tag:blogger.com,1999:blog-71251286440571187872024-03-12T20:04:52.955-04:00Raja, the geniusThis site attempts to showcase the Indian musical genius - Ilayaraja and his work with both Western and Indian Classical music over the last 5 decades.ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.comBlogger240125tag:blogger.com,1999:blog-7125128644057118787.post-58642521687196007892023-04-15T11:59:00.011-04:002023-04-15T11:59:00.190-04:00SJ – Orchestral vocal instrument - Several (1980s)<span style="font-family: helvetica;">This is a catch all use of SJ’s voice in several orchestral modes in a single track. Every track in this post will contain more than one technique, that it cannot be strictly fall under the classification of any one technique. While, there were a few tracks listed under PolyCaRe as well as CaRe, this goes beyond that. These are tracks as though Raja wanted SJ to play a bigger than usual orchestral role in his composition. </span><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"> The first track we will list here is a song that we have analyzed before. This is the song, ‘<i>Eriyile Elandha Maram</i>’ from ‘<i>Karaiyellam Shenbagapoo</i>’ (1981 Tamil). This track has its several parts analyzed here:</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><a href=" https://geniusraja.blogspot.com/2012/10/usage-of-folk-and-western-choir-in.html "><span style="font-size: medium;">Eriyile Elandha Maram - analysis</span></a><br /></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Raja uses SJ for harmony, C&R in various parts of the composition as he uses her voice for a child singing with other children.</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"> The next track, is from the song, ‘<b><i>Edalolaya</i></b>’ from ‘<i>Anveshana </i>‘(1985 Telugu). The orchestral parts are 100 second long in this track and definitely requires detailed analysis as <i>there is no other such composition in Indian film music of this type.</i> </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Most of the arrangement is between SJ and the flute while Raja does use the synthesizer as the responding instrument on occasions. The film situation has the female artist and her parrot in conversation and Raja turns this opportunity to a grand SJ instrument experiment. While he tried this with other singers later, nothing came close to this. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">The unique feature of this track is the use of Carnatic swarams and not just humming in the C&R parts on several occasions.<b><i><u> <span style="font-size: medium;">The highlight of this track is that Raja uses one technique and demonstrates 7 variations to it within the same song</span>.</u></i></b> While classical composers have the freedom of time, Raja is constrained by the time he has for any composition due to the pressures of composing for films. We will analyze this by phrases. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Phrase 1 – 0:01 to 0:19 secs: This is arranged as a Call and response between SJ and the flute with SJ singing swarams instead of humming. The call and response is an interesting one. Both SJ and the flute sing the entire phrase once and in the next when SJ sings part of the melody, the flute will finish the remaining part of the melody. Very innovative use of the technique, where the composer uses a melody and splits it between the human voice and an instrument! </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Phrase 2 – 0:20 to 0:28 secs: This is arranged as a Call and Response between SJ and the flute. The response from the flute is not SJ’s swaram but a different melody. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Phrase 3 – 0:29 to 0:33 secs: This is arranged as a Call and Response between SJ’s lyrical words and a synthesizer.</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"> Phrase 4 – 0:34 to 0:47 secs: This is an arrangement, where the composer reverses roles between SJ and the flute within these 14 seconds. It starts off as a call from the flute to which SJ responds and at about the 40 second mark, they reverse roles and the call is from SJ and the response is from a flute! It is beyond comprehension how the three parties involved – the flautist, SJ and the composer can pull of such great work in less than a couple of hours! The SJ parts are all swarams. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Phrase 5 – 0:48 to 0:57 secs: Another Call and Response experiment that is very unique to this track is the use of a single swaram as the call and the response from the flute with the same swaram. Raja uses the clever trick of sustainment to keep the listener interested </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Phrase 6 – 0:58 to 1:15 secs: One more variant to the call and response technique is the use of SJ is the ‘Aa’ (Akaaram) mode with a sustain as her call and the flute responds with exactly the same note. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"> Phrase 7 – 1:15 to 1:40 secs: Raja creates short melodies with several swarams and then turns it into a call and response between SJ and the flute. Each of the swarams in the melody phrase is mostly sang by SJ with the last one or two swarams alone by the flute. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"><i>This song is almost like a treatise on what’s possible between two instruments, if a composer has rich imagination and the right cooperation from the singer and the flautist, there are no limits even with just one technique</i>. <i>Such great imagination is possible only for a genius!</i> </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Let’s feast on the SJ and flute in complete set of C&R experiments with <i>Edalolaya</i>…
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<audio controls="" src="https://dl.dropboxusercontent.com/s/92tm4nv774lm33e/SJ-Edalolaya.mp3?dl=0"></audio>
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</div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"><br /></span></div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-47090388036646590402023-03-15T11:31:00.002-04:002023-03-15T11:31:00.216-04:00SJ – Orchestral vocal instrument - Strumming (1980s)<p> </p><p class="MsoNormal"><span face=""Century Gothic",sans-serif" lang="EN-US" style="background: white; color: #202122; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><b>Strumming </b>is a staple technique with guitar and several Raja
compositions use this technique. However, there is one song, where Raja uses
this technique along with SJ’s voice instead of a guitar. It is true that Raja
also used MV’s voice also in the same mode in this song.<o:p></o:p></span></p>
<p class="MsoNormal"><span face=""Century Gothic",sans-serif" lang="EN-US" style="background: white; color: #202122; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">The track is from the prelude of the song, <i>‘Paruvakaalagalil</i>’ from ‘<i>Moodu
Pani</i>’ (Tamil 1980). This is a rare 13 second clip, where he uses SJ’s voice in
this mode backed by the bass and lead guitar. He uses her voice in this mode to
convey the sense of the liberated young celebrating it. It begins as a simple
melody and towards the 5<sup>th</sup> second or so, shifts into the strumming
mode. Very creative use of the female voice. I did not hear any other track,
where he repeated this experiment.<o:p></o:p></span></p>
<p class="MsoNormal"><span face=""Century Gothic",sans-serif" lang="EN-US" style="background: white; color: #202122; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">Let’s hear ‘Paruvakaalangalil’ strumming with SJ’s orchestral vocal
instrument…<o:p></o:p></span></p><p class="MsoNormal"><span face=""Century Gothic",sans-serif" lang="EN-US" style="background: white; color: #202122; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><br /></span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/6w9yerrpeedk5k8/SJ-Paruvakalangalin.mp3?dl=0"></audio>
