Piano based PolyCaRe arrangements in 201x – Background Scores

We will continue the journey on PolyCaRe arrangements of Raja, with his compositions based on piano as the background melody instrument. In this post, we will particularly focus on his background score compositions in the 201x. As we made it very clear in the definition, the PolyCaRe arrangement not only requires a background piano melody, it also requires two call and response melodies in the foreground played according to our rules of CaRe arrangements.

Let’s first start with the background score of Nandalala (Tamil 2010). This segment, which is part of the background score has piano as its background instrument. Here is how the segment is structured:

Score	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Nandalala BGM	Nandalala	1991	Piano	Flute	Synthesizer

1. The first four seconds has only the background piano melody that forms the background melody for the entire composition
2. For the next 20 seconds, between 4 and 24 second, there is a very long flute melody that plays with the piano background melody in the background.
3. There is a short five seconds call by the synthesizer between 24 and 29 seconds as the background melody of the piano continues
4. Between 30 and 35 seconds, there is a response by the flute to the synthesizer call with the background piano melody
5. Again, between 36 and 40 seconds, the piano background melody alone plays
6. Between 40 and 57 seconds, there is this long flute melody (slightly different from #2) that plays with the piano background melody in the background.
7. Between 58 and 72 seconds, there are two flute calls that are made for which the clip does not have the response

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 5 foreground melodies playing on top of the constant background piano melody in these 72 seconds. It must be stated that technically, it does not fully comply with our rules for a CaRe arrangement as the final two flute calls are not answered by the synthesizer. Given the melodious arrangement, I have included this PolyCaRe arrangement that almost meets our requirement more than 75%

Let’s hear the segment from the background score of Nandalala …

Piano based PolyCaRe arrangements in 199x –interludes

We will continue the journey on PolyCaRe arrangements of Raja, with his compositions based on piano as the background melody instrument. In this post, we will particularly focus on his interlude compositions in the 199x. As we made it very clear in the definition, the PolyCaRe arrangement not only requires a background piano melody, it also requires two call and response melodies in the foreground played according to our rules of CaRe arrangements.

Both the clips in this section are from the interludes of one song – O Butterfly from Meera (Tamil 1992). This segment, which is part of the background score has piano as its background instrument. 

Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
O Butterfly	Meera	1992	Piano	Flute	Synthesizer

1. The first five seconds has only the background piano melody that forms the background melody for the entire composition
2. Between five and 17 seconds, there are seven CaRe arrangements where the call is made by the flute and the response is from the synthesizer. The background piano continues while this is going on in the foreground

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 14 foreground melodies playing on top of the constant background piano melody in these 17 seconds.

Let’s hear the piano/flute/synth PolyCaRe arrangement of O Butterfly…

The other interlude part in the same song is arranged as follows:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
O Butterfly	Meera	1992	Piano	Flute	Solo Violin

1. The first 2 seconds is only the piano part (played with a synthesizer, I guess) which is the background melody for the entire composition. The overall melody will sway you so much, I strongly recommend that you hear just this piano part from start to finish in one go to confirm that the background melody is indeed being played. Ignore everything else. The solo violin can take your mind off the piano, but stay with it for one iteration. You will notice on the next iteration the foreground CaRe arrangements that ride on this background piano melody
2.  Between 3 and 8 seconds, it is a long call by the flute for which there is a short response from the solo violin for 2 seconds
3. Between 10 and 15 seconds, the flute melody is layered on top of the solo violin which is layered on top of the piano. However, you need to play it one more time to figure that the flute melody of this segment is exactly the same melody of the #2
4. Between 16 and 17 seconds, the solo violin makes a call for which there is a rapid response from the flute, following which, Raja innovates what he does with #3
5. Between 19 and 22 seconds, it is a short version of #3 where three melodies are arranges one on top of the other
6. If you play this clip in slow speed and patiently listen to the CaRe arrangements in this clip of 22 seconds, you will be able to uncover about 25 melodies in these 22 seconds. Crazy genius!

Let’s hear the piano/flute/solo violin  PolyCaRe arrangement of O Butterfly…

Guitar based PolyCaRe arrangements in 198x –interludes

Before we start going down the journey of PolyCaRe arrangements that are guitar based in Raja’s 198x interludes, I would like to call out a particular song in the 198x that I would call it the ‘King of PolyCaRe’ – it has several PolyCaRe arrangements throughout its prelude and interludes. You will see the song Jilibili Palukula from Sitara (Telugu 1983) repeated in several places in this section.

As stated before, the PolyCaRe compositions are based on guitar as the background melody instrument. In this post, we will particularly focus on his interlude compositions in the 198x. As we made it very clear in the definition, the PolyCaRe arrangement not only requires a background guitar melody, it also requires two call and response melodies in the foreground played according to our rules of CaRe arrangements.

