Triple instrument based imperfect symmetry with bridge

This involves a number of call and response arrangements involving three instruments that have a pattern and also includes a musical bridge. With some exceptions, the arrangement is symmetrical. Mostly, it is a single exception that stands out. This is common as the film music composer has time constraints and does not focus on perfect symmetry. Also, there are cases with one, two and even three bridges that makes this a hard one to analyze.

The first track we will analyze is the song Kaalidasan Kannadasan from Soorakottai Singakutti (Tamil 1983). The first interlude uses three instruments, Santoor, Violins and Flute in C&R arrangements. There are also two musical bridges used that throws the arrangement out of symmetry. The arrangement of the first interlude is as below:

San-Fl x2

Vi-San x2

Vi Br

Vi-Fl x4

Vi-San Br

The last Vi-San bridge upsets the symmetry.  Not only that. The Vi-Fl x4 also complicates matters from a symmetry perspective. The ideal arrangement could be without the last Vi-San bridge, something like this:

San-Fl x2

Vi-San x2

Vi Br

Vi-San x2

San-Fl x2

However, the perfectly symmetrical arrangement is no guarantee for a great melody and the not so perfectly symmetrical arrangement definitely is.

Let’s hear the near perfect three instrument symmetry of Kaalidasan Kannadasan…

The next track we will analyze is the song Kanmaniye Pesu from Kaaki Chattai (Tamil 1985). The first interlude of this song uses Violins, Flute and Synthesizers in C&R arrangement with three violin bridges. The arrangement of the first interlude is as below:

Vi-Fl

Vi br

Fl-Sy x3

Vi br

Fl-Sy x2

Vi br

Vi-Sy x2

Not only does three violin bridges throws the arrangement awry from a symmetry perspective, but also the number of times the C&R arrangements are repeated. The ideal symmetrical configuration would be something like this:

Vi-Fl x2

Vi br

Fl-Sy x2

Vi br

Sy-Fl x2

Vi br

Fl-Vi x2

The above arrangement would render this into a perfect translation symmetry with bridges. 

Let’s hear the imperfect three instrument arrangement of Kanmaniye Pesu…

The next track we will analyze is the first interlude of the song Kiliye Kiliye from aa Raathri (Malayalam 1983).  The interlude uses tabla, synthesizer and flute as the three instruments in a C&R arrangement. With a Flute and a synthesizer bridges, this interlude is close to perfection though not perfectly symmetrical. The arrangement is as below:

Ta-Sy x2

Fl-Sy x2

Fl br

Sy-Fl x2

Sy br

If the last Synthesizer bridge was replaced with a C&R arrangement, this could have been another perfect translation symmetry with a bridge.

Ta-Sy x2

Fl-Sy x2

Fl br

Sy-Fl x2

Sy-Ta x2

Let’s hear the near perfect three instrument symmetry of Kiliye Kiliye…

Next, let’s analyze the complex prelude of the song Nikattuma Pogattumaa from Periya Veetu Panakkaaran (Tamil 1990). This prelude uses conga drums, flute and Violins in its C&R arrangement. It is not perfect, but nevertheless a complex arrangement that is worthy of analysis. The arrangement of the prelude is as below:

(Vi-Fl-Co) x2

Vi-Co x2

Fl-Co x4

Vi-Fl-Co

Sy br

In a perfectly symmetrical world, there is no need for the Synthesizer bridge at the end. However, notice that all the three instruments participate in a single C&R arrangement, which is unique.  This is perhaps the reason for the lack of symmetry when you start analyzing it from a C&R perspective. In the ideal arrangement, it could be something like this:

(Vi-Fl-Co) x2

Vi-Co x2

(Vi-Fl-Co) x2

Fl-Co x2

However, with such arrangements, it is hard to meet perfect symmetry arrangements.