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ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com1tag:blogger.com,1999:blog-7125128644057118787.post-58409190403237407392023-02-15T11:11:00.003-05:002023-02-15T11:11:00.201-05:00SJ – Orchestral vocal instrument - PolyCaRe (1990s)<p><span style="font-family: helvetica;"><b> PolyCaRe</b> is a Raja specialty, and we covered this in a number of posts a few years ago. This is basically a Call and Response arrangement within a polyphonic arrangement. In other words, it has a background melody and a foreground melody like every polyphonic composition, but the foreground itself has two or more melodies operating in a C&R format. </span></p><p><span style="font-family: helvetica;">You can see more on the definition and the exploration of PolyCaRe here…</span></p><p><a href="https://geniusraja.blogspot.com/2016/07/introducing-polycare.html"><span style="font-family: helvetica; font-size: medium;">PolyCaRe Introduction</span></a><br /></p><p><span style="font-family: helvetica;">Though I did cover SJ being used in a PolyCaRe orchestration by Raja on a few occasion in this analysis </span></p><p><span style="font-family: helvetica;">1.<span style="white-space: pre;"> </span><i>Pagalile Oru Nilavinai (Ninaive Sangeetham)</i></span></p><p><span style="font-family: helvetica;">2.<span style="white-space: pre;"> </span><i>Ennathial Edho Jillendradhu (Kallukkul Eeram)</i></span></p><p><span style="font-family: helvetica;">3.<span style="white-space: pre;"> </span><i>Maniye Manikuyile (Nadodi Thendral)</i></span></p><p><span style="font-family: helvetica;">However, one composition that is reserved for a beautifully orchestrated PolyCaRe with SJ’s voice in the 90s is what we will analyze in this post. </span></p><p><span style="font-family: helvetica;">The track is from the song ‘<i>Mannavane Mannavane</i>’ from ‘<i>Thandhu Vittaen Ennai’</i> (1991 Tamil). This 32 second clip is a gem that has no parallel in Indian film music. It begins with a simple melody with a santoor. This continues throughout the 32 seconds as the background melody – no change at all. Now, we need to focus on the foreground arrangement. The foreground is a bewitching melody arrangement where the call is made by SJ and the response is from the flute followed by the violins. The santoor continues its background melody. SJ sings her second melody and the flute and violins respond one after the other to complete the masterpiece. You can clearly see that SJ is used as an instrument in this sophisticated PolyCaRe arrangement and the major role here is for the santoor, flute and the violins. Such arrangements were never attempted before and after this song.<i> It is easy to think of an orchestral arrangement such as harmony. However, to think of a polyphonic arrangement is much harder. The next level of sophistication is to think of a PolyCaRe arrangement as you must have an endless supply of melodies that fit in. The ultimate sophistication in my view for a composer is to create such compositions, where he can think outside the box – within a PolyCare arrangement, why can’t I replace one of the instrumental piece with a human voice? That’s Raja!</i></span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">Let’s hear Mannavane Mannavane, PolyCaRe with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/feo4v7js1mhzk7y/SJ-Mannavane.mp3?dl=0"></audio>
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<div><br /></div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-34697216374081636392023-01-15T10:07:00.001-05:002023-01-15T10:07:00.232-05:00SJ – Orchestral vocal instrument - Counterpoints (1990s)<span style="font-family: helvetica;">The use of SJ in Raja’s counterpoint compositions continued into the 1990s also. </span><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">The first track is the prelude from the song, ‘<i>Ponnil Vaanam Poothadhu’</i> from ‘<i>Villu Paatukaaraen</i>’ (1992 Tamil). The track begins with a simple melody played on a synthesizer – this is typical way of Raja preparing the listener that ‘more sophistication is on the way’. This melody is played twice. The parallel counterpoint , which is the central part of this composition is beautifully packaged with two melodies. Let’s call this the top cover melody. The next thing that Raja has designed is to introduce a three foreground melodies. Yes, there are three parts to this foreground melody. SJ, the bass guitar and the flute do their melody parts while the synthesizer plays a simple but different melody in the background. I consider this as one of the most soothing counterpoints written by him! I have also included the last part played by the sitar which is nothing but the same melody that the synthesizer played in the beginning. This is the bottom cover melody. It is also designed beautifully and plays exactly twice like its synthesizer counterpart. <i>Now, this is how the most beautiful pearls are created by nature. <b>The two melodies (like shells) beautifully cover the beautiful counterpoint inside it. Genius!</b></i></span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Let’s hear, ‘Ponnil Vaanam Poothadhu’, counterpoint with SJ’s orchestral vocal instrument… </span></div><div><span style="font-family: helvetica;"><br /></span></div>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/8qfj4y36gf1p409/SJ-Ponnil%20Vaanam%20Pottathu.mp3?dl=0"></audio>
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<div><span style="font-family: helvetica;">The next track is from the song, ‘<i>Raasaave Unnai Vida</i>’ from ‘<i>Aranmanai Kili’</i> (1993 Tamil). The track begins with a simple C&R between SJ and the synthesizer (it has bass parts too). The synthesizer part is designed to be the background melody for the following counterpoint. Following this brief C&R, both SJ and the synthesizer launch a parallel counterpoint with the synthesizer given the job of the anchor – constant background melody. There are several variations to SJ’s melody parts but the synthesizer stays put. I have also included the following counterpoint after SJ’s part – this is where SJ becomes a part of the Raja orchestral composition. The foreground melody now is played by a flute with the exact same synthesizer melody in the background. Another back to back CP within a minute – typical Raja. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Let’s hear, ‘Raasaave Unnai vida’, counterpoint with SJ’s orchestral vocal instrument…
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<audio controls="" src="https://dl.dropboxusercontent.com/s/yqtyorkpdpeuwtd/SJ-Raasave%20Unnai.mp3?dl=0"></audio>
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ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-51213937716773318252022-12-15T09:53:00.001-05:002022-12-15T09:53:00.225-05:00SJ – Orchestral vocal instrument - Counterpoints (1980s)<span style="font-family: helvetica;">Readers regularly reading this blog will be familiar with counterpoints and their usage by Raja. There were several posts dedicated to Raja’s counterpoints from 2008 onwards. Here is some basic information on musical counterpoints.</span><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"> In these posts, we will explore how Raja used SJ as one of the counterpoint instrument. This obviously requires two melodies that need to be playing simultaneously. Sometimes, there are several melodies in Raja’s work and SJ is one of the melodies. Let’s begin our analysis with the tunes of the 1980s. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Let’s begin with the prelude of the song, ‘<i>Ennathail Edho</i>’ from <i>‘Kallukkul Eeram</i>’ (1980 Tamil). The track begins with a synthesizer playing at a constant rhythm being the background melody throughout this part. SJ’s humming is composed as a counterpoint along with the bass guitar. This is actually a PolyCaRe composition, as the SJ/bass guitar parts are answered by the flute with its own melody when the background synthesizer keeps playing its repeating melody. The SJ/Bass and the flute parts are different for each phrase. The whole composition is engineered with the lead singer playing an orchestral part for the prelude. It is arranged as a staggered counterpoint by the composer.</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Let’s hear, ‘<i>Ennathil Edho</i>’, counterpoint with SJ’s orchestral vocal instrument… </span></div>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/5yoj96fojte77rk/SJ-Ennaththil%20Yetho.mp3?dl=0"></audio>
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<div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">The next track is from the song ‘<i>Isai Medaiyil</i>’ from ‘<i>Ilamai Kaalangal</i>’ (1983 Tamil). There are several melodies in this part and the two main parts are melodies sung by the female choir and SJ’s parts. You will notice that the female choir is given the simple melody that keeps repeating throughout this part. The SJ part has nuances to its melodies as it changes every time. The counterpoint has two distinct arrangements placed back to back. I have included some instrument parts following the SJ part. Observe that the female choir continues even after SJ’s part is over. The SJ part is replaced by the synthesizer playing a new melody and even the background female choir has its melody changed. <i>Brilliant</i>! When composers brag about writing counterpoints, Raja has written several such gems, where he alters both the foreground and the background melody and nobody notices, as the listener is transported to a different world by the sheer strength of the melody!</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Let’s hear, ‘Isai Medaiyil’, counterpoint with SJ’s orchestral vocal instrument… </span></div>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/rnj9bfxse5zpbpn/SJ-Isai%20Medaiyil.mp3?dl=0"></audio>
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<div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Even within these posts, you can see how Raja used SJ in instrument parts that are dominated by flute in the first and the choir/ synthesizer in the second.
