This requires Indian and Western instruments in a polyrhythmic arrangement
The Indian instrument is invarably the tabla in film music. The western rhythm instrument is invariably the drum kit. Some of the latest techno work makes it impossible to tell where the synthesized groove ends and where the synth rhythm begins.
Maapilaikku Maaman Manasu from Netri Kann (1981) is another example of a very innovative application of the poly rhythm technique. Raja uses a standard 4/4 drum beat as the rhythm and freaks out with voices and mirudhangam. Note that the singer’s jathi is not on the same time as the back beat. On two occasions within this 35 seconds clip, the composer throws also the mirudhangam on a different time. Poly rhythm is a special subject in the Western world after the import of such rhythms through Afro Americans. It is part of the Carnatic tradition for centuries. Raja just demonstrates this with a mix of Western and Carnatic traditions! We need in keep in mind that this was done long before drumming machines were invented – the first decent microprocessor came out around this time!
Let's hear the Netri kann song....
Devan Koil from Naan Padum Padal (1984) - the prelude uses a polyrhythmic arrangement between the Indian tabla and the Western drum. The prelude lasts only 20 seconds and the music transitions into Raja’s 80s style violins and tabla arrangement after the prelude. Even in the prelude, there is extensive use of synthesizer, violin and flute.
Let's hear the Naan Padum Padal song....
The postlude of Megam Kottatum from EnakkuL Oruvan (1984). This is an amazing display of poly rhythm throughout the postlude that lasts about 50 seconds. The first 20 seconds of the clip does not have any poly rhythmic arrangement, just a play between the guitar and the drums. Observe from 20 seconds onwards, you will hear separate rhythm play between the left and the right. The right channel has the drums playing on slow time and the left playing in faster time till the right drummer catches up to the pace of the left drummer. The guitar that plays along stops suddenly and now it is poly rhythm all the way! At 32 seconds in the clip, the left drummer is replaced by a mirudhangam player who plays on his own time as the right drummer continues. At 42 seconds in the clip, the right drummer slows his timing and the mirudhangam player is in full cry as super fast time. There is no need for a better demo in Indian film music than this for poly rhythm! In 1984, when the world was saying welcome to the Apple Macintosh, Raja was busy with polyrhythms!
Let's hear the EnakkuL Oruvan song ....
Puthiya Poovithu from Thendrale Ennai Thodu (1985) – this song uses two sets of poly rhythmic arrangement, one that qualifies it as part of this categorization and another that does not. The pallavi of this song has three things going on in three timing arrangement – the tabla, the click and the cymbals. Not to mention the bass guitar. Everything falls perfectly in its place and you have a great melody on top of it. The charanam replaces the tabla with the conga drums. The rest of the rhythm arrangement in the charanam is similar to the pallavi. I have the full pallavi and part of the charanam in this clip.
Let's hear the Thendrale Ennai Thodu song...
Kavidhai Kelungal from Punnagai Mannan (1986) – if you observe the prelude of this track, the drum and the tabla play their own rhythm pattern, each one of them is clearly heard and together it sounds very pleasant. The base time is maintained by the drumming machine and the tabla rhythm is overlapped thrice in the prelude. There is also synthesized percussion that overlaps the drumming machine’s rhythm. Lastly, the drum kit based rhythm also overlaps the drumming machine’s rhythm. In all, there are five instances of polyrhythm that Raja demonstrates in this song’s prelude that lasts about 20 seconds!
Let's hear the Punnagai Mannan song...
Kathuthadi Raakozhi from Deiva Vaaku (1992) is an excellent poly rhythm between the drums and tabla throughout the track! In fact, this track fits into all categories of polyrhythm by Raja. It has folk, western, Indian style jathi, carnatic style morsing, ghatam – Raja demonstrates his total mastery over rhythm arrangement. The prelude and the pallavi have a similar poly rhythmic arrangement. The western drum plays in slow time and the tabla plays in fast time creating an exciting rhythm pattern. I have included only the second interlude and not the first. The second interlude is special from a rhythm perspective. Raja demonstrates the difference between a call and response and a polyrhythmic arrangement in less than 15 seconds! He starts off with a ‘dhinuku dhinuku’ rhythm pattern and his pattern is responded by the drum and the ghatam. This is followed by his vocals, the drum, and the ghatam playing the rhythm he leads. But, the tabla plays its rhythm on a different time, with poly rhythm in full display.
Finally, let's hear the brilliant Deiva Vaaku song...
In the next months, we will see how Raja works with Western and mixed rhythm instruments. I have particularly traced his polyrhythm work in each post to the beginning to prove his strong bedrock rhythm foundation. It only gets better with automation...
