Raja, the genius

Blog trivia

2012-02-02T23:59:00.000-05:00

If you are visiting this site for the first time, it is important to read this post. The intention of this blog is to present arguments in a pre-determined sequence. OLDER posts are actually NEWER posts within a month. As I keep adding new posts I change the time stamp to an earlier time so that you can read the posts in sequence. If you notice, all the posts within a month have the same date. Only the time stamp varies. Newer posts have earlier time to help you read in sequence.

If this site interests you and you want to read the earlier months (I would recommend starting from month 1 before reading month 2) start from the earliest month. I have ensured that within a month the posts are sequenced properly.

For those who read this blog regularly, please treat this as a little nuisance and continue reading.

Thanks

Ravi Natarajan

Male and female folk choir singing - Orange and purple tulips

2012-02-02T23:55:00.006-05:00

This is not very common with Raja’s work. Like the male chorus, mixed chorus on folk format is not that common. This involves use of both male and female voices in folk format (at least one of them should be in folk format).

Megam Karukkaiyile from Vaidegi Kaathitunthaal (Tamil 1984). This is a masterpiece of sorts where Raja shows his mastery over choir arrangement. He uses both male and female voices to create the impression of esapaatu, a traditional folk technique, where the singing between the groups alternates. However, he does something more clever. He makes the male voices sing Western, when the female voices sing folk and vice versa. The song starts off with the female voices singing ‘thana than thana’ which is traditional and the male voices go ‘aahaa oho aahaa oho’. Initially they alternate a few phrases and you can soon notice that they merge, both the groups singing the same and different phrases. When Raja sings the pallavi the male voices go single syllable ‘aaa’ and when Uma sings, the female voices so ‘aaa’. Notice the male voices in tenor and the female in alto. That’s a typical Raja curveball. Do you call this esapaatu or pure western choir? It depends on how you view it.

The pallavi have single syllable male and female chorus phrases between the respective gender’s lines. The second interlude has some great chorus arrangement where it is pure folk. Both the male and female singers alternate between ‘hoy hoyya’ and ‘aaa’. The second charanam is arranged similar to the first.

Let's hear Megam Karukkaiyile...

Megam Karukkaiyile

Enjodi Manja Kuruvi from Vikram (Tamil 1986). This is one of those Raja tracks that have a mix of so many things. We will focus only on the folk elements in this section. The prelude has some neat male western choir singing some crazy lines in some unknown language. The male/female chorus accompany SPB when he sings the pallavi. The second prelude has some male/female folk chorus.

Naan Erikarai from Chinna Thayee (Tamil 1992). There is mixed choir accompanying Yesudas and not just the bass guitar! The pallavi has some female chorus repeating the female singers’ lines. Towards the end of the pallavi, there is male choir repeating some of the lines. The bass guitar is almost the third main voice in this track – very prominent and sings its own tune. While you hear so much bass these days, it still beats me on how Raja arranges these beautiful bass lines where a second tune other than the main one does not bother anyone!

Let's hear Naan Erikarai...

Naan Erikarai Mel

Pillai Nila from (Janaki version) from Neengal Kettavai (Tamil 1984) – interludes have female and male choir in IL1 and IL2. The pallavi has children doing the ‘la la la’ chorus. The first interlude is arranged with two sets of female voices in full folk mode in the esapaatu format. The second interlude is set to folk with male voices.

Let's hear Pillai Nila..

Pillai Nila (Janaki Version)

Usage of choir in the dance jathi mode – White and Orange tulips

2012-02-02T23:45:00.003-05:00

This technique involves use of the chorus singers singing the dance jathis and not the usual ‘thana thana’ or ‘aaaa’ as it is in pure carnatic based chorus work.

Raja has selectively used this technique in his compositions over the years. While it’s easy to identify several tracks that have jathis, it’s hard to find ones that have the chorus singing jathis.
I am sure, readers should be able to uncover a few more where the chorus sing dance jathis.

Shivagaruda from Kochu Kochu Sandhoshangal (Malayalam 2001). This song set to the situation of two dancers dancing on stage. In both the charanams, the female chorus backing chitra sing jathis in the background for some parts. In the beginning of the second interlude, the chorus sing jathis again.

Let's hear the chorus parts of Shivagaruda where jathis are employed...

Shivagaruda

Isaiyil thodanguthamma from Hey Ram (Tamil 2000). The prelude and the pallavi of this track has some parts sang by the male chorus in jathi mode. The first interlude begins with the male chorus singing jathis.

Nadavinodhangal from Salangai Oli (Tamil 1984). Again, based on a dance centric film, there are ample opportunities in this film for Raja. In this track, he uses female chorus to sing jathis for a few seconds.

Let's hear Nadavinodhangal...

Nada Vinodhangal

Kavidhai Kelungal from Punnagai Mannan (Tamil 1986). The second interlude of this song starts off with a male voice (Jayachandran?) singing jathis to begin, followed by the male/female chorus singing jathis along with the synthesizer and drums.

Let's hear the Kavidhai Kelungal part where the chorus sing jathis...

Kavidhai Kelungal

Female folk choir singing - Orange tulips

2012-01-02T23:55:00.003-05:00

This is very common with Raja’s work. He draws heavily out of kummi, esapattu and other folk techniques.

This is a staple Raja toolset and he has used it in several of his compositions. I will provide some samples from his 3 plus decades career. Mostly, it is the use of ‘than thanana’ type of singing, though there are situations where the folk chorus are given full lyrics.

Aasaiya Kaathula from Johny (Tamil 1979). Unusual tribal beats with extensive use of female chorus. The prelude uses the female chorus. The 1st and 2nd interlude uses very unusual folk female chorus.

Let's hear the tribal chorus of Aasaiya Kaathula...

Aasaiya Kaathula

Aayiram Thamarai Motukkale from Alaigal Oiyvathillai (Tamil 1981). This is the famous Raja track that uses the kummi tradition extensively. The prelude has the female chorus singing ‘than thanana’. The pallavi has the chorus repeating some lines after the main singer finishes her lines. During the second interlude, the chorus shifts to the subhapanthuvarali carnatic humming!

Kannoda Kannu from Palloti Valartha Kili (Tamil 1976). The song starts off with the female chorus singing traditional folk lines as its prelude. These are used in the pallavi too.

Kaviyam Paadava from Idhayathai Thirudathe or Aamani Paadave from Geethanjali (Tamil/Telugu 1985). This song has no indication to the listener that a folk chorus will be used anywhere. It is a typical Raja solo melody. The first and the second interlude has the female chorus in full folk form. The second interlude is executed as a full humming.

Let's hear the female chorus in Aamani Paaduve...

Aamani Paaduve

Kelade Nemagaaga from Geetha (Male western choir for parts) (Kannada 1980). This is one of Raja’s earliest choir masterpieces. He throws so many varieties into a single track. This song can qualify to be present in at least 3 categories. For now, we will focus on the female folk chorus parts. The first interlude has some good folk singing alternatively by the male and female chorus singers. Notice when in the final few seconds of the first interlude, when the female chorus sings folk, the male choir is singing western choir in a different register – perfect vocal harmony. We will cover this song in great detail under vocal harmony category.

Kothamalli Poove from Kallukkul Eeram (Tamil 1980). The first interlude has the female chorus in fully folk mode. The second interlude has the traditional ‘than thanana’ added before the charanam takes off.

Meenkodi theril from Karumbu Vil (Tamil 1980).The prelude is a tribal female chorus. The first and second interlude also continues with the tribal chorus.

Odai Kuyil Oru Paatu from Paatu Paadava (Tamil 1995) The prelude of the song is a folk style female choir. The interesting part is the shehnai accompanying the chorus parts. Now, does this become North Indian folk? The first interlude has some parts where the female folk choir continues.

Let's hear the innovative female choir in Odai Kuyil...

Odai Kuyil

Ponnaram Poovaram from Pagalile Oru Iravu (Tamil 1979). This is one of Raja’s early compositions in the film that got masked by the success of Ilamai Ennum track. The first and second interludes have some female folk chorus apart from the regular strings/flute.
Pudhu Vannagal from Murattu Kaalai (Tamil 1980). The prelude has the female chorus repeating the Janaki humming.

Raman Aandalum from Mullum Malarum (Tamil 1978). This is a track with some great tribal female folk chorus work. The prelude starts off with the chorus. The prelude phrases for the chorus is repeated again in the track.

Rasave Unnai Naan from Thanikattu Raja (Tamil 1982). This is a great track with some pretty neat chorus work. The first interlude has some neat female folk chorus work that is is (tham tha tham) arranged as a set of discrete notes. Synchronizing the choir with the rhythm in the background is no ordinary work. I would rate this as very Westernized version of the Raja folk offering. Only, he can think of such phrases. Raja throws in some humming (melody) phrases too in the interlude. The second interlude has some very creative chorus arrangement.

Let's hear the westernized folk of Rasave Unnai Naan...

Raasave Unnai Naan

I am sure there are others that I may have missed. Readers may comment on their favorite ones...

Male folk choir singing - Purple tulips

2012-01-02T23:45:00.006-05:00

This is not very common with Raja’s work.