I am sure there are a few others I may have overlooked. Feel free to include them in your comments…
</span></div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com1tag:blogger.com,1999:blog-7125128644057118787.post-80904275975054694572022-11-15T12:12:00.001-05:002022-11-15T12:12:00.213-05:00SJ – Orchestral vocal instrument - Harmony (1990s)<p><span style="font-family: helvetica;"> The technique was not used by Raja is a big way in the 90s with SJ’s voice. However, I found one example of him continuing this in the 90s too.</span></p><p><span style="font-family: helvetica;">The track we will hear is from the song,’ ‘<i>Thanneer Kudam</i>’ from the film ‘<i>Sarkarai Devan</i>’ (1993 Tamil). The harmony is buried inside the charanam and it is used in both the charanams in the same format. The harmony is between the synthesizer, flute, bass guitar and SJ and it is a three part harmony. Focus on the parts that SJ hums along with these instruments.</span></p><p><span style="font-family: helvetica;">Let’s hear, ‘thanneer kudam’, harmony with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/jpm6pew46brwaer/SJ-Thaneer%20Kudam%20Kondui.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-1584491728487551542022-10-16T11:41:00.001-04:002022-10-16T11:41:00.207-04:00SJ – Orchestral vocal instrument - Harmony (1980s)<p><span style="font-family: helvetica;"> In the 80s, Raja expanded the use of SJ in several of his harmonies. There are several dozens of examples and I have chosen a few to analyze how he integrated her into his harmonies in this decade. </span></p><p><span style="font-family: helvetica;">The first track we will hear is ‘<i>Azhagu Aayiram</i>’ from ‘<i>Ullasa Paravaigal</i>’ (1980 Tamil). This is such a beautiful use of her voice inside a harmony that it requires elaboration a little before and after her harmony parts. The first few seconds is a harmony that is arranged between the synthesizer, flute and the bass guitar. This follows a long harmony part between the electric guitar, SJ, bass guitar, synthesizer and another guitar with a wah wah pedal. Absolutely staggering piece of orchestration. Following this are harmony parts with the violin, synthesizer and flute serving as a bridge to the charanam. Such harmonies are impossible to hear with today’s music. Worth every second in gold!</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Azhagu Aayiram’, harmony with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/9r4xwz3l3pepvys/SJ-Azhagu%20Aayiram.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song ‘<i>Raja Magal</i>’ from the film, ‘<i>Pillai Nila</i>’ (1985 Tamil). This track can easily be argued as a C&R track as it has two back to back C&R between SJ and the recorder. However, I chose to categorize it as a harmony to illustrate the final harmony that follows these two C&R arrangements, where SJ is just one part of an otherwise violin harmony. A simple synthesizer bridge connects these parts back to the charanam (this is the part almost every composer today struggles, but Raja has a few thousand ideas that today’s composers fail to study).</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Raaja Magal’, harmony with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/xm2qh6zo2qluvcn/SJ-Rajaa%20Magal.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song, ‘<i>Rojavai thaalaattum thendral’</i> from ‘<i>Ninaivellam Nitya</i>’ (1983 Tamil). This is a nice violin harmony that SJ is a part of.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Rojavai thaalaatum’, harmony with SJ’s orchestral vocal instrument…</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song, ‘<i>Vaa Vennila</i>’ from the film ‘<i>Mella thirandhadhu Kadhavu</i>’ (1986 Tamil). This is a dense 4 part harmony between the violins(T), flute(S), bells(S), bass guitar (B), and SJ(A), each taking the respective parts and delivering a beautiful hearing experience. </span></p><p><span style="font-family: helvetica;">Let’s hear ‘Vaa Vennila’, harmony with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/b5xe7hcrqicavsv/SJ-Rojaavai%20Thaalaattum.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the prelude of the iconic song, ‘<i>Vaan Engum Thanga Vinmeengal</i>’ from the film '<i>Moondram Pirai</i>’ (1981 Tamil). SJ shares her part with a female choir in turn. The harmony has the lead guitar, bass guitar, piano, flute, SJ/choir playing their parts.</span></p><p><span style="font-family: helvetica;">Let’s hear, ‘Vaan Engum’, harmony with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/zweowiqw2uldfuz/SJ-Vaan%20Engum%20Thanga.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">I am sure there are a few more examples of SJ being used as part of a C&R arrangement in the 1980s. Feel free to include your picks in the comments…</span></p><div><br /></div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-53203511296641698982022-09-16T11:10:00.001-04:002022-09-16T11:10:00.188-04:00SJ – Orchestral vocal instrument - Harmony (1970s)<p><span style="font-family: helvetica;"> Harmony is an integral part of Raja’s work from the get go in 1976. It continues to this date on every possible genre he touches. It somehow is a non-issue for him to bring it into any type of music he composes. While the technical definition of harmony is multiple voices sounding simultaneously, we are going to see how a ‘human voice (SJ)’ did become part of a Raja composed harmony in the next three posts, one per decade.</span></p><p><span style="font-family: helvetica;">The first track we will hear is from the song, ‘<i>Aagaaya Gangai’</i> from ‘<i>Dharma Yudham</i>’ (1979 Tamil). The way Raja structured the second interlude is nothing short of a harmony masterpiece. You will hear two sets of violins, cellos and double bass playing (foreground and background) initially. This is followed by the guitar and SJ along with the violins still continuing in the background. Absolutely mind blowing. The synthesizer joins the harmony as well. Fortunately, the tune was such a big hit that this interlude is quite popular. A fantastic arrangement with more than 5 instrument parts (violins, cello, double bass, guitar, synthesizer) apart from SJ’s voice to create a harmony experience. At the time when the song came out, harmony was not something that was widely understood by the film music listener. Raja , definitely, raised the film music listener to the next level, with this work. Way ahead of its time.</span></p><p><span style="font-family: helvetica;">Let’s hear, ‘Aagaaya Gangai’, harmony with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/6olz75irl3ekoeq/SJ-Aagaya%20Gangai.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;">The next track is from the song, ‘<i>Indha Minminikku</i>’ from ‘<i>Sigappu Rojakkal</i>’ (1978 Tamil). I have included the harmony parts before and after the SJ harmony parts so that it is clear that her voice is another in the harmony. The initial harmony is arranged with a flute, lead guitar and bass guitar, only to give way to SJ’s humming and it is supported by three more voices – the lead and bass guitar , synthesizer. This is followed by a beautiful harmony passage of the violins that bridge the interlude to the charanam.</span></p><p><span style="font-family: helvetica;">Let’s hear, ‘Indha Minminikku’, harmony with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/fnh5z174wbzqvoy/SJ-Indha%20minminikku.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;">The next track is from the song, ‘<i>Kandaen Engum</i>’ from ‘<i>Kavi Kuyil</i>’ (1978 Tamil). I have included some parts before and after the SJ parts to illustrate how her voice is used as part of a harmony. The initial part is a parallel counterpoint between the guitar and the flute. The SJ part is a beautiful harmony of the violins and her voice. What follows is a simple synthesizer bridge to the charanam.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Kandaen Engum’, harmony with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/9j8x1p8wk2jy25g/SJ-Kanden%20Engum.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;">The next track is from the song, ‘<i>Kanmaniye Kaadhal Enbadhu</i>’ from ‘<i>Aarilirundhu Arubathu varaiyi</i>l’ (Tamil 1979). This track has three parts but all of them are vocal harmonies with SJ’s voice. The first part is SJ doing both the Alto and Tenor as a humming as part of the interlude. The next two parts are from the charanam. One of the voices (Tenor) stays as a humming while the Alto parts are executed with words. Musically, the words don’t mean much as it is still a vocal harmony. While I am not entirely sure, if this was his first vocal harmony experiment, he went on to do greater things with SJ’s voice with ‘Karaiyellam Shenbagapoo’, a couple of years later. While, SJ must have experienced this (most likely) technique for the first time, she was quick in executing it very nicely.</span></p><p><span style="font-family: helvetica;">Let’s hear,’Kanmaniye Kaadhal’, harmony with SJ’s orchestral vocal instrument…</span></p><p><span style="font-family: helvetica;"><br /></span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/5x5fmrrd6ohvmh4/SJ-Kanmaniye%20Kadhal.mp3?dl=0"></audio>