Let’s first start with the interlude of Ennodu Paatu Paadungal from Udhaya Geetham  (Tamil 1985). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Ennodu Paatu Paadungal	Udhaya Geetham	1985	Guitar	Solo Violin	Guitar

1. The first 2 seconds of the clip starts off with the guitar playing its simple repetitive melody
2. Between 3 and 7 seconds, the call is made by the solo violin with the guitar continuing its background melody
3. Between 8 and 11 seconds, the response from the lead electric guitar plays the is part of the first CaRe arrangement, while the background guitar continues with its repetitive melody
4. Between 12 and 17 seconds, there is a different solo violin melody (played twice) for which the electric guitar responds twice. This is the second CaRe arrangement. Pay attention to the background guitar – it continues from the first second onwards, playing its repetitive melody
5. Between 17 and 22 seconds, there is a solo violin melody (played twice) the CaRe arrangement of the previous step is repeated while the background guitar  continues from the first second onwards, playing its repetitive melody

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 10 foreground melodies playing on top of the constant background melody in these 22 seconds.

Let’s hear the interlude of the song Ennodu Paatu PaadungaL…

Let’s next analyze the prelude of Jilibili Palukula  from Sitara  (Telugu 1983). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Jili Bili Prelude	Sitara	1983	Guitar	Guitar	Synthesizer

1. The first 4 seconds of the clip starts off with the guitar playing its simple repetitive melody, which will continue throughout the clip
2. Between 5 and 14 seconds , the call is made by the guitar four times and the  synthesizer responds 4 times with the guitar continuing its background melody

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 8 foreground melodies playing on top of the constant background melody in these 14 seconds.

Let’s hear the prelude of the song Jili Bili Palukula…

Let’s next analyze the interlude of Poove Sempoove  from Solla Thudikudhu Manasu  (Tamil 1988). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Poove Sempoove	Solla Thudikudhu Manasu	1988	Guitar	Sitar	Guitar +tabla

1. The first 10 seconds of the clip starts off with the guitar playing its simple repetitive melody, which will continue throughout the clip
2. Between 11 and 20 seconds , the call is made by the Sitar four times and the  Guitar and tabla responds 4 times with the guitar continuing its background melody
3. Between 21 and 26 seconds , the call is made by the Sitar four times and the  tabla responds 4 times with the guitar continuing its background melody. The sitar melody is different from the previous melody in the previous CaRe arrangement

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 16 foreground melodies playing on top of the constant background melody in these 14 seconds.

Let’s hear the interlude of the song Poove Sempoove…

Let’s next analyze the interlude of Pothi vacha malligai from Man Vaasanai  (Tamil 1985). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Pothi vacha malligai	Man Vaasanai	1985	Guitar	Synthesizer	Flute

1. Unlike the other clips, this interlude begins with the Synthesizer and the guitar doing two different melodies. However, if you play this clip a few times, you can notice the guitar melody that stays constant in the background
2. In the entire 13 seconds, the synthesizer makes 4 calls for which the flute responds. The 3^rd and the 4^th call and the response are different from the first two calls and responses, but by the same instrument. Such melodic variations are quite standard in Raja’s CaRe arrangements

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 8 foreground melodies playing on top of the constant background melody in these 13 seconds.

Let’s hear the interlude of the song Pothi Vacha…

Let’s next analyze the interlude of Sihimuthu Needi from Ajeya  (Kannada  1985). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Sihimuthu Needi	Ajeya	1985	Guitar	Violins	Flute

1. Unlike the other clips, this interlude begins with the Violins  and the guitar doing two different melodies. However, if you play this clip a few times, you can notice the guitar melody that stays constant in the background
2. In the entire 12 seconds, the violins makes 4 calls for which the flute responds. The 3^rd and the 4^th call and the response are different from the first two calls and responses, but by the same instrument. Such melodic variations are quite standard in Raja’s CaRe arrangements

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 8 foreground melodies playing on top of the constant background melody in these 13 seconds.

Let’s hear the interlude of the song Sihimuthu Needi …

Let’s next analyze the interlude of Vaanam Keezhe  from Thoongathe Thambhi Thoongathe  (Tamil  1985). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Vaanam Keezhe	Thoongathe Thambhi Thoongathe	1985	Guitar	Sax	Violins

1. For the first two seconds, it is pure guitar plan and as the melody lines get fixed for the rest of the clip, the saxophone starts off playing a different melody from 3 seconds on. The guitar melody keeps playing in the background
2. This is a simple clip and our focus is on the first 10 seconds, where for the two calls made by the sax the violins respond. What follows 10 seconds is not important from a PolyCaRe perspective

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 4 foreground melodies playing on top of the constant background melody in these 10 seconds.

