhythm of Paruvame in Nenjathai Killathe (1981). Or Thatharam from Guru (1997 Malayalam). Recently I uncovered a devotional film song where Raja has used some amazing rhythm arrangement. I am not touching on usual cinematic stuff such as a moving train’s, or bottle sound being used as rhythm – too many MDs have done it (it’s easier to list ones who haven’t). The point is, if you approach the subject from a different angle, you are bound to uncover a lot more.
We will get back to the topic of rhythms at a later stage covering off some rhythm instruments and Raja’s work on poly rhythms.