This is a staple Raja toolset and he has used it in few of his compositions. I will provide some samples from his 3 plus decades career. With male voices, it is mostly lyrics repeated by the chorus group and not just ‘thana thananaa’ type singing as it happens with female voices.

Chitira Sevvanam from Kaatrinile Varum Geetham (Tamil 1978). This is set as a fishermen song. The ‘thaiyara thaiyara’ was very popular in the 70s. The prelude starts off with the male chorus. The pallavi has the chorus singing between the lines of PJ. The last pallavi has slightly different chorus lines compared to the first and the second.

Let's hear Chithira Chevvanam...

Chithira Chevvanam

Aatama Therottama from Captain Prabhakaran (Tamil 1991). The choral backing for this track is entirely male. The prelude of this track starts off with a solo male voice singing. The pallavi has a few lines by the male chorus singing some lines. (Rambha Sambha….)

Pudhu Rootula thaan from Meera (Tamil 1992). The prelude starts off with two sets of folk chorus overlapping each other. One group sings ‘Hoyya hoyyarra’ and the other group sings ‘hoy hoyya’ and switches to a humming. Very creative. Throughout the pallavi, the chorus is converted into a single syllable ‘hoyya’ that is nicely arranged with the track. The charanams have the chorus very cleverly arranged, first as a single syllable, then as a double syllable. Listen carefully to the double syllable chorus line carefully – the phrase is exactly the same, but the note is different., the first one being lower and the second higher. The last 4 bars have single syllable chorus backing Yesudas. Outstanding arrangement perfectly synchronizing with the background rhythm.

Next, let’s analyze the charanam arrangement of chorus backing Yesudas. For the first 4 bars, the chorus goes alternating between ‘hoyya’ and ‘hoyya hoyya’ exactly filling in the interval and also synchronizing with the rhythm. The next 4 bars have no chorus backing Das. The last 4 bars are arranged as though it is a C&R between Das and the chorus.

Let's hear Pudhu Rootula...

Pudhu Rootile

After Raja, no other music composer wants to sweat it out this way; perhaps, to them it is sweat and it is very natural for the genius!

Sanskrit chant based choir – White and orange tulips

2011-12-02T23:59:00.005-05:00

This category involves use of male/female chorus to chant Sanskrit based slokam. This was very uncommon before Raja. Invariably, the ‘maangalyam’, chant that is used in marriages features at least in 10 of Raja’s songs in different formats – Carnatic, Western, folk, you name it. This is a Raja specialty and comes easy for him as he is very ascetic in his life style and he understands several schools of music deeply.

Nandri Sollave Ennaku from Udan Pirappu (Tamil 1993). The prelude starts off with ‘Sadhamanam bhavathi…’ executed by a male/female chorus. The expectation will be any musician would use the chorus in the same form. Not Raja. Observe the second interlude in the same song. The female chorus is used to do discrete notes very un-Indian!

Let's hear Nandri Sollave...

Nandri Sollave Unakku

Om Sivoham from Naan KadavuL (Tamil 2009). This song has the chorus backing the main singer singing completely in Sanskrit. Perhaps the first Sanskrit song in Tamil films.

Paatu Solli from Azhagi (Tamil 2002).The prelude uses the famous slokam ‘Om Sarva mangala maangalye…’

Poo Mudithu from En Purushan Thaan Enakku Mattum Thaan (Tamil 1989) has the Sanskrit slokam by the choir sang in a Carnatic fashion. The first interlude uses the ‘maangalyam…’ slokam sang by a female chorus.

Let's hear Poo Mudithu...

Poo Mudithu

Kadhal Oviyam from Alaigal Oiyvathillai (Tamil 1981) – This is perhaps the track where Raja started this technique, due to the situation of the film. The prelude uses the slokam ‘Om, sathamanam bhavathu…’ followed by a female choir.

Thendralai kandu kola from Nilave Mugam Kaatu (Tamil 1999) uses sanskrit chant and folk choir in harmony in the postlude in the Hari version. Raja sings 'Nave Vasasaankaleka..' when the female folk choral part overlaps singing 'Eramilla manasule'. This has all the hallmark of a genius at work. This is hard to replicate. Sanskrit chants overlapping with a folk choir - no ordinary mind can think of this. When Raja says that all musical systems are the same, he truly means it and he shows it in this track fully. He takes up a song in melodic minor scale that is Western in my view (Carnatic pundits may argue this to be Gowrimanohari – they resemble each other pretty closely), adds a Sanskrit slokam at the end overlapping it with a folk choir. Take a bow before the genius! This is one of my all time Raja choir favorites.

Let's hear Thendralai Kandu...

Thendralai Kandu Kolla

Sari Sari from the Telugu film Ninuchoodaka Nenundalenu (2002 Telugu) uses the famous Kausalya Supraja in the second interlude and continues to use the synthpad rhythm arrangement even for the slokam.

Enna Enna Kanavu Kandaayo from Valli (1993) uses just the word ‘Om’ in the second interlude brilliantly crafted with Western violins in the background. Hard to figure out how such combinations occur to Raja. Another stroke of genius! In the first interlude, Western harmony creates a pensive mood and Raja shows with his second interlude that with a kettle drum, a male background choir and a bank of violins to support the ‘Om’ chanting female choir in the foreground, he creates an aural environment that only a genius is capable of.

Let's hear Enna Enna Kanavu...

Enna Enna Kanavu

We all know that Sanskrit slokams have a musical quality and even Speilberg used it in his ‘Close Encounters of the third kind’. What we see with Raja is perhaps what we can claim as close encounter of the fourth kind! Folks who brand Raja as either a folk chorus artiste need to take a step back and look at how he approaches even Sanskrit slokams – there is a musical quality in them that resonates with WCM or folk for him!

Male choir singing set to Carnatic ragas - Pink tulips

2011-11-02T23:55:00.002-04:00

This is very uncommon even with Raja’s work. I am yet to find a film track where he has used this technique. This involves using male voices to sing swarams for chorus parts.

Scanning through Raja’s work of 4 decades with film songs, I could not find a single example that meets this category’s criteria. However, thanks to Kamal, who found the 3-in-1 track that Raja performed during the Andrum Indrum Endrum show of 2005, Raja got male chorus singers to sing carnatic swaras.

Let's hear the 3-in-1 song...

3-in-1 song

Male/Female choir singing set to Carnatic ragas - Pink and yellow tulips

2011-11-02T23:45:00.003-04:00

This is not very common with Raja’s work. This requires both the male and female voices to sing to a ragam the main composition is based out of. There are a few examples I could think of. None of these are perfect examples. Readers can contribute to this category as I could not find exact matching songs.

Andela Ravamidhi - Swarna Kamalam (Telugu 1988) – Shades of Ranjani and Dharmavathi. The ragam is hard to nail and has the regular Raja twists, according to Suresh.

Let's hear Andela...

Andela Ravamidhi

Guru Charanam from Guru (Malayalam 1997) – Harikhambhodi. This track is hard to nail it under one category. However, Raja sticks to the main ragam with all the male/female chorus he includes in this track. Listen to this song carefully. The first part of the clip has human voices arranged by the ‘Carnatic Raja’. The second part (interlude 1) is the violins and the background violins with the Oboe arranged to the same perfection by the ‘harmony Raja’. The third part is the second interlude where he puts on both hats!

Let's hear the ludes of Guru Charanam...

Guru Charanam
Paartha Vizhi from Guna (Tamil 1992) – Paavani. This is probably the only film song in this ragam. The background music before the song itself starts off in this ragam. The chorus that is present throughout the track sticks to the ragam as well. The song has more chorus parts than the time for the main singer!

Let's hear Paartha Vizhi...

Paartha Vizhi

Isaiyil thodanguthamma from Hey Ram (Tamil 2000) – Set to Saranga tharangini and sang by the Hindustani classical expert Ajoy Chakraborthy, this song has some fantastic mixed choir arranged in a North Indian style arrangement.

Female choir singing set to Carnatic ragas - Yellow tulips

2011-10-02T23:55:00.003-04:00

This is very common with Raja’s work. Mostly, the chorus singers sing swaras. The key highlight of this Raja mode is how he exploits the raga of the main composition. If the main song is set to Sivaranjani, he uses the chorus to exploit the other aspects of the raga. This is a clear demonstration of how deeply he understands the raga.

I would like to thank, Suresh for his inputs for this particular post.

Abbani tiyani debba from Jagadeka Veerudu Athiloka Sundari (Telugu)- Sivaranjani. Raja not only innovatively uses the idea of poly-rhythm in this composition, but also brings the female chorus to further exploit Sivaranjani.

Raathiriyil Poothirukkum from Thanga Magan (Tamil 1984) set to Hamsanandhi. Raja uses the female chorus in both the interludes and to back some lines in the charanam sticking to the ragam.

Let's hear Raathiriyil...

Raathiriyil Poothirukkum

Adukku Malli from Aavarampoo (Tamil 1992)- Karaharapriya. While Raja has done a few tens of Karaharapriya, in this track, he uses the female chorus to back SPB and Janaki exploiting the raga further.

Andhi Mazhai Pozhikirathu from Raja Paarvai (Tamil 1981)- Ramani(?) . Enough has been written about this song which uses several schools of music, Carnatic, Western harmony and Hindustani. While doing all this, Raja still sticks to the main ragam when it comes to the female chorus parts. This is truly some tight-rope walking and the track is considered as a masterpiece of sorts. He also uses the female chorus to sing discrete parts too.