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<div><br /></div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-62043983271444284152022-08-15T11:43:00.010-04:002022-08-15T13:37:47.615-04:00SJ – Orchestral vocal instrument - Call and Response (1990s)<p><span style="font-family: helvetica;"> The C&R journey from the 90s continued into the 90s as well. However, the pace of SJ being used in this orchestral format came down significantly during this decade. We will see a few examples from the 1990s.</span></p><p><span style="font-family: helvetica;">The first track is from the song, ‘Maniye Manikuyile’ from ‘Nadodi Thendral’ (1992 Tamil). This is a PolyCaRe clip with the santoor playing the background melody throughout the clip. The call by SJ is responded by the flute and while the flute responds, the santoor continues in the background with its simple melody.</span></p><p><span style="font-family: helvetica;">Let’s hear, ‘Maniye manikuyile’, C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/rn1si0ak3m20kas/SJ-Maniye%20Manikuyile.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track we will hear is from the song, ‘Oru kunguma sengamalam’ from ‘NaangaL’ (1992 Tamil). This is a complex C&R arrangement – it has two back to back C&R arrangement with proper guitar chords. This is not just one more humming as it happens quite often in Indian film music. The initial call is by SJ with the guitar chords and the response is from the tabla. The second call, a different melody, from SJ is responded to by the flute with its own response. You have to pay attention to the further synthesizer and violins, playing a C&R, after the SJ C&R ends. This is to illustrate, how deeply buried is SJ, the instrument inside the Raja orchestra. Such is the thinking of a musical genius. You will never find such an arrangement by any Indian composer.</span></p><p><span style="font-family: helvetica;">Let’s hear, ‘Oru Kunguma Sengamalam’, C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/qlbqlt266v3a1zf/SJ-Oru%20kunguma.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song, ‘Oru Raagam tharaadha veenai’ from ‘Unnai Vaazhthi Paadugiraen’ (1992 Tamil). This is a simple back to back C&R arrangement. The initial call and response is played together between SJ and the violins. The second C&R is a proper division of responsibility between SJ and the violins where SJ makes the call and the violins respond. The violins are used to bridge the C&R to the final charanam in typical Raja style.</span></p><p><span style="font-family: helvetica;">Let’s hear, ‘ Oru ragam tharadha’ , C&R with SJ’s orchestral vocal instrument…</span></p><p><span style="font-family: helvetica;"><br /></span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/8rd1d464c2ua7p4/SJ-Oru%20Raagam%20Tharaadha%20Veenai.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;">I am sure there are a few more examples of SJ being used as part of a C&R arrangement in the 1990s. Feel free to include your picks in the comments…</span></p><div><br /></div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-86263497787432504142022-07-15T10:33:00.001-04:002022-07-15T10:33:00.208-04:00SJ – Orchestral vocal instrument - Call and Response (1980s)<p><span style="font-family: helvetica;"> While discussing ‘unusual conversations’, I had indicated that Raja used the C&R technique extensively in the 70s, 80s and 90s. As SJ sang for him during just three decades, Raja has used SJ’s voice as part of several Call and response arrangements. In fact, SJ as an orchestral instrument, has been most used in the C&R format than others.</span></p><p><span style="font-family: helvetica;">Within the decades, in the 80s, Raja used her voice in this orchestration technique the most. We will see several examples in this post. They are simply in the alphabetical order. </span></p><p><span style="font-family: helvetica;">Let’s begin our journey with the prelude of the song, ‘Endhan Kannil Ezhulagangal’ from ‘Guru’ (1980 Tamil). This is a C^R arrangement with SJ’s voice and the flute. The flute plays the exact melody that SJ uses to sing ‘pa pa pa pa’.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Endhan Kannil ‘C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/a7wphg103j3k1z2/SJ%20-Endhan%20Kannil.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song ‘Isai Medaiyil’ from ‘Ilamai Kalangal’ (1983 Tamil). Observe that the initial humming by SJ is part of an overall harmony arrangement with the guitar. The response to SJ’s voice is played by an electric guitar. You can see how Raja exploits her voice in this orchestral arrangement with various instruments.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Isai Medaiyil’ C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/rnj9bfxse5zpbpn/SJ-Isai%20Medaiyil.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song ‘Kiliye Kiliye’ from ‘Aa Raathri’ (1982 Malayalam). The initial tune is played by the bass and lead guitar and SJ responds. The response to SJ’s voice is done by a flute. It is a 3 instrument combo C&R in which SJ is one of the instrument.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Kiliye Kiliye’ C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/t3mzte4xa55w5qm/SJ-Kiliye%20Kiliye.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song, ‘Mettioli Kaatrodu’ from the film ‘Metti’ (1982 Tamil). This requires careful analysis. The long initial humming is part of a harmony arrangement where the guitar plays the chords and the bass plays a counter melody. Interestingly, the response is another beautiful violin melody that plays twice. Raja wants to embellish this further. He follows this with another Call from SJ and the violins respond with a like melody. Total exploitation of SJ’s voice as an orchestral instrument with violins.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Metti Oli’, C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/ulax4cldaa8i0i1/SJ-Metti%20Oli%20Kaatrodu.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song, ‘Ore Murai Un Dharisanam’ from ‘En Jeevan Paadudhu’ (1988 Tamil). Only Raja can think of another beautiful way of using SJ in a C&R with flute that is completely different from ‘Endhan Kannil’. The instruments are the same, the arrangement and the melodies are completely different. The call is made by SJ and the flute. The flute plays the exact melody along with SJ. The response is a flute melody which is different from the SJ melody. Such innovations come so easy for the genius.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Ore Murai’, C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/io07jptkw3wnvb5/SJ-Ore%20Murai%20Un%20Tharisanam.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song, ‘Pagalile Oru Nilavinai’ from ‘Ninaive Oru Sangeetham’ (1987 Tamil). The orchestration gets even more complex though I have categorized this song under C&R. It can be easily categorized as a PolyCaRe composition with SJ’s voice as one of the instruments. The track begins with the violins in the background playing a melody throughout the first part and the flute joins in the foreground with a lead melody in counterpoint. SJ’s voice responds to the flute while the background violins continue. I cannot think of any composer using SJ’s (or any other female voice) in such a sophisticated arrangement in Indian films. The violin plays the same melody with a minor twist after SJ’s part. SJ ends the PolyCaRe parts with her final rendition of her melody repeating the flute melody. The following part is a traditional C&R between SJ’s voice and the guitar.