Let’s hear the complex arrangement of the prelude of Nikattuma Pogattumaa…

The next track is the 1st interlude of the song Sangathamizh Kaviye from Manadhil Urudhi Vendum (Tamil 1987). The first interlude uses Veena, Violin and Flute in C&R arrangement. There is also a violin bridge in this arrangement and is near perfect from a symmetrical perspective. Here is how it is arranged:

Vi-Ve x2,

Vi br,

Ve-Fl x2,

Ve-Vi x2

The perfection in symmetry is not achieved due to several reasons. The Flute is used only in one segment twice. Also, the bridge is out of place. Ideally, this will become perfectly transnationally symmetrical if the arrangement is as follows:

Vi-Ve x2,

Ve-Fl x2,

Vi br

Fl-Ve x2

Ve-Vi x2

Let’s hear the not so perfect symmetrical arrangement of the first interlude of Sangathamizh Kaviye…

There are several other examples that were part of the research that shows how the symmetry is missing due to the other pressures of film music composition. However, rarely have composers focused on the symmetrical aspect of C&R within an interlude as Raja has. 

Triple instrument based perfect symmetry with bridge

This involves a number of call and response arrangements involving three instruments that have a symmetrical pattern around a musical bridge. Being three instruments, there is a possibility of perfect reflection symmetry with these instruments around the bridge

The prelude of the song Sindhiya Venmani from Poonthota Kaavalkaaran (Tamil 1988)  is a special one, as the prelude uses three instruments in C&R mode with a bridge. The pattern that is used in the prelude is as below:

Sy-Be x2

Fl Br

Be-Fl x2

The arrangement has almost perfect reflection symmetry with its instruments with one exception. The last C&R arrangement uses a flute instead of synthesizer. In other words, the perfect symmetry would have been something like this:

Sy-Be x2

Fl Br

Be-Syl x2

Let’s hear the near perfect reflection symmetry based arrangement of Sindhiya Venmani…

The second interlude of Naadham Ezhundhadhadi from Gopura Vaasalile (Tamil 1991) is another example of near perfect symmetry with three instruments with bridges. The pattern used is as below:

Ch-Fl x2

Ch br

Vi-Ch x2

Vi-Fl br

In the short form, one can also state this arrangement as 2+b+2+b, where you can see the high level translation symmetry. However when you examine this closely, Raja uses Chorus as one of the participating instrument. Secondly, from a perfect translation symmetry point of view, there are a few shortcomings. While this is a very melodious arrangement, the perfect translation symmetry would look something like this:

Ch-Fl x2

Ch br

Ch-Vi x2

Vi br

Let’s hear the near perfect three instrument arrangement with bridges in Naadham Ezhundhadhadi…

Triple instrument based perfect symmetry

This involves a number of call and response arrangements that have a symmetrical pattern involving three instruments. Being three instruments, there is a possibility of perfect symmetry with these instruments.


Let’s consider the song Erettu Padhinaaru from Raja Rajaathaan (Tamil 1989).  The first interlude is a beautiful arrangement with three instruments in C&R that have a good translation symmetry. The combination here is a bit unusual, Sitar, Flute and Violins.  The arrangement pattern is as below:

Si-Vi x2

Si-Fl x2

Vi-Fl x2

Though not perfect from a perfect mathematical translation symmetry, which would be one of the choices below, assuming that the starting instrument combination is fine,

Si-Vi x2

Vi-Fl x2

Fl-Vi x2

Raja keeps one variable constant in the initial two patterns and uses the variable combination in his third pattern. Given that Indian composers rarely focus on symmetry, this is very good arrangement

Let’s hear Erettu Padhinaaru…

Let’s next review the second interlude of the song Oru Mandharapoo Vandhaa Mandhiramaa from Chinna Jameen (Tamil 1993). This interlude has a bit complex but perfect translation symmetry in its arrangement.  The interlude’s arrangement pattern is as below:

Vi-Fl x2

Vi-Sy x2

Vi -Fl x2

Sy-Fl x2

How do you read the above arrangement’s symmetrical C&R arrangement? The first and the third C&R instrument pairs are constant. The variability is introduced in the second and fourth instrument pairs. This is like a mathematical progression. Unfortunately, as the interlude length is limited, we do not see the fifth, sixth pairs and so on. The symmetry of this arrangement is hard to uncover as you get swayed by the melody and it becomes clear only when you document he instrument pairs. 