Atho Mega Oorvalam from Eeramana Rojave (Tamil 1991) – Vaasanthi. It is hard to say if the chorus parts in this song strictly follow the main song’s raga. At times, it does deviate to Hamsadhwani. However, in other parts, he sticks to the main ragam.

Let's hear Atho Mega Oorvalam...

Atho Mega Oorvalam

Kai Veenaiyai from Vietnam Colony (children) (Tamil 1994) – Hameer Kalyani. Sang by Bombay Jayashree, Raja uses children to sing the swaras of the ragam and also the chorus parts in the ragam.

Kootathile Kovilpura from Idhaya Kovil ((charanams use choir instead of strings). Interludes have female choir singing jathi and swaras.(Tamil 1985) – khamas. Lovely track and the female chorus parts stick to khamas.

Let's hear Kootathile Kovilpura...

Kootathile Kovilpura

Maan kandaen Maan kandaen from Rajarishi (Tamil 1985) Vasantha. The chorus starts off the prelude singing a humming set to Vasantha. The charanam has the female chorus singing their humming in the same ragam. The second interlude has the female chorus singing detail swarams of the ragam. The second charanam is structured similar to the first.

Malargalile Aradhanai from Karumbu Vil (Tamil 1980). The entire charanam is backed by female choir. The interludes are heavily ornamented with choir. Set to Keeravani, the prelude has the female chorus singing their humming in Keeravani. The first interlude expands the female chorus further in the ragam. The second interlude is set in a tricky way but still sticking to the ragam, typical Rajaish way.

Let's hear Malargalile...

Malargalile Aradhanai

Naadam Ezhunthathadi from Gopura Vaasalile (Tamil 1991) Set to Sriranjani, the first interlude has some fantastic Sivaranjani parts by the female chorus, backed by the mirudhangam. It is so rare to hear such compositions today. The end of the first charanam has Yesudas singing the swarams of Sriranjani like he would do in a Cutcheri. The second interlude has some specific swarams of the ragam expanded by Raja again with the female chorus. The second charanam has the female chorus singing several lines – at least 12 bars!

Oru Devathai Vandhadhu from Naan Solvathe Sattam (Tamil 1988) – The prelude of this song has the female chorus singing Saranga. This is a rare song of SPB and Asha Bhonsle that went unnoticed. Observe the use of the ragam in the first interlude with the flute. The second interlude has some more Saranga explored with the female chorus.

Let's hear Oru Devathai...

Oru Devathai

Poongatre Theendathe from Kunguma Chimizh (Tamil 1985). Set to Brindavana saranga, this track starts off with the female chorus singing parts of the ragam. Observe the female chorus in the charanams backing Janaki – they stick to the ragam. In the second interlude, the female chorus further expands on the ragam. Fantastic execution of the ragam.

Let's hear Poongaatre ...

Poongaatre

Sundari Neeyum from MMKR (Tamil 1991) – Set to Kedharam, Raja has used the female chorus extensively using the drum kit as the percussion. The prelude of the song has the female chorus singing Kedaram. Even the female chorus humming in the pallavi stick to the ragam. The first interlude has some parts for the female chorus and they sing along with the synthesizer. Towards the end, they sing alone, but throughout, they stick to the ragam.

Let's hear Sundari Neeyum...

Sundari Neeyum

Thoongatha vizhigal rendu from Agni Natchathiram (Tamil 1988) – If there is a film music reference for Amirthavarshini, it is this track. The orchestration for all tracks in this movie is very modern, but Raja sticks to Carnatic roots in some of the tracks. His music has stood out beyond everything else in this movie as a result. The prelude has the female chorus singing parts of the ragam. The first interlude has the female chorus singing along with the violins, the parts of the ragam.

Male choir singing the traditional choir - Red tulips

2011-09-02T23:55:00.005-04:00

This is not very common with Raja and most Indian music composers. Traditional choir includes sining la la la or tha na na or the group repeating the main singers lines.

Raja has used male choir in a traditional fashion not frequently throughout his 4 decades of work. Raja tends to use male choir in the Western mode more than the Indian traditional way. It may be a personal preference.

Manidha Manidha from Kan Sivanthaal Man Sivakkum (1983) is a male solo with male chorus backing. The male chorus hum during the pallavi and they sing in complete baritone in the charanam. Though this cannot be treated as traditional Indian chorus, this is the closest we can get to...

Let's hear Manidha Manidha...

Manidha Manidha

Engirundho Ilanguyil from Brahma (Tamil 1991). The first interlude has the male chorus for some parts with the grand violins backing them. The second interlude has the male chorus with both string and wood winds backing them. While parts of this track can be considered male harmony singing, there are parts which follow the conventional Indian format.

Azhagana Nam Paandi Naatinile from Pudhupatti Ponnuthayi (Tamil 1995) – The pallavi has Raja and the male chorus singing the lines repeatedly. In the charanams, the male chorus repeats the lines of Raja and also sing some chorus parts.

Adada Ahangara from Pithamagan (Tamil 2004). This is a very different song with complex arrangement (time signature). In the pallavi, when Yesudas sings ‘Manidha’, Raja uses the male chorus to enhance the effect of just the word being sang. The charanam has some parts sang by the male chorus.

Adada Ahangara
Let's hear Adada Ahangara...

There are a few other tracks suggested by several Raja fans that need mention.

The prelude of the song Velai Vandhu from Nadigan (Tamil 1990) uses male chorus in a conventional format.

Several parts of the song Ada Maapillai from Siva (Tamil) uses male chorus in a conventional format.

Oh Party Nalla Party from Idhayam (Tamil 1991) uses male chorus in a conventional format in the second interlude.

This is a matter that needs to be debated in Raja forums as to why he does not use male chorus in a conventional format. Between the genders, it appears like flood and famine within the same category!

Male/Female choir singing the traditional choir - Red and White tulips

2011-09-02T23:45:00.003-04:00

This is not very common with Raja and most Indian music composers.

Mostly, the mixed chorus has been used by Indian music composers for patriotic songs. Raja has used them for different situations, though only on few occasions. However, this is more prevalent than Raja using traditional male chorus.

Andhi Mazhai Megam in Nayakan (Tamil 1987). Some parts of the pallavi are sang by the female chorus. Observe the charanam closely, when the male singer sings, the voice is backed by the female chorus singers and vice versa. The transition between the pcharanam and the pallavi is executed with mixed chorus. The second interlude has some parts executed one after by the other by the female and then by the male chorus.

Let's hear Andhi Mazhai...

Andhi Mazhai Megam

Raakamma Kaiya Thattu from Dhalapathy (Tamil 1991) One of the most famous tracks of Raja, he has used mixed chorus effectively in this track. All the ‘jaga jaga…’ has some parts sang by the male chorus and partly female chorus. Perhaps, the most famous mixed chorus lines in Tamil can be ‘jaangu jakku…’ sang in this track. It’s all over the place in this song. The third interlude in this song is arranged as an abheri set thevaram sang by the female chorus. The final pallavi is sang as the regular light music piece with the female chorus continuing the abheri humming in the background.

Adi Raaku Muthu Raaku from Ejamaan (Tamil 1993). Parts of the pallavi are sang by the female chorus. In the charanam, some lines are sang by the male and then by the female chorus. Also, the chorus is used to transition from the charanam to the pallavi.

Maadathile from Veera (Tamil 1994) (throughout the track). The mixed chorus constantly backs the main singers throughout the song. The track starts off with them. The pallavi has the mixed chorus backing SPB taking turns with him. The first interlude has the mixed chorus taking over. SPB switches to the background with the mixed chorus in the foreground. The mixed chorus is used for transition between charanam1 and pallavi2. Interlude 2 has many parts executed by the mixed chorus. The second charanam is arranged similar to the first.

Let's hear Maadathile...

Maadathile

Isaiyil Thodanguthamma from Hey Ram (Male choir singing jathi) (Tamil 2000). This is a very different track where mixed chorus is used in a trance song! Some parts of the pallavi has the mixed chorus not only singing some lines, but also the ‘than dhim dhim…”. The charanam to pallavi transition is also done using the female chorus during the first such transition. During the second occasion, the main singer (Ajoyji) sings swarams as part of the transition.

Chellathathee from Manassinakkare (Malayalam 2003). Parts of the pallavi are sang by the mixed chorus. The first charanam is arranged a bit differently. Mostly, the singer is backed by the female chorus. The second charanam has the main singer backed by the male chorus.

Let's hear some mixed choir in Chellathathee...

Chelaathathee

Female choir singing the traditional choir - White tulips

2011-08-02T23:55:00.015-04:00

This is very common with Raja and most Indian music composers. Traditional choir includes singing la la la or tha na na or the group repeating the main singers lines.

Raja has used this technique throughout his career. It is almost impossible to list all of them. As before, I am working from my favorite database of 1,500 tracks of Raja. Feel free to add the ones I may have missed. In order to do any justice to this female choir section, we have to divide the narration into 4 parts, covering the 70s, 80s, 90s and 200s. Within those, we will list them alphabetically, from all languages as no one track is superior to the other. Finally, we will provide one sample from each decade. In general, usage of this style chorus peaked in the 80s and slowly tapered off with only a few examples in the 21st century.