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Pagalile Oru Nilavinai’ C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/dgnh9wdstlgp63v/SJ-Pagalile%20Oru%20Nilavinai.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song ‘Ponvaanam Panneer thuvudhu’ from ‘Indru Nee Naalai Naan’ (1983 Tamil). It begins with gushing violins followed by 4 musical C&R phrases between SJ and the flute.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Ponvaanam Panneer’ C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/gfu1n7g6887c07t/SJ-Ponn%20Vaanam.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song ‘Poo Maalai’ from ‘Thanga Magan’ (1983 Tamil). It is a very relaxed melody C&R exchange between the electric guitar and SJ. Please observe that it is not the same melody that they exchange, but has variations in every phrase.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Poo Maalai’, C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/kkymqn4p2v063wv/SJ-Poo%20Malai.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song, ‘Sumam Prati Sumam’ from ‘Maharishi’ (1987, Telugu). This is heavily orchestrated part with the guitars (lead and bass) backing both the call and the response. SJ’s call is answered by the flute followed by a complex C&R where SJ is answered by the synthesizer, but the flute plays along with SJ in her part.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Sumam Prati Sumam’ ,C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/8ammsrn0eb4ohx7/SJ-Sumam%20Prati%20Sumam.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the famous song, ‘Thumbee Vaa’ from ‘Olangal’ (1982 Malayalam). SJ’s call is answered by the synthesizer, There are two separate melodies that SJ and the synthesizer exchange. The bass lines that are overlaid on SJ’s voice has the Raja harmony elements screaming at us!</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Thumbi Vaa’, C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/pr6br1evmxtga2m/SJ-Thumpee%20Vaa.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song, ‘Uruginaen Uruginaen’ from ‘Anne Anne’ (1983 Tamil). Raja tries out SJ in a C&R arrangement with a saxophone. The experiment turns out to be fantastic.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Uruginaen…’, C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/hk8hb8yva8pwhge/SJ-Uruginen%20Uruginen.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the famous song, ‘Vaa Vennila’ from ‘Mella Thirandhadhu Kathavu’ (1986 Tamil) where the C&R arrangement has three back to back parts. The first part has two phrases that SJ sings for which the violins respond. The next part is a beautiful exchange with the electric guitar and the final parts are an exchange with a synthesizer. In a single interlude, SJ’s vocal instrument is made to work with three different instruments by the composer!</span></p><p><span style="font-family: helvetica;">Let’s hear, ‘Vaa Vennila’, C&R with SJ’s orchestral vocal instrument…</span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/m76u360mt0oema0/SJ-Vaa%20Vennila.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The next track is from the song ‘Vaanuyarndha Solaiyile’ from ‘Idhaya Kovil’ (1985 Tamil). The interaction between SJ and the flute is completely different. The flute responds to SJ’s call. But it does not repeat the melody line. It has its own short musical response.</span></p><p><span style="font-family: helvetica;">Let’s hear ‘Vaanuyarndha Solaiyile’, C&R with SJ’s orchestral vocal instrument…</span></p><p><span style="font-family: helvetica;"><br /></span></p>
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<audio controls="" src="https://dl.dropboxusercontent.com/s/soh5ybg1zfj23l9/SJ-Vanuraintha%20Solaiyile.mp3?dl=0"></audio>
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<p><span style="font-family: helvetica;">I am sure there are a few more examples of SJ being used as part of a C&R arrangement in the 1980s. Feel free to include your picks in the comments…</span></p><div><br /></div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com2tag:blogger.com,1999:blog-7125128644057118787.post-23326840923148013932022-06-15T15:35:00.003-04:002022-06-15T15:35:00.207-04:00SJ – Orchestral vocal instrument orchestration types<p><span style="font-family: helvetica;"> </span><span style="font-family: helvetica;">Let’s get into the methods Raja has employed in using SJ as an orchestral instrument in his compositions. Most of the techniques must be familiar to this blog’s readers as these are staple Raja techniques. What is unique is the use of the female voice within that orchestral structure. My research revealed at least 40 compositions where there is a conscious deployment of the female voice into an orchestral structure. However, I could have missed a few and readers are welcome to bring them up as they see fit.</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">Call and Response</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">As we saw in the ‘Unusual conversations’ set of posts, this technique was used a lot by Raja in the 80s and the 90s. SJ was his dominant female voice and Raja used her voice while deploying this technique as an orchestral instrument, the most, among all techniques.</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">Harmony</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">During the entire career span of 23 years, Raja successfully used SJ’s voice as part of his harmony compositions. It is still puzzling how SJ adopts her voice to a Western technique when she had no formal training in that school of music. One can only wonder about her ability to hear and grasp what a composer wants out of her voice</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;"> Counterpoints</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">Throughout his career, Raja made use of counterpoints in his music and during SJ’s years of singing for him, he turned her into one of the orchestral element in his counterpoint composition, at times. This is an interesting use of the female voice that few have attempted</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">PolyCare</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">While Raja’s use of the PolyCaRe technique (Polyphony + Call and Response) is legendary, he has used SJ’s voice as part of PolyCare compositions as well. While the technique itself represents one of the highest sophistication levels of orchestration, it is equally amazing that SJ adapted so easily to even this technique.</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">Strumming</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">Strumming is staple technique of any guitarist. However, Raja uses SJ’s voice instead of a guitar strum beautifully in his interludes!</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">Various</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">The category ‘various’ does not mean a catch all bucket. More than one technique has been used by Raja throughout a song when he used SJ’s voice as part of his orchestration. There are a few songs just dedicated for this. It will be unfair to keep them under the other categories and repeating the song. This is perhaps the category, where he fully exploits her voice having written a detailed score and decides to replace instrument parts in several areas with her voice.</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">A word of caution. Some of the songs discussed in these series of posts may have been discussed before. Some have parallels in the topic of ‘Nearest Neighbor’ posts.</span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">We will analyze these posts by decades, where applicable.</span></p>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-84593417012605220172022-05-15T15:22:00.002-04:002022-05-16T09:36:03.940-04:00SJ – the Raja orchestral vocal instrument<span style="font-family: helvetica;">Most Indian film composers exploit the voices of talented female artists very well. Given the range of the female voice, many of them have done one thing consistently in the last 70 years – humming. Lataji, Ashaji, Susheela, or Janaki have been used by several composers for their fantastic ability to hum and carry the song with aplomb. The current crop of composers have used Chithra and Shreya continuing with the tradition. One thing you will notice is the way Raja composes music involving Lata or Asha. He will somehow bring in a humming element into it as that is language independent.<br /><br /> Let’s begin with some beautifully haunting humming by female vocalists:
In the 60s, the Lata solo of ‘Naina Barse Rim Jhim’ in ‘Woh Kaun Thi’ by Madan Mohan was a rage.<br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/9w5iETwBs2o" width="320" youtube-src-id="9w5iETwBs2o"></iframe></div><br /><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">During the same time, the Susheela humming of ‘Nenjam Marapathillai’ for MSV-TKR from the movie with the same name was equally a big rage. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Wj44dDXHd4M" width="320" youtube-src-id="Wj44dDXHd4M"></iframe></div><br /><div><br /></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"> In the 70s, RD Burman exploited Lata’s humming capabilities with his famous Sivaranjani based song, ‘Maire Naina Saawan’ from Mehbooba. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/GuJvftINpy8" width="320" youtube-src-id="GuJvftINpy8"></iframe></div><br /><div><br /></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Raja did use Lata in his 80s work, but never had a song which began with the haunting humming, his predecessors had taken advantage of. He did use Janaki’s (will be called SJ going forward) voice for its haunting humming capability in several compositions. Some top of mind examples:</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><ol style="text-align: left;"><li><span style="font-family: helvetica;">Annakili Unnai Thedudhe from Annnakili (1976) </span></li><li><span style="font-family: helvetica;">Kandaen Engum from Kaatrinile Varum Geetham (1978) </span></li><li><span style="font-family: helvetica;">Kaatril Endhan Geetham from Johnny (1980) </span></li><li><span style="font-family: helvetica;">Dhoorathil Naan Kanda from Nizhalgal (1980) </span></li><li><span style="font-family: helvetica;">Mouna Ragam manaveenai from Kolangal (1995) </span></li><li><span style="font-family: helvetica;">Paadavaa Un Paadalai from Naan Paadum Paadal (1984) </span></li><li><span style="font-family: helvetica;">Ponnil Vaanam Thoovuthu from Villu Paatukaraen (1992) </span></li><li><span style="font-family: helvetica;">Puththam Pudhu Kaalai from Alaigal Oiyvathillai (1981) </span></li><li><span style="font-family: helvetica;">Raasaave Unnai from Aranmanai Kili (1992) </span></li><li><span style="font-family: helvetica;">Vaa Vennila from Mella thirandhadhu Kadhavu (1986) </span></li></ol><span style="font-family: helvetica;"><br /></span><span style="font-family: helvetica;">Having said that, few composers before Raja have also attempted to blend musical instruments with female voices as they come close with some instruments such as flute. The 60s song of SJ, ‘Singara Velane Deva’ exploited her voice being on a very close timbre match with the nadaswaram instrument. That will not be our focus in this series of posts. We will focus on Raja’s use of SJ’s voice as an orchestral instrument. In this situation, it does not matter, if it is an electric guitar, or a bamboo flute, a synthesizer or even a saxophone. She was his debut singer in 1976 and sang for Raja for 23 years till 1999.<i> In my view, there is no parallel to the way Raja exploited SJ’s voice as an orchestral instrument in Indian film music.</i> </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">It will be a delight to explore how the composer exploited her instrument timbre voice and <i>how she performed as a vocal artist, in ways unknown, before their collaboration</i>.
<br /><br />What exactly is the difference between humming and the female voice being used as an orchestral element? Most humming are great fillers and composers have always kept it separate from the orchestral elements. The only orchestral element that plays along the humming, at times, are rhythms. The rest of the orchestra takes a back seat. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><i style="font-family: helvetica;">When a female voice is used as an integral orchestral element, it must actively engage with the orchestra and also do its part when called for, by the composer. It is surrounded by the orchestral instruments that dominate the section – the female voice just adds color to the otherwise instrument composition</i><span style="font-family: helvetica;">.</span><br /><br /><span style="font-family: helvetica;">No wonder, Raja always mentioned SJ as the most intelligent singer he worked with. To sing a composer's composition is one thing; <i>to become part of a composer's orchestra is another</i>. She was able to effortlessly blend with Raja's intricate Western compositions though she had no formal training with Western music.</span></div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-53235294252982319322022-04-16T16:30:00.002-04:002022-04-16T16:30:00.197-04:00Nearest Neighbor – conclusion<p><span style="font-family: helvetica;"><i> In this analysis journey of nearest neighbors, we explored several instrument pairs and how Raja has been quite path breaking and innovative with instrumentation in his orchestration work. Several instrument pairs were not even thinkable to most composers till Raja showed them the possibility. Even with synthesizer dominated tones, very few composers are experimenting the same way today. Part of the reason for Raja’s music’s longevity is this exploratory instrumentation and wonderful melodic structures behind each such instrumentation that has been carefully chosen by the master of orchestration. </i></span></p><p><span style="font-family: helvetica;">I am sure there are other examples that I may have missed. Feel free to add them as your comments to the posts.</span></p><div><br /></div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-72871676194496059122022-04-16T16:09:00.003-04:002022-04-16T16:09:00.203-04:00Nearest Neighbor - Trumpet and electric guitar<p><span style="font-family: helvetica;"> Placing an electric guitar next to a trumpet is rare, though these two instruments have been used independent of each other in several music phrases by composers prior to Raja. It never occurred to composers that these two instrument parts next to each other can be very captivating. This is the last of the Nearest neighbor parts post and we will explore several Raja examples in this category as he has used this combination a lot.</span></p><p><span style="font-family: helvetica;">The clip below has four tracks. The first track (29 secs) is from the interlude of the song, ‘<i>Ennodu Paatu Padungal’</i> from ‘<i>Udhaya Geetham</i>’ (Tamil 1985). This is a nice call and response arrangement between the trumpet and the electric guitar The second track (31 to 47 secs) is from the interlude of the song, ‘<i>Sorgam Madhuvile</i>’ from the film, ‘<i>Sattam En Kailyil’</i> (Tamil 1979). This is a very early on experiment with these two instruments, when Raja was a young composer. The third track (49 to 1:09 secs) is the interlude of the song, ‘<i>Vaanam Keezhe Ponalenna</i>’ from’ <i>Thoongathe Thambi Thoongathe</i>’ (Tamil 1983). This is part of the magnum opus in orchestration by Raja and he places both these instruments in counter to each other, with the violins playing the harmonic parts. There is a lot going on in these 20 seconds. The fourth clip (1:11 to 1:34) is from the interlude of the song, ‘<i>Vaazha Vaikum Kadhalukku Jai’</i> from '<i>Aboorva Sagodharargal'</i> (Tamil 1989) with a slow paced trumpet and the electric guitar playing its parts in C&R. </span></p><p><span style="font-family: helvetica;">Let’s hear the nearest neighbors – Trumpet and Electric guitar…</span></p><div><br /></div>
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</div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-77644232689805634192022-03-15T16:30:00.003-04:002022-03-15T16:30:00.210-04:00Nearest Neighbor - Veena and sitar<p><span style="font-family: helvetica;"> In most situations, we are left to choose either the North Indian sitar or the South Indian Veena. Why should we be limited? Raja places them next to each other – this is a suicidal mission from traditional thinking. They are beautiful cousins as Raja demonstrates them with his work!</span></p><p><span style="font-family: helvetica;">The clip below has two tracks, both from Telugu films. The first track is from the interlude of the song ‘EE Chaitra veena’ from the film '<i>Preminchu Pelladu</i>' (Telugu 1985). It begins with a simple veena melody which is responded by the sitar. The flute joins the arrangement and it is a beautiful Carnatic harmony of these three instruments. The unlikely neighbors veena and sitar are indeed great neighbors as Raja demonstrates here. The second clip is from the song, '<i>Rangulalo Kalavo</i>' from the film '<i>Abhinandana'</i> (Telugu 1989). The arrangement is a call and response between these two unlikely string instruments of the North and the South. </span></p><p><span style="font-family: helvetica;"><br /></span></p><p><span style="font-family: helvetica;">Let’s hear the nearest neighbors – Sitar and Veena…</span></p><div><br /></div>