The Indian instrument is invarably the tabla in film music. The western rhythm instrument is invariably the drum kit. Some of the latest techno work makes it impossible to tell where the synthesized groove ends and where the synth rhythm begins.
Maapilaikku Maaman Manasu from Netri Kann (1981) is another example of a very innovative application of the poly rhythm technique. Raja uses a standard 4/4 drum beat as the rhythm and freaks out with voices and mirudhangam. Note that the singer’s jathi is not on the same time as the back beat. On two occasions within this 35 seconds clip, the composer throws also the mirudhangam on a different time. Poly rhythm is a special subject in the Western world after the import of such rhythms through Afro Americans. It is part of the Carnatic tradition for centuries. Raja just demonstrates this with a mix of Western and Carnatic traditions! We need in keep in mind that this was done long before drumming machines were invented – the first decent microprocessor came out around this time!
Let's hear the Netri kann song....
Devan Koil from Naan Padum Padal (1984) - the prelude uses a polyrhythmic arrangement between the Indian tabla and the Western drum. The prelude lasts only 20 seconds and the music transitions into Raja’s 80s style violins and tabla arrangement after the prelude. Even in the prelude, there is extensive use of synthesizer, violin and flute.
Let's hear the Naan Padum Padal song....
The postlude of Megam Kottatum from EnakkuL Oruvan (1984). This is an amazing display of poly rhythm throughout the postlude that lasts about 50 seconds. The first 20 seconds of the clip does not have any poly rhythmic arrangement, just a play between the guitar and the drums. Observe from 20 seconds onwards, you will hear separate rhythm play between the left and the right. The right channel has the drums playing on slow time and the left playing in faster time till the right drummer catches up to the pace of the left drummer. The guitar that plays along stops suddenly and now it is poly rhythm all the way! At 32 seconds in the clip, the left drummer is replaced by a mirudhangam player who plays on his own time as the right drummer continues. At 42 seconds in the clip, the right drummer slows his timing and the mirudhangam player is in full cry as super fast time. There is no need for a better demo in Indian film music than this for poly rhythm! In 1984, when the world was saying welcome to the Apple Macintosh, Raja was busy with polyrhythms!
Let's hear the EnakkuL Oruvan song ....
Puthiya Poovithu from Thendrale Ennai Thodu (1985) – this song uses two sets of poly rhythmic arrangement, one that qualifies it as part of this categorization and another that does not. The pallavi of this song has three things going on in three timing arrangement – the tabla, the click and the cymbals. Not to mention the bass guitar. Everything falls perfectly in its place and you have a great melody on top of it. The charanam replaces the tabla with the conga drums. The rest of the rhythm arrangement in the charanam is similar to the pallavi. I have the full pallavi and part of the charanam in this clip.
Let's hear the Thendrale Ennai Thodu song...
Kavidhai Kelungal from Punnagai Mannan (1986) – if you observe the prelude of this track, the drum and the tabla play their own rhythm pattern, each one of them is clearly heard and together it sounds very pleasant. The base time is maintained by the drumming machine and the tabla rhythm is overlapped thrice in the prelude. There is also synthesized percussion that overlaps the drumming machine’s rhythm. Lastly, the drum kit based rhythm also overlaps the drumming machine’s rhythm. In all, there are five instances of polyrhythm that Raja demonstrates in this song’s prelude that lasts about 20 seconds!
Let's hear the Punnagai Mannan song...
Kathuthadi Raakozhi from Deiva Vaaku (1992) is an excellent poly rhythm between the drums and tabla throughout the track! In fact, this track fits into all categories of polyrhythm by Raja. It has folk, western, Indian style jathi, carnatic style morsing, ghatam – Raja demonstrates his total mastery over rhythm arrangement. The prelude and the pallavi have a similar poly rhythmic arrangement. The western drum plays in slow time and the tabla plays in fast time creating an exciting rhythm pattern. I have included only the second interlude and not the first. The second interlude is special from a rhythm perspective. Raja demonstrates the difference between a call and response and a polyrhythmic arrangement in less than 15 seconds! He starts off with a ‘dhinuku dhinuku’ rhythm pattern and his pattern is responded by the drum and the ghatam. This is followed by his vocals, the drum, and the ghatam playing the rhythm he leads. But, the tabla plays its rhythm on a different time, with poly rhythm in full display.
Finally, let's hear the brilliant Deiva Vaaku song...
In the next months, we will see how Raja works with Western and mixed rhythm instruments. I have particularly traced his polyrhythm work in each post to the beginning to prove his strong bedrock rhythm foundation. It only gets better with automation...