Let’s hear the perfect symmetrical arrangement of Oru Mandharapoo Vandhaa…

Dual instrument (C&R) based perfect symmetry with bridge

This involves a number of call and response arrangements that have a symmetrical pattern and also includes a musical bridge.  With two instrument based C&R arrangements, I have not observed any symmetry around a bridge.  In other words, I have not come across a Raja composition that has a musical bridge in the center with perfectly symmetrical C&R arrangements on either sides of it.  In the previous post, there were two songs that had perfectly symmetrical but had a bridge at the end of the interlude. For the purposes of demonstration of a perfect symmetry with two instruments, we ignored the bridge at the end of the interlude.

1. Melle Melle Vannu Chernu from Apaaratha (Malayalam 1991)
   
2. Oli Tharum Sooriyanum from Vaalmiki (Tamil 2009)

Dual instrument (C&R) based imperfect symmetry with bridge

This involves a number of call and response arrangements that have a pattern and also includes a musical bridge. With some exceptions, the arrangement is symmetrical. This again is not an easy one as there are fewer compositions that use two instruments in a C&R arrangement throughout an interlude 

Vasantha Nilavin from Sooryan (2007 Malayalam) is a song that qualifies. The second interlude of this song is primarily a two instrument arrangement – Veena and a synthesizer. The arrangement patterns is as below:

Sy-Ve x2

Sy br

Sy-Ve x2

Sy Br

Sy-Sy x2

From a symmetry point of view, this is imperfect as the Sy x Sy arrangement breaks the symmetry. There are several combinations of ideal symmetrical arrangement with a bridge for this combination. However, this is more of a theory and no guarantee of a great melody as the current Raja arrangement is quite melodious. As this interlude is short, it could be still symmetrical with some extension.

Sy-Ve x2

Sy br

Sy-Ve x2

Sy Br

Sy-Sy x2

Sy Br

Ve-Ve x2

Or

Sy-Ve x2

Sy br

Sy-Sy x2

Sy Br

Ve-Sy x2

Sy Br

Ve-Ve x2

Let’s hear the imperfect, but melodious two instrument arrangement of Vasantha Nilavin…

Dual instrument (C&R) based symmetry

This involves a number of call and response arrangements that have a symmetrical pattern. It is hard to define a perfect symmetry with two instruments.

With two instruments in a call and response arrangement, the best you can do is to have a pattern that involves the same instrument doing both the call and the response apart from a call by one instrument and a response by another. You have to get creative beyond that to repeat these three variations to find symmetry. It is indeed a great achievement, given the film music pressures of creating interludes in perhaps less than 5 minutes (I do not think Raja would have taken anything more than that to notate an interlude).

Ila Nenje Vaa from Vanna Vanna Pookal (1991 Tamil) is one such marvel. In interlude 2, here is how the instrument pattern is used by Raja.

Dr-Ta x4

Ta-Ta x4

Dr-Dr x4

The two instruments in play are Drums and tabla. The Drums – Tabla call and response happens four times. This is followed by tabla –tabla call and response another 4 times. Finally, the drums –drums call and response follows. The ideal configuration from a pure symmetry perspective can be one of these two:

Dr-Dr x4

Dr-Ta x4

Ta-Ta x4

or

Ta-Ta x4

Ta-Dr x4

Dr-Dr x4

However, this is the closest to symmetry you can get with two instruments from the best of composers in Indian film music!

Let’s hear the two instrument symmetry of Ila Nenje Vaa…

Halli Lavaniyalli from Namoora Mandara Hoove (Kannada 1997) is another such marvel if you observe the second interlude’s arrangement very closely. The length of some segments in the C&R makes it hard for one to observe the pattern. However, this is a brilliant arrangement with two instruments (flute and voices). Here is the instrument pattern that is used in this interlude:

Ch-Fl x4

Ch-Ch x4

Ideally, the configuration must include a third element and it would look as follows:

Ch-Fl x4

Ch-Ch x4

Fl-Ch x4

The symmetry is not easy to figure out as the chorus parts are longer in the first C&R and much shorter in the second C&R.