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</div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-61961962049442604852022-03-15T16:02:00.003-04:002022-03-15T16:02:00.204-04:00Nearest Neighbor - Veena and Synthesizer<p> <span style="font-family: helvetica;">A synthesizer tone that is close to a veena is placed next to the veena itself and the melodic arrangement is just bewitching, Raja style. This style of near neighbor placement shows the musical rebel that Raja is. The veena plays its Sriranjani notes and the synthesizer plays its western notes and it is hard to separate one from the other. </span></p><p><span style="font-family: helvetica;">The clip of 18 seconds is pure bliss in the Near neighbor world. It is the interlude from the song, ‘<i>Vasanthe Nilavin</i>’ from '<i>Sooriyan</i>' (Malayalam 2007). The synthesizer and violin are in a C&R dialog as though they were just designed for this. I wish the other composers take this lesson and provide more interludes such as this. Real killer!</span></p><p><span style="font-family: helvetica;">Let’s hear the nearest neighbors – Veena and synthesizer…</span></p><div><br /></div>
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</div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-28864840621731613032022-02-15T16:00:00.007-05:002022-02-15T16:00:00.203-05:00Nearest Neighbor -Pizzicato strings and Bass guitar<p><span style="font-family: helvetica;"> Many of Raja’s compositions use the strings in pizzicato mode (plucked violin strokes). Pizzicato strings are high in bass and so are the notes of bass guitar. Placing the bass guitar next to the pizzicato strings requires some serious music vision as it is very easy to backfire.</span></p><p><span style="font-family: helvetica;">The clip of 14 seconds is pure NN gold with the whole arrangement designed as a PolyCaRe arrangement. This is the interlude of the song, ‘<i>Neelakuyile Unnodudhan</i>’ from '<i>Magudi'</i> (Tamil 1985). The first 4 seconds is the NN alone with the Pizzicatto strings and the bass guitar in a dialog in a C&R arrangement. Even during these 4 seconds, the violins play short strokes along. This is the well established background arrangement. Let’s look at the foreground next. The solo violin plays a melody with a response from the synthesizer. Remember that the background arrangement continues to make this a PolyCare all along. Following this is the second solo violin melody for which the synthesizer responds. This is a masterstroke of an arrangement and one longs that it lasted for a little more time.</span></p><p><span style="font-family: helvetica;">Let’s hear the nearest neighbors – Pizzicatto Strings and bass guitar….</span></p><div><br /></div>
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</div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com1tag:blogger.com,1999:blog-7125128644057118787.post-81981041973014596782022-02-15T15:55:00.002-05:002022-02-15T15:55:00.202-05:00Nearest Neighbor – Sitar and bass guitar<p><span style="font-family: helvetica;"> As we all know, Sitar is a North Indian instrument that was used widely in Hindi film music till the late 70s. RD Burman used it extensively in the 70s. Unfortunately, it went out of use in the HFI. Bass guitar is another instrument that was used off and on in the Indian film music for predominantly club songs and fast numbers. Raja made it as a staple part of his music. While all this is just evolution, Raja placing the North Indian Sitar next to the Western Bass guitar was unthinkable for anyone before his time. He comes out with flying colors with his nearest neighbor placement.</span></p><p><span style="font-family: helvetica;">The clip is from the interlude of the song, ‘<i>Laali Laali</i>’ from '<i>Swathimudhyam</i>' (Telugu 1985) or '<i>Sippikkul Muthu</i>' (Tamil 1985) and you will hear the Sitar and bass guitar in a beautiful C&R mode.</span></p><p><span style="font-family: helvetica;">Let’s hear these Nearest neighbors – Sitar and bass guitar…</span></p>
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</div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-44327376574856997052022-01-15T15:51:00.009-05:002022-01-15T15:51:00.209-05:00Nearest Neighbor – Flute and Synthesizer<p><span style="font-family: helvetica;"> These days, playing flute tones on a synthesizer has become more a norm than an exception. However, what Raja does is different – he places a synthesized flute beside a real one as its neighbor and creates a brilliant combination.</span></p><p><span style="font-family: helvetica;">The clip below has three tracks. The first track is from the interlude of the song, <i>‘Kathirum Kothi</i>’ from ‘<i>Man of the Match</i>’ (Malayalam 1996). The first 9 seconds are with synthesized flute and violins playing in harmony, at least 3 melodies. From 9 seconds onwards, the bamboo flute takes over and plays an Indian melody for about 10 seconds. The final passage between 19 and 22 seconds is a harmony bridge to the charanam. Keeping synthesized flute beside a bamboo flute requires some boldness and this comes easy to a composer, who can create melodies effortlessly.</span></p><p><span style="font-family: helvetica;">The second track is the interlude of the popular 80s track, ‘<i>Un Paarvaiyil</i>’ from ‘<i>Amman Kovil Kizhakaale’</i> (1986 Tamil). This track uses the synthesizer in the bells mode and is initially and towards the end of the clip arranged as a C&R. The middle parts are arranged as a pure flute track. This is the flute synthesizer format of Raja that has been replicated by all composers who made their debut after him. This is one NN that is very prevalent in film music.</span></p><p><span style="font-family: helvetica;">The third track is from the interlude of the song, ‘<i>Shenbagame Shenbagame</i> (Sunanda/Mano version) from '<i>Enga Ooru paatukaaran</i>’ (Tamil 1988). Between 55 and 1:00 minute on the clip, you will hear the synthesizer and flute on a C&R arrangement. With tones being very close, except the synthesizer plays discrete notes. From 1:05 to 1:21, the arrangement is a beautiful PolyCaRe arrangement of three instruments, the background melody being played by the guitar with the synthesizer and the flute playing foreground call and response arrangement. </span></p><p><span style="font-family: helvetica;">Let’s hear these Nearest neighbors – Flute and synthesizer…</span></p><br><br>
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ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com1tag:blogger.com,1999:blog-7125128644057118787.post-30647498900849544092021-12-15T18:28:00.001-05:002021-12-15T18:28:00.201-05:00Nearest Neighbor – Sax and Trumpet<span style="font-family: helvetica;">Both the sax and the trumpet are western instruments and in most Indian film song setting only one of them have a place in the song. Almost placing them next to each other is unheard of. </span><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">The clip below (first 14 seconds) begins with the interlude of the song, ‘<i>Sangeetha Megam</i>’ from ‘Udhaya Geetham’ (Tamil 1985). The long call is made by the trumpet and the short response is from the sax. Very clever arrangement that avoids any confusion between the like sounding instruments. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">From 16 seconds, the clip has the interlude from the song ‘<i>Sorgam Madhuvile</i>’ from the film, ‘Sattam En Kaiyil’ (Tamil 1978). Here again the arrangement is a clever one with the long calls by the trumpet and the short responses from the sax. Both the songs features in this clip have completely different melodies.</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"> Let’s hear these Nearest Neighbors – Sax and Trumpet …</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"><br /></span></div>
