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.