The 1970s

Ilamai Ennum Poongatru from Pagalil Oru Iravu (Tamil 1979) – one of the earliest Raja hits, known for the violins and acoustic guitar. The pallavi is backed by female traditional chorus partly. The 1st interlude is partly backed by female chorus. The charanams is backed by female chorus for some phrases.

Iru Paravaigal from Niram Maratha Pookal (Tamil 1979) – the song’s prelude is a female chorus supported by the bass guitar. Part of the 1st and 2nd interlude is backed by the female chorus.

Malargale Nadaswarangal from Kizhakke Pogum Rayil (2nd interlude). Parts of the 2nd charanam are supported by choir only.(Tamil 1978). This track is more known for its brilliant use of nadaswaram and Indian traditional chorus. The prelude of the song starts off with the chorus and the second interlude is very unusual and is fully executed with female chorus and nadaswaram. The second charanam also has sprinkles of chorus work. This will be the track we will sample in this section. Listen to the second pallavi and the chorus that follow it.

Let's hear Malargalile Nadaswarangal...

Malargale Nadaswarangal

The 1980s

Aadungal Paadungal from Guru (Tamil 1980). This track known for some nifty violin and electric guitar usage has traditional female chorus all over the place. Starting with the prelude, the female chorus backs SPB in the pallavi.

Andhi Varum Neram from Mundhanai Mudichu (Tamil 1984). The prelude starts off with conventional female chorus. The second interlude uses the chorus.

Bhoopalam Isaikum from Thooral Ninnu Pochu (Tamil 1982). The prelude like Andhi Varum Neram starts off with conventional female chorus. Again, in the same format, the second interlude uses the chorus

Chinna Chinna from Mouna Ragam (Tamil 1986). The interlude 1 and 2 uses female chorus supported beautifully by the bass guitar. The use of the synthesizer supporting the chorus in the second interlude is noteworthy. The charanams have Janaki and the chorus voices in C&R mode for some phrases.

Deiveega Ragam from Ullasa Paravaigal (Tamil 1980). The track is fully executed between the main singer (Jensi) and the female chorus. The prelude, pallavi, the last 4 phrases of the charanams are all chorus backed.

Devan Kovil Deepam Onru from Naan Paadum Paadal with DC (Tamil 1984). This version’s pallavi is supported by female chorus. There is a Janaki only version that is supported by strings.

Engeyo Etho Paatrondru from Nadhiyai Thedi Vandha Kadal (Tamil 1980). The second interlude uses female chorus which is absent elsewhere in the track. Should be situational!

Enodu Paatu Padungal from Udhaya Geetham (Tamil 1985). One of the super hit tracks of Raja in the 80s, the second interlude alone uses female chorus.

Isai Medaiyil from Ilamai Kaalangal (Tamil 1983). The track is chorus rich. Starts off with the prelude with female chorus support. The pallavis and first interlude uses it brilliantly again.

Kadhal Mayakkam from Pudhumai Penn (Tamil 1983). Brilliantly executed with chorus in the 80s. Observe the pallavi – the female chorus backs Uma in some parts. The 1st interlude has the chorus in counterpoint with the synthesizer. The second interlude is arranged very intelligently as a C&R between Jayachandran and the female chorus.

Let's hear Kadhal Mayakkam...

Kadhal Mayakkam

Kadavul Ullame from Anbulla Rajnikanth (Tamil 1984). This song has female chorus all over it. The prelude itself starts off with the chorus. The pallavi/charanam is sung in parts between the main singer and the chorus.

Kadhal Maharani from Kadhal Parisu (Tamil 1987). The prelude uses the female choir before the pallavi begins. The second interlude again uses female choir before the charanam 2 starts.

Kalidasan Kannadhasan from Soorakotai Singakutti (Tamil 1983). This is a popular song from an obscure film. The song’s prelude has a nice exchange between Jayachandran and the female chorus and continues into the pallavi. The entire pallavi is arranged as a C&R between the main singers and the chorus. The interludes use female chorus extensively.

Kalyana Malai from Pudhu Pudhu Arthangal (2nd interlude) (Tamil 1989). This song is a masterpiece of sorts. Beautiful WCM strings. The second interlude starts off with the female chorus and starts off a C&R with the flute. The violins do the rest.

Kanna Varuvaya from Manadhil Urudhi Vendum (Tamil 1987). The track uses some brilliant chorus parts. The prelude that has the flute playing along is done very imaginatively. The second interlude has chorus parts with the exception of the last 4 seconds.

Kasturi Maane from Pudhumai Penn (Tamil 1983). Raja’s use of chorus in Pudhumai Penn is excellent. Apart from female chorus, this track uses claps very innovatively. The first interlude starts off with the female chorus. The second interlude ends with the female chorus. Observe the last few seconds where the synthesizer plays its own tune when the female chorus sing.

Kodai Kala Kaatre from Panneer Pushpangal (Tamil 1981). One of the all time great hits of Raja, this song uses female chorus at the appropriate place. Raja uses the female chorus instead of strings in the pallavi. Observe closely, that the notes are for violins! The first interlude has female chorus in C&R with the electric guitar. The second interlude has a special place for the female chorus. Raja cuts out all instruments and uses two sets of voices to weave the interlude magic. Also, notice that the last two bars of each charanam uses the organ instead of the chorus. He carefully avoids excessive use.

Kulliradhunnu Manathu from Olangal (Malayalam 1982). The prelude starts off with female chorus.

Malarthopithil Kilikonjalai from Dhooram Arike (Malayalam 1980). The prelude uses female chorus along with the guitar and violins. The pallavi and the charanams have Yesudas and the female chorus sharing the lines.

Muthumani Sudare Vaa from Anbulla Rajnikanth (children) (Tamil 1984). The prelude has children in chorus. The first interlude has two sets of children singing in a C&R mode. The charanam uses female chorus instead of strings for the first 4 bars. The last 4 bars have violins backing the singer.

Oh Vanampaadi from Saathanai – prelude and second interlude (Tamil 1986). The prelude uses female chorus in a very conventional 60s style. The second interlude uses the chorus again in the conventional 60s style. Very typical of MSV style.

Oru Poocholai Aalanathe by Vaathiyaar Veetu Pillai (Tamil 1989). Splendid female chorus execution. The track starts off with very melodious female chorus. The chorus execution is very Rajaish. The 1st interlude uses female chorus in a C&R with violins. The second interlude uses claps, the guitar and the female chorus very imaginatively.

Let's hear Oru Pooncholai...

Oru Pooncholai

Paada Vandhadho from Ilamai Kaalangal – prelude and interludes (Tamil 1983). The preludes uses female chorus in a typical Raja style. The 1st and 2nd interlude has some parts for female chorus.

Paaramal Paartha Nenjam from Poonthota Kaavalkaaran (Tamil 1988). The prelude has female chorus in typical Raja style. The 2nd prelude has a large part executed as female chorus.

Pani Vizhum Iravu from Mouna Ragam (Tamil 1986). The prelude is executed beautifully with a female chorus. The 2nd prelude has some nice female chorus parts executed with two sets of voices.

Poonthalir Aada from Panneer Pushpangal (Tamil 1981). A song that is a masterpiece every way you look at it – tune, lead guitar, bass guitar, staggering counterpoints, great singing and finally great female chorus. The last few bars of the prelude is beautifully done with female chorus. The pallavi is a nice C&R between SPB and the female chorus. The first prelude has a special place for the female chorus. Raja creates total silence for a second and has the bass guitar and the female chorus with the background violins. There is nothing to match this imagination in film music that I have heard. The second interlude is the only one that can beat the first one. After some great guitar work, Raja lets the chorus blend with the bass guitar and transports you out of this world. It does not get any better.

Let's hear Poonthalir Aada...

Poonthalir Aada

Tella Cheeraku from Aakari Poratam (Telugu 1988). The prelude starts off with the female chorus. The second interlude uses the female chorus in a special way – Raja tries to match the background violins that make it indistinguishable.

Then Mozhi – from Mella thiranthathu kadhavu prelude and the pallavis are beautifully crafted. (Tamil 1986). The prelude starts off with the female chorus. The pallavi has the female chorus backing the main singer where violins are not.

Unarumae Ganam from Moonam Pakkam (Malayalam 1988). The first interlude uses the female chorus extensively. The second interlude uses the female chorus initially in a C&R with the flute and switches to a beautiful counter melody between two sets of female voices.

The 1990s

Aalapol Velapol from Ejamaan (Tamil 1993). The first interlude has the female chorus singing the initial few bars. Some parts of the first charanam have the female chorus responding to Chitra’s lines.

Diana Diana from Kadahal Kavidhai (Tamil 1998). The prelude has female chorus for the later bars. The pallavi has the female chorus singing some parts and backing the main singer at times. The first interlude has the female chorus doing some scat singing. The charanams are executed with some bars with the female chorus backing. The other bars have the saxophone backing the singer.

Enna Varam Vendum from Nandavana Theru (Tamil 1995). The prelude has the female chorus singing some of the lyrics. The first interlude is executed with some fantastic female chorus parts. The synthesizer and the female chorus blend so beautifully. The second interlude has some spectacular harmony pieces with the violins. This is one of Raja’s best use of female chorus.