Let’s hear the near perfect Halli Lavaniyalli…

Another not so perfectly symmetrical two instrument C&R arrangement is the song Minmini Paarvaigal from Julie Ganapathy (2003 Tamil). The arrangement of this song is as shown in the table below:

Gu-Gu x2

Fl-Fl x2

Fl-Gu x2

In the arrangement instrument list shown, it must be mentioned that the when the Flute and Guitar (the third combination) are in a call and response mode, there are background violins. I do not include that as one of the instruments that take part in the C&R. There is lack of symmetry in this as the second and third combinations are out of place. In other words, the ideal symmetrical arrangement would be:

Gu-Gu x2

Fl-Gu x2

Fl-Fl x2

However, the arrangement does sound very melodious in its current form.

Let’s hear the near perfect Minmini Paarvaigal…

Now, is there not a perfect symmetrical C&R arrangement with two instruments by Raja? I know of one and I am sure there are others which I would encourage readers to comment on.

Melle Melle Vannu Chernu from Apaaratha (Malayalam 1991) is one such brilliant perfectly symmetrical arrangement with two instruments in a call and response mode. The second interlude of this song has a fantastic arrangement between the flute and the violins in the pattern shown below:

Fl-Vi x2

Vi-Fl x2

Fl-Vi x2

You can see the perfect reflection symmetry from the above table. There is a small orchestral bridge at the end of this with flute that must be ignored to see the symmetry. The perfect symmetry with two instruments that Raja achieves in this piece by translation symmetry.

Let’s hear the perfect symmetry of Melle Melle Vannu Chernu…

Another perfectly symmetrical C&R based instrument part is the prelude of the song Oli Tharum Sooriyanum from Vaalmiki (Tamil 2009). The two instruments doing the call and response in this prelude are the synthesizer and the guitar. One can argue that the synthesizer part as a piano part too. The prelude is a symmetrical beauty that has the following pattern:

Sy-Gu

Sy-Sy

Sy-Gu

Sy-Sy

The last part of the Sy-Sy C&R is a repetition of the second call and response arrangement. You can see perfect symmetry when you look at pieces 1,2 and 3 or 2,3 and 4. That’s the beauty of translation symmetry and you can see dual perfect symmetry in the above table.

Let’s hear the perfect symmetrical arrangement of Oli Tharum Sooriyanum…

Our journey of two instrument based C&R symmetry is still not over as we have not seen any with bridges. In the next posts, we will cover some songs that do have bridge induced perfect or imperfect symmetries. 

Symmetry analysis categories

Here are the categories that we will use for analysis purposes for analyzing Raja's C&R arrangements from a symmetry point of view:

1. Dual instrument based symmetry: This involves a number of call and response arrangements that have a symmetrical pattern. It is hard to define a perfect symmetry with two instruments
2. Dual instrument based perfect symmetry with bridge:  This involves a number of call and response arrangements that have a symmetrical pattern and also includes a musical bridge. At times, the patterns are symmetrical around the bridge 
3. Dual instrument based imperfect symmetry with bridge:  This involves a number of call and response arrangements that have a pattern and also includes a musical bridge. With some exceptions, the arrangement is symmetrical
4. Triple instrument based perfect symmetry:  This involves a number of call and response arrangements that have a symmetrical pattern involving three instruments. Being three instruments, there is a possibility of perfect reflection symmetry with these instruments 
5. Triple instrument based perfect symmetry with bridge:  This involves a number of call and response arrangements involving three instruments that have a symmetrical pattern around a musical bridge. Being three instruments, there is a possibility of perfect reflection symmetry with these instruments around the bridge
6. Triple instrument based imperfect symmetry with bridge:  This involves a number of call and response arrangements involving three instruments that have a pattern and also includes a musical bridge. With some exceptions, the arrangement is symmetrical. Mostly, it is a single exception that stands out. This is common as the film music composer has time constraints and does not focus on perfect symmetry. Also, there are cases with one, two and even three bridges that makes this a hard one to analyze.
7. Quadruple instruments with imperfect symmetry: This involves a number of call and response arrangements involving four instruments that have a pattern. It is hard to get perfect reflection symmetry with four instrument choices. Lots of Raja’s interludes do fall under this category where it is hard to identify symmetry and the composer uses a number of C&R arrangements with 4 instrument choices
8. Quadruple instruments with imperfect symmetry and bridges: This involves a number of call and response arrangements involving four instruments that have a pattern and also involves one or more musical bridges. It is hard to get perfect reflection symmetry with four instrument choices. Multiple bridges complicates matters even more. Several Raja interludes do fall under this category where it is hard to identify symmetry and the composer uses a number of C&R arrangements with 4 instrument choices
9. Quintuple instruments with imperfect symmetry, with and without bridges: This involves a number of call and response arrangements involving  five instruments that have a pattern and also involves one or more musical bridges. While technically, it is possible to get to perfect symmetry with 5 instrument choices with our methodology, I did not find any in my exploration.. Multiple bridges complicates matters even more. Some Raja interludes do fall under this category where it is hard to identify symmetry and the composer uses a number of C&R arrangements with 5 instrument choices
10. Other symmetrical arrangements: As usual, we will have a catch all category for arrangements that have some degree of symmetry and does not fall into any of our other categorizations

