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 …