As with polyphony and other WCM ideas, we will go from the known to the unknown. We have all heard Raja’s great conventional baroque compositions from the 80s. Let’s look at some his earlier works and also its newer techno baroque versions to understand the difference.
Ananda Ragam from Paneer Pushpangal (1981) – this is a classic Raja composition from the 80s, where he used a whole bank of violins in harmony and created this track which is still difficult to reproduce. Set to Carnatic ragam of Simmendramadhyamam, this has been one of those all time favorite for most Raja fans.
Let’s hear the original composition…
Let’s hear En Nenjin Ragam from Udhayam (2006) – this carefully avoids use of tabla that was extensively used in the original composition. The prelude uses the violins as in the original composition. However, the violins backing Shreya’s voice through the pallavi are all synthesized ones. The first interlude has synthesizers backing traditional violins everywhere and the flute work remains as in the original composition. The second interlude is done mostly with synthesizer supporting the original composition (the second and first interlude were done with traditional violins only in the 80s composition). Throughout both the charanams the violins backing the singers are synthesized violins. Raja had used bells extensively in the original composition and this remains the same in the 2006 rebirth. Also, Raja avoids the shehnai (he replaces them with santoor) that was used in the first interlude in the 80s composition.
Let's hear the 21st century version...
Let’s hear Jyotheyale from Geetha (1980) – one of the famous melodies of Raja from the 80s. This is a nice duet fully written with guitar, violins, bells and flute. The pallavis are fully backed by conventional violins. The first interlude is a great example of harmony of violins and uses vocal humming. There is some synth and bells along with the violins. The track uses drums throughout for rhythm. The second interlude starts off with sliding violins and has some nice bells work and some great violin and flute harmony.
Let’s hear the original composition…
Now, let’s hear Jaane Do Naa from Cheeni Kum (2007). This has the same melody as Jyotheyale and uses keyboards extensively in the piano mode. The rhythm arrangement is with synth pads and is completely different from the Jyotheyale and the tempo is a little faster. The first interlude uses all synthesized violins and keyboard, preserving the harmony elements. The charanams have synth violins backing Shreya’s voice. The second interlude is structured differently from the original and uses synthesized violins throughout.
Let's hear the 21st century version...
Next, let’s look at the track – Kulzhaloothum Kannanukku from Mella Thiranthadhu Kadhavu (1986). The prelude is famous for its flute work. The first interlude is a simple one by Raja standards, which has simple orchestration. The charanams are backed by regular violins. The second interlude starts off with a violin/flute counterpoint and has some synth play followed by violins and bells. The rhythm is traditional conga drums for the pallavi and tabla for the charanams.
Let’s hear the original composition…
Baatein Hawa from Cheeni Kum (2007) has the same melody as Kuzhaloothum. Notice the strings are fully replaced by synthesized violins. Also, the congas are replaced by a 4/4 synth pad. The bass guitar does its usual work as in all Raja compositions. The first interlude works off two synth violins in counterpoint, This is followed by a synthesized violins in counter to the synth violins. The charanam is fully backed by synth violins. The charanam also is backed by a 4/4 synthpad rhythm. The second interlude has the rock guitar and synth performing some wonderful harmony, followed by some nice jazz play with the sax. Finally control is transferred to the charanam by some great piano style keyboard play. In the earlier Raja compositions, the piano was always suppressed by his majestic violins – not anymore in the techno baroque world.
Let's hear the 21st century version...
Some of you may be thinking – this is cheating! Here is a Raja fan trying to pass his recycling of old tunes as a new genre!
This is just an introduction and we will see in the next few sections, the workings of this new genre on tracks that have no precedent. No recycling – just new genre!
In summary, this is what we have seen in our introduction:
Ananda Ragam from Paneer Pushpangal (1981) – this is a classic Raja composition from the 80s, where he used a whole bank of violins in harmony and created this track which is still difficult to reproduce. Set to Carnatic ragam of Simmendramadhyamam, this has been one of those all time favorite for most Raja fans.
Let’s hear the original composition…
Let’s hear En Nenjin Ragam from Udhayam (2006) – this carefully avoids use of tabla that was extensively used in the original composition. The prelude uses the violins as in the original composition. However, the violins backing Shreya’s voice through the pallavi are all synthesized ones. The first interlude has synthesizers backing traditional violins everywhere and the flute work remains as in the original composition. The second interlude is done mostly with synthesizer supporting the original composition (the second and first interlude were done with traditional violins only in the 80s composition). Throughout both the charanams the violins backing the singers are synthesized violins. Raja had used bells extensively in the original composition and this remains the same in the 2006 rebirth. Also, Raja avoids the shehnai (he replaces them with santoor) that was used in the first interlude in the 80s composition.
Let's hear the 21st century version...
Let’s hear Jyotheyale from Geetha (1980) – one of the famous melodies of Raja from the 80s. This is a nice duet fully written with guitar, violins, bells and flute. The pallavis are fully backed by conventional violins. The first interlude is a great example of harmony of violins and uses vocal humming. There is some synth and bells along with the violins. The track uses drums throughout for rhythm. The second interlude starts off with sliding violins and has some nice bells work and some great violin and flute harmony.
Let’s hear the original composition…
Now, let’s hear Jaane Do Naa from Cheeni Kum (2007). This has the same melody as Jyotheyale and uses keyboards extensively in the piano mode. The rhythm arrangement is with synth pads and is completely different from the Jyotheyale and the tempo is a little faster. The first interlude uses all synthesized violins and keyboard, preserving the harmony elements. The charanams have synth violins backing Shreya’s voice. The second interlude is structured differently from the original and uses synthesized violins throughout.
Let's hear the 21st century version...
Next, let’s look at the track – Kulzhaloothum Kannanukku from Mella Thiranthadhu Kadhavu (1986). The prelude is famous for its flute work. The first interlude is a simple one by Raja standards, which has simple orchestration. The charanams are backed by regular violins. The second interlude starts off with a violin/flute counterpoint and has some synth play followed by violins and bells. The rhythm is traditional conga drums for the pallavi and tabla for the charanams.
Let’s hear the original composition…
Baatein Hawa from Cheeni Kum (2007) has the same melody as Kuzhaloothum. Notice the strings are fully replaced by synthesized violins. Also, the congas are replaced by a 4/4 synth pad. The bass guitar does its usual work as in all Raja compositions. The first interlude works off two synth violins in counterpoint, This is followed by a synthesized violins in counter to the synth violins. The charanam is fully backed by synth violins. The charanam also is backed by a 4/4 synthpad rhythm. The second interlude has the rock guitar and synth performing some wonderful harmony, followed by some nice jazz play with the sax. Finally control is transferred to the charanam by some great piano style keyboard play. In the earlier Raja compositions, the piano was always suppressed by his majestic violins – not anymore in the techno baroque world.
Let's hear the 21st century version...
Some of you may be thinking – this is cheating! Here is a Raja fan trying to pass his recycling of old tunes as a new genre!
This is just an introduction and we will see in the next few sections, the workings of this new genre on tracks that have no precedent. No recycling – just new genre!
In summary, this is what we have seen in our introduction:
- Raja replaces his rhythm with simple 4/4 synthpad based rhythms
- Raja replaces elaborate violin sections with synth violins
- He switches to synth flute where appropriate
- He maintains strict harmony and does his usual counterpoint work
- He throws an occasional new genre into the mix (most of Raja’s Jazz sax work in Cheeni Kum is a good example)
- He keeps his bass lines intact
- He keeps his bells intact
- Some of his usual guitar work is replaced by keyboards
- Piano style keyboard work is given more prominence.