Let's hear Enna Varam Vendum...

Enna Varam Vendum
Kalaiyil Ketathu from Senthamizh Selvan (Tamil 1994). The prelude starts off with the female chorus. The second interlude uses some beautiful female chorus parts.

Kalaiya Nizama from Collie No. 1 (2nd interlude is scat singing) (Telugu 1991). The prelude starts off with violins and when the female chorus joins the party, the bass guitar and the violins support the female chorus nicely. The second interlude is executed with a lot of female chorus who shift into scat singing backed by the guitar and the flute. An unusual treatment from Raja.

Let's hear Kalaiya Nizama...

Kalaiya Nizama
Kaattu Kuyilu from Dhalapathy (Tamil 1991). Some parts of this track uses female chorus. The pallavi has some parts sang by the female chorus.

Kalakalakkum Maniyosai from Eeramana Rojave ( very innovative use of choir to repeat phrases in the pallavi in different channels). (Tamil 1991). The prelude of the song has the female chorus in an echo mode. The female chorus is given the regular lyrics but Raja uses a recoding technique where the main singer sings on one channel and the same lines are sang on another channel by the female chorus - pallavis. Also notice that the female chorus changes from left to right channel alternatively. Notice the way the charanams are executed with the synthesizer moving from right to left and then back to right progressively for about 6 bars. The second interlude uses the female chorus in a traditional way.

Kannirendil Etri Vaitha Neivilake from Avatharam (psychedelic treatment of choir) (Tamil 1995). The prelude is very haunting – two synthesizers out of phase does its psychedelic magic – “surreal and dreamy feeling" – this is a genre that the Western world embraced by accommodating the East – sitar and guitar creating the surreal feeling along with mind bending drugs. Raja goes several steps beyond what the basic definition of the genre was – he uses two Western instruments – synthesizers and also uses the female chorus to sing in a devotional style and still gets that surreal psychedelic treatment. Another proof of why he is the genius in Indian film music. Observe the female chorus closely. There is a set of foreground female chorus singing the lines and another set of female voices humming in the background. The entire song is executed as a female chorus. Two synthesizers out of phase with a female choir. The entire song has two sets of choir - the one in the foreground singing the song lines, the background choir that hums with the gliding synthesized guitar. In the psychedelic world they used sitar playing out of phase with the electric guitar. Raja uses a beautiful combo of choir-choir-synth guitar to deliver the same effect. For all the new wave composers of today, you do not get such stuff in samples and software manuals!

Let's hear Kannirendil Etriya...

Kannirendil Etriya

Kungumam Manjalukku from Enga Mudhalaali (Tamil 1993). The prelude starts off with the female chorus. The use of female chorus in the first interlude is grand with the violins playing in the foreground. The second interlude uses female chorus for some parts.

Muthumani muthumani from Adharmam (Tamil 1994). The prelude arranged with the female chorus. The second interlude has some spectacular arrangement with the female chorus and the violins.

Malai kovil vaasalil from Veera (Tamil 1994). The prelude arranged with the female chorus singing a nice humming after the main singer. Parts of the pallavi are sang by the female chorus. The first and the second interlude has parts executed by the female chorus.

Mannan Kurai Selai from Siraichaalai (Tamil 1996). The first interlude has parts executed by the female chorus. Some parts of the charanam have the female chorus responding to Chitra. The second interlude has male chorus singing some parts.

Mayil Aadum Thoppil from Chinna Pasanga Naanga (1st interlude) (Tamil 1992). The first interlude has some nice traditional female chorus and some good violin work. The second interlude has the female chorus in the background with the flute in the foreground.

Sandana Marbile from Nadodi Thendral (Tamil 1992). The prelude has some neat female chorus arrangement. The pallavi has some parts for the female chorus. The charanam is backed by the female chorus instead of any strings for the first few bars.

Vanam Ennum Thaye from Villu Paatukaran (Tamil 1992). The prelude is done using a female chorus with some background violins. The second interlude has some parts with female chorus with the shehnai. The second charanam has the female chorus backing Chitra. The second charanam’s tune is different from the first charanam.

Vandhadhe Kunkumum from Kizhakku Vaasal (Tamil 1990). The prelude is done using a female chorus with grand violins. The pallavi has the female chorus singing counter to Chitra. Parts of the first interlude have some brilliant parts between the female chorus and the violins. The second interlude is a C&R arrangement between the female chorus and the flutes with violins backing both parts in full waltz.

The 2000s

Raja did reduce the use of chorus in his 2000s compositions. He has refrained from synthesized choir as he does not have any such handicap of not knowing how to conduct one.

Kekalayo from Kasturimaan (Tamil 2005). The prelude has nice female chorus in bhajan format. The pallavi is initially sang by the female chorus. The second interlude is executed with the female chorus to begin.

Koda Manjin from Kochu Kochu Sandhoshangal (Malayalam 2005). The prelude starts off with the female chorus. The pallavi has the female chorus backing the main singer. The second interlude has female chorus parts.

Let's hear Koda Manjin...

Koda Manjin
Malar Villile from Ponnar Sankar (2011) sees the return of the 70s style female chorus arrangement in Raja’s compositions. Nicely executed, this track has other goodies, already described in the post titled ‘All Music is One’.

Raja's (fl)choral world

2011-07-03T23:45:00.005-04:00

Group singing is part of the Indian culture. The word, ‘Sangeeth’ has two words, ‘Sangh’ and ‘Geeth’. While ‘geeth’ indicates song or music, ‘sangh’ means a grouping of people. Sangeeth happens when people sing together. That’s how age old Indian hymns, chants and bhakthi music was created. The modern anglicized term for sangeeth is chorus or choir (though choir has a lot of Christian religious tone to it). With time, the word ‘sangeeth’ has morphed to mean music in the Indian context.

Chorus in Indian film music has been traditionally used by all music composers. They range from simple Indian melody singing to today’s synthesized choir. As mentioned in the blog post titled ‘Voice therapy’ we will use the words choral and choir interchangeably. Even Raja detractors would agree that Raja has used choral arrangements more than any other Indian film music composer.

So, how is he different from all Indian film music composers? Our argument is that no Indian composer has navigated choir the way Raja has. In the next several posts, we will demonstrate his mastery over this form of music and his breadth and depth of application. Most traditional film music composers have used choir as a filler and not as an art form in interludes. This applies to Hindi film music composers more than their South Indian counterparts. The choir parts in Bollywood music is so predictable and repetitive, it almost shows the lack of training of these composers on vocal harmony. As part of this exploration, we will also dive deep to get a formal understanding of what vocal harmony is and what it is not. We will also digress a little bit to understand what scat singing and other improvisational forms are.

The song situations in Indian movies where chorus is used is very predictable as well: 1) the heroine introduction sequence 2) Hero singing a song with his friends 3) a philosophical sequence questioning the status quo by the hero and his friends. In Hindi films of the 90s and before, most party situations have chorus invariably, as party scenes have too many people trying to just look good, and when they jump into the fray, it’s invariably a chorus arrangement repeating the lines of the main singer(s).. There are some exceptions such as patriotic songs which are sang by a group. The majority of these chorus is set to Indian music and sang by female choir not male. Very rarely, we have seen vocal harmony.

We have however a long tradition of chorus music. The 1961 hit film Paasa Malar had a wonderful chorus rendering – Vaarayo Thozhi Vaarayo set to music by MSV-TR. Even the 1957 super hit Hindi song – Pyar Kiya to Darna Kya was executed beautifully by Naushad as a chorus towards the end. Atho antha paravai pola paada vendum from Aayirathil Oruvan (1965) was very beautifully executed by MSV-TR as a nice male chorus along with the main singer. In the 70s, the RD Burman hit, Dum Maro Dum from Hare Rama Hare Krishna (1971) was executed with a male/female chorus backing Asha Bhosle, the main singer.

Now, how do you beat that history? Raja does exactly what we discussed with his rhythm journey. He does a lot of what his predecessors did. However, he does not stop there. He brings his Western musical training and folk traditions into the mix. As with rhythms, he resets the bar higher and higher. He is one of the few music composers in India, who employs a voice conductor. Indian music has a long way to go to catch up with Western choirs. However, with Raja, it has made a great beginning and has matured significantly in the last 3 decades. If you hear the tracks of Guru (Malayalam 1997), Lajja title score (Hindi 2001), Hey Ram background score (Tamil 2000), you will realize that the BSO is miles ahead of their Indian counterparts.

With his Western music training, he has brought professional choirs into action. He has used choirs in every possible situation that no composer before him ever imagined. He has used them as full interludes, part interludes, instead of string sections, full songs, even rhythm sections. He has drawn out of Carnatic, folk, Western choirs and used them separately and in combinations in his music. He is THE EXPERT in Indian vocal harmony. No other Indian composer comes even a distant second to him in vocal harmony. He has exploited scat singing more than others in Indian film music. He has used both male and female voices in all combinations. Most Raja detractors accuse him of overuse of chorus/choir in his music. There is so much variation in his use of voices that one cannot superficially accuse him of overuse.