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</div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-73609626209411323822021-11-15T18:25:00.001-05:002021-11-15T18:25:00.230-05:00Nearest Neighbor – Shehnai and Trumpet <p><span style="font-family: helvetica;"> Bringing a western and an Indian instrument together is nothing new with Raja’s orchestration. However, in a rural comedy setting, Raja uses a trumpet next to a shenhnai and these are tonally very close to each other. Unlike other instrument pairs, Raja ensures that there is a very short interval between the two instruments to ensure that the listener can perceive the difference. </span></p><p><span style="font-family: helvetica;">The clip below is from the interlude of the song, ‘<i>Ooru vittu</i>’ from Karakaatakaaran (Tamil 1989). Hear the nice exchange between these two unlikely neighbors.</span></p><p><span style="font-family: helvetica;">Let’s hear these Nearest Neighbors – Shehnai and Trumpet …</span></p><div><br /></div>
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</div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-64030943914538251592021-11-15T18:20:00.001-05:002021-11-15T18:20:00.189-05:00Nearest Neighbor – Male choir and distortion guitar<p><span style="font-family: helvetica;"> Distortion guitar is a rare entity in Indian film music. It has always been relegated to night club settings, or some college settings of music competition. Raja takes this rare entity and uses it next to a male choir, What’s even more intriguing is the song is set to a folk tune! Male choir is close to a distortion guitar and such out-of-the-box thinking in orchestration has never been attempted before, let alone, in a folk setting.</span></p><p><span style="font-family: helvetica;">The clip below is from the second interlude of the song, <i>‘Marakudaiyal’</i> from the film, ‘Manasinakkare’ (Malayalam 2003). Hear the nice exchange between these two unlikely neighbors.</span></p><p><span style="font-family: helvetica;">Let’s hear these Nearest Neighbors – Male choir and distortion guitar …</span></p><p><span style="font-family: helvetica;"><br /></span></p>
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</div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-53028867042568199672021-10-16T18:13:00.010-04:002021-10-16T18:13:00.195-04:00Nearest Neighbor – Female choir and flute<p><span style="font-family: helvetica;">Flute and female choir is not uncommon. However, when the female choir is in a pitch that is very close to the flute, you are walking in dangerous territory as one of the two components tends to become redundant. This favors the flute more than the female choir, as it is hard to conduct a choir than getting a flute player to play the notes. Why bother conducting a choir when you have the easy way of completing the phrases with flute? Raja has several compositions where he has used this combination next to each other with ease and mostly, his painstaking choir and the flute complement each other as the melodies they play are complementary. This is tough business in orchestration that most composers stay away from.</span></p><p><span style="font-family: helvetica;">The first 28 seconds of the clip are from the interlude of the song ‘<i>Halli Lavaniyalli</i>’ from Namoora Mandara Hoove (Kannada 1997). Initially, you will hear the flute and the choir separately playing their complementary melodies. However, towards the end (after 22 seconds), the experiment of merging these two melodies to play simultaneously clearly demonstrates, that they do sound great, when in the hands of the master.</span></p><p><span style="font-family: helvetica;"> From 30 seconds onwards in the clip, the interlude of the song, <i>‘Enna Varam Vendum</i>’ from ‘Nandavana Theru’ (Tamil 1995) plays. The flute plays for at least 10 seconds in the background with the female choir adds phrases in the foreground. From 41 second to til end of the clip is a beautiful arrangement of female choir, flute and violins all playing their parts simultaneously, for about 40 seconds. It is a treat to hear such beautiful work in an area that composers never go. They should, as the master has shown the way.</span></p><p><span style="font-family: helvetica;">Let’s hear these Nearest Neighbors – Female choir and flute …</span></p><div><br /></div>
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</div>ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com0tag:blogger.com,1999:blog-7125128644057118787.post-79579705040883120892021-09-15T18:09:00.011-04:002021-09-15T18:09:00.254-04:00Nearest Neighbor – Female solo and santoor<p><span style="font-family: helvetica;"> There are very few composers who have used the santoor in South Indian film music and today, this instrument is almost extinct in film music. A beautiful sound, similar to harp in western symphony orchestras, Raja has exploited the instrument extensively. In this post, we will see how Raja uses Janaki again as his orchestral instrument alongside the santoor instrument. This is not just a unlikely neighbor, this is also unimaginable for almost all Indian composers.</span></p><p><span style="font-family: helvetica;">The first 18 seconds of this clip is from the song, ‘<i>Maniye Manikuyile</i>’ from the film, ‘<i>Nadodi Thendral</i>’ (Tamil 1992). Raja creates a counterpoint with Janaki’s humming with the santoor thoughout the clip The santoor is the background melody and the flute responds to Janaki’s call. This again in PolyCare, Raja style!</span></p><p><span style="font-family: helvetica;">From 20 seconds to 47 seconds of this clip is from the song ‘<i>Mannavane mannavane</i>’ from the film ‘<i>Thandhuvittaen Enna</i>i’ (Tamil 1991) is a pure pot of gold in orchestral terms. The way this song is arranged is with the santoor and the bass guitar doing the background melody. A number of things happen in the foreground. A call from Janaki is responded by the flute followed by the violins. The second call by Janaki and the responses from the flute and the violins are all different from the first. There is a total of 8 melodies arranged as PolyCare by Raja in these 27 seconds, very Indian, but technically Western. The only two constant melodies are the santoor and the bass guitar. <i>Salute the genius!</i></span></p><p><span style="font-family: helvetica;">The last 5 seconds of the clip is arranged as a harmony of violins and Janaki’s voice bridging to the charanam from the interlude.</span></p><p><span style="font-family: helvetica;">Let’s hear these Nearest Neighbors – Female solo and santoor …</span></p>
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ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com1tag:blogger.com,1999:blog-7125128644057118787.post-53325464289068422102021-08-14T18:05:00.007-04:002021-08-14T18:05:00.203-04:00Nearest Neighbor – Female solo and guitar<p><span style="font-family: helvetica;">As I mentioned in the previous post, Raja tends to use Janaki’s voice as an orchestral element in his compositions. While flute is an unlikely neighbor, as its tone is pretty close to a female voice, for some reason, female voices also have never been used alongside electric guitar in Indian film music. As always, he is the first to try this combination and it turns out to be a great one. It is hard to play Indian melodies with electric guitar, but today with the accessories, it has got easier. Both these clips are with Janaki’s voice and the electric guitar in this post.</span></p><p><span style="font-family: helvetica;">The first 18 seconds in the clip is from the song, ‘<i>Vaa Vennila</i>’ from the film, ‘Mella thirandhadhu kadhavu (Tamil 1986)’. The Janaki humming is played by the guitar in response initially, and later by the synthesizer playing guitar tones. From 20 seconds onwards, is from the song ‘<i>Poomaalai Oru Paavai’</i> from ‘Thanga Magan (Tamil 1983)’. Throughout this clip, the guitar plays the melody first and Janaki hums it back. A very nice marriage of unlikely neighbor that only Raja colonizes!</span></p><p><span style="font-family: helvetica;">Let’s hear these Nearest Neighbors – Female solo and guitar … </span></p><p><span style="font-family: helvetica;"><br /></span></p>
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ravinathttp://www.blogger.com/profile/07220357576335516655noreply@blogger.com1