Guitar based PolyCaRe arrangements in 199x –interludes

We will continue the journey on PolyCaRe arrangements of Raja, with his compositions based on guitar 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 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 prelude of Raasaleela Vela from Aditya 369 (Telugu 1991). 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
Raasaleela Vela prelude	Aditya 369	1991	Guitar	Violins	Synthesizer

1. The first 3 seconds of the clip starts off with the guitar playing its simple repetitive melody
2. Between 4 and 8 seconds, the call is made by the violins and the response by the synthesizer. The guitar continues its background melody when all this is happening in the foreground
3. Between 9 and 13 seconds, the call is again by the violins but with a slightly different melody and the response by the synthesizer is also slightly different from the earlier synthesizer melody

This is a simple PolyCaRe 101 for sure. It still follows all the rules we have defined and has four polyphonic compositions arranged one after the other. The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe.

Let’s hear the prelude of the song Raasaleela Vela…

The next interlude we will analyze is Gingila Gingila from an obscure movie Thaai Mozhi (Tamil 1992). 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
Gingila Gingila	Thaai Mozhi	1992	Guitar	Trumpet	Guitar

This interlude has guitar in the background and the foreground but is easy to tell one from the other as the melodies are distinct.

1. The first 4 seconds of this clip has two melodies arranged in counter – guitar and violins, very typical of Raja’s work from many interludes
2. Between 4 and 8 seconds, while the guitar melody continues in the background, there is a call from the trumpet for which the electric guitar responds
3. Between 9 and 11 seconds, the trumpet makes another melodic call (different from the first) and the electric guitar responds differently the second time

The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe.

Let’s hear the interlude of the song Gingila Gingila…

The next interlude we will analyze is from the song Raakamma Kaiya thattu from Dhalapathi (Tamil 1991). The prelude of this song is a very popular one and we will take a view at it from a PolyCaRe perspective. 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
Raakamma prelude	Thalapathi	1991	Guitar	Solo Violin	Violins

1. The first 4 seconds of this clip has only the guitar play and that will continue till the end of the clip. This is the background melody of this arrangement
2. Between 5 and 20 seconds, there are 8 calls and 8 responses of different variations arranged one after the other. The call is by the solo violin and the response is by the group of violins

In effect, there are 16 melodies riding on top of the background guitar melody in those 20 seconds.  The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe.

Let’s hear the prelude of the song Raakamma Kaiya Thattu…

Guitar based PolyCaRe arrangements in 198x – Background scores

We will continue the journey on PolyCaRe arrangements of Raja, with his compositions based on guitar as the background melody instrument. In this post, we will particularly focus on his background scores 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 background score of Nayagan  (Tamil 1987). This segment, which is part of the background score has guitar as its background instrument. Here is how the segment is structured:

Score	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Nayagan	Nayagan	1987	Guitar	Synth	Violins

The score is after dawn in the scene. Let’s get to the details of this arrangement.

1. The first 17 seconds of the clip has the guitar playing the background melody and the occasional synthesizer and the temple bells signifying the early morning atmosphere. Nothing unusual here
2. Between 18 and 38 seconds, there are five calls made by the synthesizer which are answered by the violins while the background guitar melody keeps playing. PolyCaRe 101. 
3. Between 39 and 50 seconds, the guitar, the synthesizer and the violins are rearranged as a regular harmony, with each instrument playing its part
4. Between 50 and 60 seconds, there are two  calls made by the synthesizer which are answered by the violins while the background guitar melody keeps playing

Outstanding piece of work by Raja and his orchestra. There are a total of 14 melodies riding on top of the guitar melody in the background in this clip – all in a matter of a minute. The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe.

Let’s hear the clip from Nayagan’s background score…

Let’s next analyze the background score of Isai Paadum Thendral  (Tamil 1986). This segment, which is part of the background score has guitar as its background instrument. Here is how the segment is structured:

Score	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Isai Paadum Thendral	Isai Paadum Thendral	1986	Guitar	Violins	Sitar

1. The first 1 second of the clip starts off with the guitar strum that is used as a background melody throughout this clip
2. Between 2 and 15 seconds there are 4 calls made by the sitar for which the violins respond while the guitar strumming continues in the background. Beautiful PolyCaRe with a Carnatic touch
3. Between 16 and 86 seconds, there are 14 different melodies played by the sitar/flute combo for which violins respond each time differently with the guitar strumming fully supporting these 28 foreground conversations

This is a staggering score with a total of 36 melodies riding on top of the background guitar melody in 86 seconds, almost performing a mini Carnatic Cutcheri. Only Raja can think of such a PolyCaRe hit out of many parks! The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe.

Let’s hear the staggering background score of Isai Paadum thendral…

Let’s next analyze the background score of Raajapaarvai  (Tamil 1981). This segment, which is part of the background score has guitar as its background instrument.  This is the famous violin concerto in Panthuvarali and this concerto has some PolyCaRe parts.  Here is how the segment is structured:

Score	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Raajapaarvai	Raajapaarvai	1981	Guitar	Violin	Guitar

1. The first 4 seconds of this clip has the background guitar melody in preparation for the PolyCaRe arrangement that follows
2. Between 5 seconds and 13 seconds, there are two Call and responses that take place between the violin and the guitar while the background guitar continues to play its melody. This is a bit different from the usual arrangement as the violin plays first, the guitar responds and also plays its second melody for the violins to catch up and the violins play the next melody for the guitars to play their next two and so on. This is a tricky arrangement, but Raja ensures that the different melodies are clearly heard – there is absolutely no confusion that these are two true back to back call and response arrangements riding on top of the background guitar melody
3. Between 14 and 28 seconds, there are 6 calls made by the violins for which the guitars respond. While this is traditional CaRe arrangement, the melody is different each time if you hear it closely

There are a total of 16 melodies riding on top of the guitar melody in the background in this clip – all in a matter of 28 seconds. The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe.

Let’s hear the clip from Raajapaarvai background score…

Let’s next analyze the background score of Poruthathu Pothum  (Tamil 1989). This segment, which is part of the background score has guitar as its background instrument. Some great scores of Raja are buried in obscure films. Here is how the segment is structured:

Score	Film	Year	Background instrument	CaRe - Instrument1	CaRe - Instrument2
Poruthathu Pothum	Poruthathu Pothum	1989	Guitar	Horns	Horns

1. The first 6 seconds of the clip has the guitar playing with trumpets to set the background melody. No foreground melody here
2. Between 7 and 21 seconds, there are four calls made by the French horn for which a group of trumpets and saxes respond
3. Between 21 and 29 seconds, the arrangement switches over to regular harmony with the horns and the guitars playing their melodies together

In all, there are 8 melodies riding on top of the background guitar melody in those 14 seconds.  The foreground melodies can stand on their own feet as simple CaRe arrangement. The background guitar melody makes them polyphonic and hence PolyCaRe.

Let us hear the horn centric background score of Poruthathu Pothum…