He has created unique categories of chorus usage that never existed before in IFM. Sometimes, we take these things for granted that we do not appreciate the sweat and creativity that goes into the work. One thing can be said with certainty: no other Indian composer has painstakingly conducted such choirs in such variety before and after Raja.

In order to navigate Raja’s choral world which is quite floral, let’s have some fun with tulips! Tulips come in all colors and hopefully, we will find enough colors and combinations of them to cover Raja’s choir work. As before, we will use random colors and combinations to describe the various Raja choir combinations. This picture gives you a good impression of what you can expect in this journey. The trouble with Raja is that in some tracks, he shows you this entire tulip garden in just under 4 minutes!

Let’s get a high level sense of Raja’s choral world with the help of the floral world of tulips.

Female choir singing the traditional Indian choir - White tulips. This is very common with Raja and most Indian music composers. Traditional choir includes singing la la la or tha na na or the group repeating the main singers lines.
Male choir singing the traditional Indian choir - Red tulips. This is not very common with Raja and most Indian music composers. Traditional choir includes singing la la la or tha na na or the group repeating the main singers lines.
Male/Female choir singing the traditional choir - Red and White tulips. This is not very common with Raja and most Indian music composers.
Female choir singing set to Carnatic swaras - Yellow tulips. This is very common with Raja’s work. Mostly, the chorus singers sing swaras.
Male choir singing set to Carnatic swaras - Pink tulips. This is very uncommon even with Raja’s work. Mostly, the chorus singers sing swaras.
Male/Female choir singing set to Carnatic swaras - Pink and yellow tulips. This is very common with Raja’s work.
Sanskrit chant based choir – White & Orange tulips. This is a Raja specialization that he began with Alaigal Oiyvathillai (1981) and has used it in several of his compositions.
Female folk choir singing - Orange tulips. This is very common with Raja’s work. He draws heavily out of kummi, esapattu and other folk techniques.
Male folk choir singing. - Purple tulips. This is very common with Raja’s work.
Male and female folk choir singing - Orange and purple tulips. This is not very common with Raja’s work.
Usage of choir in the dance jathi mode – White and Orange tulips. This technique involves use of the chorus singers singing the dance jathis and not the usual ‘thana thana’ or ‘aaaa’ as it is in pure carnatic based chorus work. This is uncommon even in Raja's work, as mostly jathis are sang by a lone voice.
Full chorus track – Red and yellow tulips – the track has no main singers. Raja has done quite a few tracks.
Using chorus voices in a C&R arrangement – White and purple tulips. This technique involves using two groups of voices. One of the group responds to the other group’s call. While this is very common with instrument music, few composers try this with voices.
Use of Bhajan format for the chorus - Black Tulips. This could be set in North or South Indian style. This normally has both male and female voices though on occasions, only one of the gender is used.
Female western choir singing - Pink and purple tulips. Raja has used them extensively in his compositions.
Male western choir singing - Yellow and Orange tulips. Raja has used them selectively in his compositions. This is very uncommon with Indian film music.
Male/Female western choir singing - Black and White tulips. Raja has used them selectively in his compositions. While this is a regular with Jerry Goldsmith or John Williams, Indian composers shy away from it due to lack of training in Western notated training as it applies to voice (singing from a song sheet).
Scat singing - White with red stripes tulips. Raja has used them in his music throughout his career using both male and female voices.
Chorus by children - Blue tulips. Raja has done this extensively, all the way up to ‘Paa’, though ‘Anjali’ comes to mind immediately. He has used children to sing, western, folk, traditional chorus in different situations.
Usage of Folk and Carnatic choir in a single track - Red, white and yellow tulips. Can be male, female or both. This is a Raja specialty that few composers have comfort handling multi-genre choir.
Usage of Folk and Western choir in a single track - Pink and Orange tulips. Can be male, female or both. This is a Raja specialty that few composers have comfort handling multi-genre choir.
Usage of Carnatic and Western choir in a single track - Red, white and Blue tulips. Can be male, female or both. This is a very rare occurrence and Raja has done this. Again, this is a Raja specialty that few composers have comfort handling.
Usage of choir for string section, bass sections, wind sections - Black and Red tulips. This is a Raja specialty. No other composer can match him as this seems like a bit of improvisation at the last minute before conducting the piece. There are so many situations where he has replaced the notes written for an instrument with the human voice. It is interesting to guess the instrument for which the notes were originally written!
Usage of choir for harmony singing - Blue and Orange tulips. It can be male or female. Sometimes, the main singers themselves sing in harmony. This is a pioneering area of Raja. This is a subject that needs to be detailed later on but we will touch the surface briefly. Raja’s work on vocal harmony deserves a special focus.
Usage of choir for transition - Red, Pink, Purple and Yellow tulips. The transition between the charanam and the pallavi is done using several techniques, and chorus is used very rarely. Raja has done that too.

25 chorus types – that’s a lot for one composer. By now, it should be clear the breadth of Raja’s work with just voices. As always, there will be some chorus rich tracks which do not fall into the 25 categories. We will definitely have a 26th catch-all category! What will come out of all this analysis is that Raja’s use of Western choir techniques is unmatched and no composer of IFM gets anywhere near him. Unfortunately, he is often associated with folk chorus than Western choir in the popular sense. After these detailed sections, it will become obvious, how this man views everything from a WCM perspective, voices, chords, orchestration etc. We will next work though the individual flowers in his tulip garden and enjoy it even more.

Time for the usual disclaimers. I may not be able to navigate through all his work and most of my analysis is based on my select 1,500 tracks. Feel free to add your input to the analysis. There will be some repetitions as some tracks have more than one technique employed.

Lastly, two individuals that helped me with some good examples need mention. Kamal tirelessly answered my emails and Suresh contributed his Carnatic knowledge where I lack.

All music is one - Part 1

2011-06-09T23:30:00.003-04:00

It’s easy to take shelter under common sense and dismiss a whole bunch of striking things in life. What strikes us as commonsense must be true isn’t it? Einstein once said that ‘Commonsense is a set of prejudices accumulated before the age of 18’. It is so true in the world of music too. I always see how many people try to always come out with statements such as ‘East is East and West is West’ whenever, they choose to swing one way or the other. One of the things that Raja has always said is that ‘all music is the same’ for him. He even went on to further say that writing a complex instrumental such as ‘How to Name It’ or a film song or a complex crossover musical like ‘Thiruvasagam’ is still no different for him.

While it is easy to oversimplify music as a simple combination of seven notes, it is extremely hard to put this to practice. To transcend between two musical systems is hard; to do that over 5 or 6 systems is many orders of magnitude tougher. Only a musical genius who has the ability to see commonality between these complex musical systems can just not speak about it but also demonstrate it in his work. Raja is a rare breed and we will explore some of the tracks where he walks the talk.

Let’s define what we mean by complex systems. The obvious ones are Carnatic, Western and folk music systems. The other elements to music that applies across the board are elements such as rhythm, voices, instrumentation. What we are analyzing here goes beyond fusion music. Fusion music still demonstrates that the composer has taken two different things and mixed it. The ones that we will discuss here are examples where Raja simply switches from one to the other(s) with no one realizing what he has done. Here are some top of mind examples.

The song ‘Poo Malarnthida’ from Tik Tik Tik (Tamil 1981) is a song that is set to Karaharapriya ragam. The way Raja arranges this song leaves you wonderstruck on how he uses Yesudas for both Carnatic and Western singing and Jensi for light singing – all in one song. The instrumentation for this song leaves you totally confused – is this Carnatic or Western? The simple answer, all music is one…

Poo Malarnthida

Common sense tells us that counter melody arrangement is normally done in Western music based compositions. Negative. In the post called ‘Isai Vignani’, we saw how Raja demonstrated with SPB singing a humming and Carnatic swaras as two melodies simultaneously in Anveshana. Here is another example, where Raja shows in the song ‘Keeravani’ from Paadum Paravaigal, (Tamil 1988) the same technique. Why would someone do this contrary to Carnatic music best practices? The simple answer, all music is one…

Keeravaani

Every year Carnatic musicians pay homage to their guru in Thiruvaiyaru by singing the pancharatna keertanas. One of the keertanas set to Shree ragam that is very popular is ‘Entharo Mahana Bhavulu’. No normal composer messes around with this song. Raja sets it to duet and another ragam (only the first 2 lines are taken from the song) for a different mood (romantic) in Ashoka Chakravarthy (1989 Telugu). Why? The simple answer, all music is one…

Endharo

Naadam Ezhundhadadi from Gopura Vaasalile (1991) is a fantastic melody set to Sriranjani. What has a classical Western violin dialog with Indian Carnatic violins got to do with a Sriranjani composition? You must be nuts to think of such a concoction, shouldn’t you? Listen to the first interlude of this song, where Raja throws a generous chorus that sticks strictly to the ragam. Why would such a strict guy throw the Western violins in dialog with the Indian violins? The simple answer, all music is one…

Naadam Ezhundhadadi

The song ‘Rasathi Rasathi’ from Poovarasan (Tamil 1993) is hard to put a finger on. Is this folk music strictly? The lyrics are very colloquial and makes you think so. The instrumentation however is ultra-modern with synthesizers and grand violins playing a perfect Western Classical performance (or a trance type music). The interludes are from one world, but the main song is from another. How can they coexist so well? The simple answer, all music is one…