Let’s hear the interlude of the song Vaanam Keezhe …

Guitar based PolyCaRe arrangements in 198x – interludes (part 2)

We will continue the PolyCaRe journey of Raja and will continue to  focus on his interlude compositions in the 198x. As we made it very clear in the definition, the PolyCaRe arrangement not only requires a background guitar melody, it also requires two call and response melodies in the foreground played according to our rules of CaRe arrangements.

Let’s first start with the interlude of a very rare song Vaai Thiravaai from Nee Thodum Podhu  (Tamil 1984). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Vaai Thiravaai	Nee Thodum Podhu	1984	Guitar	Clarinet	Flute

1. For the first two seconds, it is pure guitar plan and as the melody lines get fixed for the rest of the clip, as the background melody
2. This is a simple clip and our focus is on the 9 seconds, where for the two calls made by the clarinet for which the flute responds. This is a very strange combo for a CaRe arrangement and it appears experimental by Raja in this rate song. You will notice that the guitar melody in the background plays throughout the 9 seconds.

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 4 foreground melodies playing on top of the constant background melody in these 9 seconds.

Let’s hear the interlude of the song Vaai Thiravaai…

Let’s next analyze two interlude segments from one song , Jilibili Palukula from Sitara (Telugu 1983). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Jili Bili Interlude 1	Jili Bili Interlude 1	1983	Guitar	Synthesizer	Guitar

1. This is a tricky composition to identify the parts. As the clip starts, you will notice that the Synthesizer and the guitar are busy playing their different melodies simultaneously, till you hear the guitar response to the synthesizer at 2 seconds.
2. This is a simple clip and our focus is on the 10 seconds, where for the four calls made by the synthesizer for which the guitar responds. You need to hear this segment a few times and take your mind off the foreground CaRe arrangement and you will be able to see the repetitive guitar pattern in the background . My guess is that Raja has packed so much that this is a tiny segment which he wrote and could not accommodate a few seconds of only the background guitar melody

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 8 foreground melodies playing on top of the constant background melody in these 10 seconds.

Let’s hear the segment from the first interlude of the song Jilibili Palukula…

Let’s next analyze another interlude segments from the song , Jilibili Palukula from Sitara (Telugu 1983). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Jili Bili Interlude 2	Jili Bili Interlude 2	1983	Guitar	Synthesizer	Guitar

1. The first two seconds plays a guitar melody that will be the background melody for this segment.
2. This is a simple clip and our focus is on the 10 seconds, where for the two calls made by the synthesizer for which the guitar responds. The length of the call is quite long compared to the electric guitar response.
3. What follows the 10 seconds is a typical Raja counter point between the synthesizer and the background guitar (you cannot anymore call this guitar play as a background instrument)

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 4 foreground melodies playing on top of the constant background melody in these 10 seconds.

Let’s hear the segment from the second interlude of the song Jilibili Palukula…

Let’s next analyze a famous interlude segment from one song , Neethane enthan pon vasantham from Ninaivellam Nithya (Tamil 1982). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Neethane enthan pon vasantham	Ninaivellam Nithya	1982	Guitar	Violins	Solo Violins

1. The first three seconds plays a guitar melody that will be the background melody for this segment.
2. This is a simple clip and our focus is on the first 12 seconds, where for the two calls made by the Violins for which the solo violin responds.
3. What follows the 12 seconds is a typical Raja counter point between the violins and the background guitar (you cannot anymore call this guitar play as a background instrument)

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 4 foreground melodies playing on top of the constant background  guitar melody in these 12 seconds.

Let’s hear the segment from the interlude of the song  Neethane enthan pon vasantham …

Let’s next analyze a famous interlude segment from one song , Rum Bum Bum  from Michael Madana Kamarajan  (Tamil 1989). This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Rum Bum Bum	Michael Madana Kamarajan	1989	Guitar	Synthesizer	Trumpet

1. The first five seconds plays a guitar melody that will be the background melody for this segment.
2. This is a simple clip and our focus is on the first 10 seconds, where for the two calls made by the Synthesizer for which the trumpet responds.
3. The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 4 foreground melodies playing on top of the constant background guitar melody in these 10 seconds.

Let’s hear the segment from the interlude of the song Rum Bum Bum …

The last interlude in this post will be the song Senorita from Johnny (Tamil 1980).  This segment, which is part of the interlude has guitar as its background instrument. Here is how the segment is structured:

Song	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Senorita	Johnny	1980	Guitar	Synthesizer	Violins

1. The first four seconds plays a guitar melody that will be the background melody for this segment.
2. This is a simple clip and our focus is on the first 8 seconds, where for the two calls made by the Synthesizer for which the violins respond.

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe. There are 4 foreground melodies playing on top of the constant background guitar melody in these 8 seconds.

Let’s hear the segment from the interlude of the song Senorita …