In the last 15 months or so, we explored symmetry in Raja’s work. We focused on arrangement based symmetry than instrument based symmetry. It is hard to write about music symmetry if you consider film music as your analysis subject. Some of the parts in this series of articles may sound a bit critical from a symmetry point of view. While it is easy to take a critical technical view, one must realize the drivers for a commercial film music composers:
a) the limits of time to create an interlude (considered a filler by most composers)
b) the overall melody of the interlude and
c) the constraints of an interlude, whose rhythm arrangement and pitch cannot significantly vary from the main song.
Given these constraints, symmetry is definitely not the focus of an average Indian film composer.
Even with all these constraints, we are lucky to have a composer, who navigates these constraints without any difficulty and still delivers near perfect and at times perfectly symmetric C&R based arrangements that have stood the test of time.
The entire series on symmetry must be viewed in this light and not as a mere technical analysis of Raja’s work. As always, his wide body of work repeatedly qualifies for such analysis as it is built on very strong musical fundamentals. We have seen this in several analysis series:
- Moods series about the emotions that Raja evokes with his interludes
- Rhythm arrangements and the staggering variety
- Polyphonic arrangements with his interludes
- Polyrhythmic arrangements
- Chorus arrangements
- Symmetrical arrangements
We have hardly scratched the tip of the iceberg as all we have covered in the 150 plus posts are one aspect of Raja’s work – instrumental arrangement.