Rasathi Rasathi

We covered this in the post called ‘Voice therapy’. The track is a cheerful folk one where the kids and the grandfather have a good time – ‘Potri Paadadi Penne’ from Devar Magan (1993 Tamil). Using ghatam and flutes, it is a delightful, simple tune. The same tune is sung in a sad mood ‘Vaanam thottu Pona’ with kettle drums in the film. However, the interludes are changed to completely mixed Western choir arrangement to signify the sorrow of the village with the headman passing away. Western choir replaces ghatam and flute and the tonal mood changes completely. How? The simple answer, all music is one…

Potri Paadadi & Vaanam Thottu

The song ‘Arumbum Thalire’ from the film Chandralekha (Tamil 1995) is set like a regular film song with all the frills such as the synthesizer, rhythm pad and the works. You have the typical fast paced song for a young hero. However, the rehash of the same song in the same film ‘Tharai varamal’ sang by Unnikrishnan uses exactly the same tune, but uses a bhajan like arrangement. If you hear one, you cannot come to terms with the other. Why? The simple answer, all music is one…

Arumbum Thalire and Tharai Varamal

The song Kootukuyilai from Manam Virumbudhe Unnai (Tamil 1999) was not a major hit. The song starts off with Raja singing Natchatra Grahanaam in Sanskrit in a perfect vocal harmonic arrangement. (We will later cover vocal harmony in detail). It gives you no idea about the song that follows it. Hariharan starts the song with the rhythm pad and the synth accompaniment like so many other Raja songs. In the pallavi, you will notice Bhavadha singing perfect Carnatic swarams in this otherwise light musical piece. Sanskrit vocal harmony, light song, Carnatic swarams, what’s going on? The simple answer, all music is one…

Kootu Kuyilai

We have all heard several very pensive songs of Raja that have his stamp written all over. Some of them are fantastic Western classical violin treats carefully camaflouged as Indian melodies. Chinna Chinna Roja Poove from Poovizhi Vasalile (1987 Tamil) is one such song. Another song, set to Gowrimanohari, with some brilliant Western violin parts is Anbe Vaa Arugile from Kili Pechu Ketkava (1998 Tamil). Here is another song – Kanneer Thuli from Raja Kaiya Vachcha (1993 Tamil) – the instrument arrangement of this pensive song set to Desh, makes you wonder, if the composer is nuts, if you just read the text – trumpets, violins, bells and a Western classical interlude. When you hear the track, you realize that everything has its place and the composition is well rounded with the right mood. Surprisingly, all these three tracks are sung by Yesudas. It is hard to come to terms with WCM violins, classical Indian melodies and blend them so effortlessly. The simple answer, all music is one…

WCM Violin treat

If you observe his recent song ‘Malar Villile’ from Ponnar Sankar (2011), you will see all the elements of several musical systems coexisting happily. Nothing sticks out like a sore thumb. The song has a 70s style chorus, some parts with synthesizer and synthpads, some parts with flute and mirudhangam. Parts of the pallavi have mixed rhythm arrangement. The postlude of this song is very interesting – brilliant mix of classical and synth based arrangement. How can you think of such a complex mix of musical arrangements in a single track? The simple answer, all music is one…

Malar Vilile

Fine fugue fete

2011-05-09T11:55:00.002-04:00

A fugue is a contrapuntal composition in two or more voices, built on a subject (theme) that is introduced at the beginning in imitation and recurs frequently in the course of the composition. This was a great musical idea introduced by Bach and Raja being a sincere follower of Bach has used fugue in several of his compositions. Key to the understanding of fugue is two terms – theme and imitation. Consider theme as a short melody that is played at a certain pitch by an instrument. The imitation of the melody could be played by the same instrument at a different pitch or by another instrument at a different pitch to constitute a fugue arrangement. What’s important is that while this happens, there must be multiple simultaneous voices.

For some strange unknown reason, Raja and fugue has not been discussed at length, though most sites that speak about Raja's work, do mention about his compositions using this technique.

Fugue is not favored much other than in classical circles as it is considered too complex for ordinary composers. Fortunately, we are not discussing any ordinary composer. Let’s look at some of Raja’s work over the past 4 decades. Time for some Raja examples.

Manjal Veyyil from Nandu (1980 Tamil) – this is pure baroque pleasure. There are few film tracks that can match the quality of fugue that Raja has demonstrated in this track. A total contrapuntal gem! Raja has used his entire arsenal in this track to show fugue in film music – solo violin, violins and double bass, veena, guitar and also the flute. Let’s analyze this 1:55 minutes of grand orchestration.

00:18 to 00:21 seconds, you will hear rapid violin strokes (10) played at a particular pitch. Observe that between 00:28 and 00:32 seconds, the exact same melody is imitated with the same violins at a different pitch.
From 00:33 to 00:37 seconds, the solo violin plays a new melody (the violins also play in counter melody in the background, but let’s ignore that for the moment), the groups of violins imitate the melody between 00:38 and 00:41 seconds at a different pitch.
From 00:41 to 00:45 seconds, the solo violin plays the third melody and the group violins imitate this new melody between 00:45 and 00:49 seconds at a different pitch. It’s a back to back fugue arrangement. Show me one composition in Indian film music that can match this.
Between 00:53 to 00:57 seconds, the flute plays a new melody. Between 00:57 and 1:01, the guitar imitates the same melody at a different pitch.
Between 1:01:30 and 1:06, the flute plays another melody and between 1:06 and 1:10, the melody is imitated by a combination of guitar and veena at a different pitch!
Between 1:15 and 1:22, the veena plays a slightly lengthy melody. Observe the imitation of the same melody between 1:23 and 1:30 played by the solo violin at a different pitch.
Between 1:31 and 1:39, the guitar now plays the new melody. The groups of violins imitate the guitar melody between 1:39 and 1:47 at a different pitch. Between 1:47 and 1:55, the guitar plays the same melody with a third pitch; the background violins join the fray along with the guitar.

7 fugue arrangements constitute the interlude of this masterpiece. There is no other composer before and after Raja, who can do this in Indian film music! This work is no less than a grand concerto of Bach, should he have the 4 minute limitation of film music.

Let's hear Manjal Veyyil from Nandu...

Manjal Veyyil

Oru Kili Uruguthu from Ananda Kummi (1982 Tamil) takes the fugue idea to two types of voices – instrumental and human voice. (This has a Telugu equivalent Jili Bili (Sitara) but the interlude orchestration is different).

Between 00:01 to 00:09, there is a flute melody that is played. Observe closely, what happens after that.
Between 00:16 and 00:20 the 8 second original melody is imitated at a lower pitch but a faster pace using flute again.
Between 00:26 and 00:42, Raja uses two child voices singing ‘ku koo’.
Observe the melody every consecutive time. A short melody in one voice, an imitation in another voice at a different pitch, a third melody at another pitch, a fourth imitation melody at a different pitch and so on. This is the voice (human) equivalent of what Raja does with instruments in other fugue experiments.

Let's hear Oru Kili Uruguthu ....

Oru Kili

Devan Koil dheepam Ondru from Naan Paadum Padal (1983 Tamil). Listen to the clip between 44 seconds and 58 seconds. Focus only on the guitar and the flute that plays a melody – first a few bars for the guitar followed by the flute (44 to 47 seconds). Listen to exactly the same melody being played by the same instrument at a slightly higher pitch between 48 and 52 second and even higher pitch between 53 and 57 seconds. Another neat fugue work.

Let's hear Devan Koil ...

Devan Koil

China Chinna from Mouna Ragam (1987 Tamil). Listen to the first 11 seconds of the clip. The theme is introduced by the flute in the first two seconds. The flute again imitates the melody at a different pitch. This is followed by the violins at the third and fourth pitch. A neat fugue package.

Let's hear Chinna Chinna...

Chinna Chinna

Paadoo Sakhi Paadoo from Chaitram (1989 Malayalam) is a song sang by Yesudas. Raja sourced it from – Poove Pani Poove from Nilavu Suduvathillai (1984). This track has some interesting fugue arrangements.

The first 4 seconds has the same short melody played in four different pitches to start off the fugue arrangement.
Between 00:29 and 00:30:30 seconds, there is a melody a synthesizer plays which is imitated between 00:30:30 to 00:33:00 seconds by the synthesizer at a lower pitch constituting the second fugue arrangement in the track.
Between 1:03 and 1:13 there is another beautiful fugue dialog. The melody is started off by the synthesizer, the imitation is by a solo violin at a different pitch; the synth plays the melody at another pitch and the solo violin takes it to another pitch in its imitation. What follows that is a C&R arrangement between the synthesizer and flute.

Let's hear Paadoo Sakhi...

Paadoo Sakhi

From here on, I am leaving it to the readers to identify the fugue parts in the interludes of some Raja tracks that prominently use this technique. Please comment back with the exact timing on the track where the fugue parts occur.

Thamaraikodi from Ananda Kummi (1982 Tamil) is another fugue treat served with guitar, flute and violins.

Here are the interludes are Thamaraikodi...

Thamarai Kodi

Yeh Thendrale from Nenjathai Killathe (1982 Tamil) – there are several fugue parts with voices, flutes and violins.