I did not explore musical pieces that have C&R arrangements involving 5 or more instruments as the complexity level gets staggering with this manual methodology I chose for this analysis. I must mention that Aakarsh started me on this journey as he highlighted a Raja composition that appeared very symmetrical in its components.

Musical symmetry analysis methodology

Here is a bird’s eye view of the musical symmetry analysis method that was used to present these posts:

1. Though Raja’s compositions run to over 4,500, a database of 1.600 were considered for this analysis (a 30% sample of the population). The sample set has all the languages set to music by Raja other than Marathi
2. A scan of the 1,600 interludes are done to isolate interludes that are heavily loaded with C&R arrangements (usual and unusual)
3. Only interludes that have only C&R arrangements with or without musical bridges qualify. There are a number of interludes where C&R arrangements are a small part of it – they do not qualify 
4. The qualified list of these musical pieces, about 150 of them, are isolated for further analysis
5. The qualified list is scanned in a detailed fashion to  identify the instruments that are being used in these compositions
6. Any non C&R arrangements that appear in these compositions are documented as well as the  ‘musical bridges’ to see if they can potentially demonstrate any symmetry around them
7. The musical pieces that finally qualify are classified into the number of instruments used in the composition, along with the type of symmetry

In order to facilitate easy demonstration of symmetry, there are a set of naming conventions that will make the understanding of musical symmetry easy.

Instrument short form	Instrument detailed form
Be	Bells
Br	Bridge (musical)
Co	Conga
Ch	Chorus
Dr	Drums
Fl	Flute
Gu	Guitar
Pi	Piano
San	Santoor
Sax	Saxaphone
Sh	Shehnai
Si	Sitar
So	Solo Violin
Sy	Synthesizer
Ta	Tabla
Tr	Trumpet
Ve	Veena
Vi	Violins
Vo	Voice

For example, here is an example of how a potential interlude will be documented when we look for symmetry:

(Vi-Fl) x2

(Fl-Gu) x2

Sy bridge

(Gu-Fl) x2

(Fl-Vi) x2

The way to read this is as follows:

1. Firstly, the musical piece starts with two call and response arrangements between Violin and Flute arranged back to back
2. Secondly, it is followed by two call and response arrangements between Flute and Guitar arranged back to back
3. Thirdly, there is a musical bridge for a few bars played with synthesizer
4. Fourthly, it is followed by two call and response arrangements between Guitar and Flute arranged back to back
5. Finally, it is followed by two call and response arrangements between Flute and Violin arranged back to back

If you now look at both sides of the bridge, the C&R components have perfect reflection symmetry. This is a case of bridge based perfect symmetry with three instruments. You do not count the instrument that plays the bridge piece. In order for the reader to understand the symmetry easily, I also plan to use a more cryptic notation: 2+2+b+2+2. Each number represents a count of the  C&R arrangement occurences. You can easily see the reflection symmetry on both sides of the bridge with this notation.