Quadruple instrument based imperfect symmetry with bridge

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. These arrangements also feature one or more musical bridges. Even with these bridges, there is nothing like perfect symmetry you can infer from such arrangements. 

The first track we will take up for analysis is ‘Vaanile Thenila’ from Kaaki Chattai (Tamil 1985). The first interlude uses 4 instruments – Trumpet, Guitar, flute and Violins in various call and response combinations. There is also the use of musical bridges in this interlude. The pattern of this interlude is as shown below:

Vi-Tr x4

Vi-Fl x2,

Vi-Gu Br

Gu-Vi x2

Gu Br

Fl Br

In short form, one can say that the pattern of this arrangement is 4+2+b+2+b+b. In other words, there are three musical bridges that send you into a tizzy trying to map this from a symmetry perspective. 

Even if one discards the bridges, the arrangement is far from being symmetrical. The only common aspect of all the C&R usage in this track is the use of Violins in each of the C&R arrangement. 

Let’s hear the first interlude of Vanile Thenila…

The next track we will take up for analysis is ‘En Vaanile from Johny (Tamil 1980)’. The first interlude uses 4 instruments – piano, Solo Violin, Synthesizer and violins in various call and response arrangements. This track is the closest to any form of symmetry with 4 C&R arrangement I observed in this category. The pattern of this interlude is as shown below:

Pi-Fl,

So-Fl,

Vi-Sy

Vi br,

Pi-Vix2

Pi-Pi

In short form, one can say that the pattern of this arrangement is 1+1+1+b+2+1. On the surface, from the short form, it appears that at least if the Piano and Violin (cell 5) is broken down, you could have reflection symmetry on both sides of the bridge. Unfortunately, this is not true as the parts before the bridge and after the bridge are also not using the same instrument combination, let alone any true reflection symmetry. 

Let’s hear the first interlude of En Vaanile…

The next three examples, though not perfect in symmetry have a very striking arrangement – the C&R combinations are not the usual once or twice,  but they occur four times and still does not bore the listener. 

The first track we will take up for analysis in this sub-section, is Kanmaniye Pesu from Kaaki Chattai (Tamil 1985). The second interlude uses 4 instruments – synthesizer, violins, flute and shehnai. The pattern of this interlude is as shown below:

Sy-Vi-Fl

Vi-Fl

Vi br

Sh-Fl x4

Vi br

In short form, one can say that the pattern of this arrangement is 1+1+b+4+b. You can see that the Shehnai-Flute arrangement being repeated four times is unique and does not occur in many Raja compositions.

Let’s hear the second interlude of Kanmaniye Pesu…

The second track we will take up is the first interlude of Oomai Nenjin Osaigal from Ananda Kummi (Tamil 1982). It uses 4 instruments in the interlude – Violins, Synthesizer, Solo Violin and Flute. The pattern of this interlude is as shown below:

Vi-Sy x2

So-Fl x4

Vi-Fl x3,

Sy br

In short form, one can say that the pattern of this arrangement is, 2+4+3+b. You can see that Raja uses the Solo Violin and Flute C& R arrangement four times and Violins – Flute arrangement three times in this interlude.

Let’s hear the first interlude of Oomai Nenjin Osaigal…

The third track takes C&R arrangement to the next level, though it does not achieve any symmetry in arrangement. This is the first interlude of the song Thaen Poove  Poove from Anbulla Rajnikanth (Tamil 1984). In this interlude, again not symmetrical, Raja uses an instrument combination 8 times repeatedly and gets away with it! On top of this, he uses two instrument combination four times in the same interlude. That is definitely mastery over this arrangement technique.  He weaves this magic using 4 instrument combinations – guitar, flute, Violins and Bells. The pattern of this interlude is as shown below:

Gu-Fl x4

Vi-Be x8

Fl-Gu x4

Gu br

In short form, one can say that the pattern of this arrangement is 4+8+4+b. You can notice that the Violin and Bells are used eight times in this interlude! Also, you can see that the Guitar-Flute combination is repeated 4 times and the Flute-Guitar combination is repeated another 4 times.

Let’s hear the magical interlude of ‘Thaen Poove Poove Vaa’…

We do not get to hear such great C&R arrangements anymore, nor do the current composers care about any symmetry. Their focus is getting a good tune out and even the interludes are just fillers from standard sample materials and a few boring lines with keys...