Here are the interludes of Yey thendrale...

Hey Thendrale

Aala Asathum from Aala Piranthavan (1987 Tamil) has a fugue arrangement with trumpet and guitar.

Here are the interludes of Aala Asathum...

Aala Asathum

Appadi Paakarathunna from Ivann (2004 Tamil) has a fugue based prelude.

Here are the interludes of Appadi...

Appadi Paakarthunna

I will also not cover the "Mad Mod Fugue'" track of 'How to Name it".

Fugue has not been very popular among Indian film music composers, nor did/do most of them had/have the training and courage to handle such a musical ideas. To Raja, this is one more music idea. In my view, he does not even care if he was the greatest exponent of this technique in Indian film music!

Hope you had a fine fugue fete...

Raja’s rhythm innovation stage 17

2011-04-02T23:45:00.003-04:00

This requires a rhythmic arrangement mixing Western percussion in a polyrhythmic arrangement

This requires the track to use western rhythm instruments (cymbals, bells included) to create a poly rhythm. This is the technique that is very common among younger composers today in film music. However, Raja started this trend in the late 80s itself.

I recently discovered a track from Raja in (you guessed it) some non-descript movie called Chinnappadas (Tamil 1989). This track is the best tutor on polyrhythm with Western instruments. Raja teaches a number of musical ideas with his sheer work. Once you hear this track, the idea of polyrhythm will be settled for good. The pelude and the pallavi of this song is very important to understand the idea.

He uses a drumming machine on fast time as one of the rhythms.
He starts off on slow time and then switches to fast time.
The drumming machine is used as a reference rhythm.
The synth pad is now used to play another rhythm on a different slow time.

What’s special is the lyrics – Athu (one rhythm) Ithu (another rhythm) Ethuthaan Vendum (which one do you want). For non-Tamil readers, the lyrics simply mean, 'This or that, what do you really want'. I cannot find a better illustration for this idea. I take a bow before the master.

Let's hear the Athu Ithu track...

Athu Ithu Ethuthaaan Vaendum

Yenniyello from Shiva (1989 Telugu) uses a combination of fingersnap (electronically generated) and the drum kit on two different times throughout the paalavi and the charanams. In the prelude of the track, the composer starts off with the fingersnap and adds the drumming to it adding a poly rhythm to the composition.

Let's hear the Yenniyello track...

Yenniyello

Poongatru Un Paer Solla from Vetri Vizha (1989) has a unique polyrhythm combination that requires some time to decipher. First, there is a drum rhythm on fast time, there is a guitar rhythm being played on another time. There is a third bongo rhythm on its own time (this could be played on a synthpad too). There is also another conga rhythm on its own time. You have four rhythm patterns coexisting throughout the track. Even in the interludes all the four patterns continue. I have included the pelude, pallavi, interlude 1 and some parts of the charanam 1 in the clip. This requires ultimate mastery over rhythm arrangement.

Let's hear the Poongatru Un Paer Solla track...

Poongatru Un Paer Solla

From the examples, it appears that Raja was very enamored by this idea in the 1989-93 time frame.

Singari Pyaari from Athisaya Piravi (1990) uses the western drumming very innovatively to showcase poly rhythms. The first 10 seconds of the prelude has a fast timed synthpad rhythm. The full drum kit is added on a different time at this point and going forward the drum kit and the synthpad rhythm play at their own time. The pallavi, interludes and the charanam all follow the poly rhythmic arrangement.

Let's hear the Singari Pyaari track...

Singari Pyaari

Kaatukuyilu from Dhalapathy (1991) is another good example of manual Western rhythm instruments set to polyrhythm. Like most Afro American music, the orchestration appears quite tribal, but is an intelligent application of Western kick drum and the synthpad. The clip I have attached has two parts – the part from the prelude of the track and the second interlude. Observe the first 15 seconds of the clip. It starts off with the kick drum and the synthpad in a call and response arrangement, which quickly coalesces into a polyrhythm as both start playing together in their own time. Between 15 and 30 seconds, there is a lone rhythm instrument that is joined by the synthpad and the instrument continues in its own time. Basically, the clip shows two things – a C&R rhythm becoming a poly rhythm and a solo rhythm becoming a poly rhythm.

Let's hear the Kaatukuyilu track...

Kaatukuyilu

Kalakalakkum Maniosai from Eeramana Rojave (1991) is another track where Raja uses two sets of synthpads to create an exciting poly rhythm. The clip I have included here has a part of the prelude and the first interlude. Note that the two rhythms are playing on different times throughout the clip.

Let's hear the Kalakalakkum Maniosai track...

Kalakalakkum Maniosai

Vennilavu Kothipathenna from Chinna Mappile (1993) uses another technique of using claves as one rhythm on its time and the drum kit on its own time. Throughout the track and the interludes both these instruments play together but on their times creating a fantastic poly rhythm. The clave sound could be generated from a synthpad as even the sound that is at the beginning of this track appears to come from a synthesizer. (the sound that imitates a morsing).

Let's hear the Vennilavu Kothipathenna track...

Vennilavu Kothipathenna

The prelude of the track Swalpa Soundu from Suryakanthi (2009 Kannada) uses a synthpad and claps (possibly generated from a drum machines) to create a nice poly rhythm. Throughout the track this combo is used. The second interlude of this track requires special mention. It not only uses three rhythm patterns on their own time, it uses vocals on top of it. Raja takes his journey from the 80s to a new level in rhythm arrangement. The second interlude is set on the Samba style of poly rhythmic arrangement. While I have heard other Indian composers using tapping in their tracks, this is the first one I am hearing that has all the elements of Samba arrangement.

Let's hear the Swalpa Soundu track...

Swalpa Soundu

Concluding notes on Raja’s Rhythms

2011-04-02T23:40:00.003-04:00

In all, between mono and poly rhythms, we have seen Raja progress through 17 stages. While most composers easily do 6 to 8 stages, going beyond that is a challenge. Today, most composers blame stories, scripts for their lack of experimentation. Nothing can be farther from truth. Raja has done his musical experiments in several non descript films that did not have the great stories or scripts. If a composer has the commitment towards innovation, he can find a way.

We can only hope that some Indian music composer in the future will attempt to surpass these 17 stages. Till that happens, we must thank that we are born at the time of the genius who set the bar.

Raja's (poly) rhythm innovation stage 16

2011-03-02T23:45:00.002-05:00

This requires Indian and folk instruments arranged in a poly-rhythmic arrangement

While most music composers have exploited Indian and folk instruments very well in film music, we will showcase tracks where the idea is to play these instruments on different time signatures. While most technological advances have made poly rhythm with Western instruments quite easy, this is done in the old fashioned manual way, displaying the strong fundamentals of the composer.

A good example of polyrhythm innovation is the song Kasturi Maane from Pudhumai Penn (1983). Observe the prelude in the song where Raja demonstrates his mastery over the idea. He uses human claps and mirudangam on different time signature almost as a poly rhythm demo! Observe the claps start off on slow time, turns into a adhi taalam (8 beat cycle) and the mirudhangam joins playing at its time as the claps continue at its adhi pace. This is a very creative use of poly rhythm technique.

Let's hear the Pudhumai Penn song...

Kasturi Manae

The SPB solo version of Maanguyile Poonguyile from Karakaatakaran (1989) – observe the percussion pattern throughout the song – observe the pattern of the main instrument (thavil) and the alternative instrument (udukku) – this is folk style arrangement that is poly rhythmic. The thavil starts off with the udukku on different times and throughout the 65 second clip, you will observe that both the rhythm instruments play at their own time along with the nadaswaram to create a nice tune. For those not used to nadaswaram, it is a pretty loud instrument similar to the trumpets in Jazz music.

Let's hear the Karakaatakaran song's poly rhythmic arrangement...

Maanguyile Poonguyile - SPB Version

The great Telugu hit track of Raja, Abbani tiyani debba from Jagadekaveerudu Athilokasundari (1992) uses claps throughout the track with the tabla. The claps and the tabla are set to different times and create an attractive poly rhythm. As mentioned before, this was copied in Bollywood in the film Beta in the 90s.

Let's hear the poly rhythmic arrangement of Jagadekaveerudu Athilokasundari song...

Abbani tiyani debba

Adada Ahangara from Pithamagan (2004) – the interludes of this song are great experiments with poly rhythm. The first interlude has the udukku starting off loud and it keeps playing in its time. Intervening the rhythm is the fast rhythm of the bongos (most likely played with a synth pad). There is a synth bit for a few seconds following which the urimi comes back to life. This time around, Raja uses a duffle played at a slower pace, but faster than the udukku to create another poly rhythm.

The second interlude of this song makes you think that Raja was not fully satisfied with his experiment. The urimi now plays without any break and within its cycle, the fast bongos are thrown in along with the conch. The fast violins add to the tempo of the drumming. This song’s rhythm arrangement is a masterpiece of sorts.

Let's hear the Pithamagan song...

Adada Ahangara

Kili Thattu Kili Thatu from Athu Oru Kana Kaalam (2005) uses the native drums and the tabla on two different times very innovatively. To start with, the composer lets the native drum play. It is joined on a relaxed time at 5 seconds. To this play, the composer also throws in the manual bell which plays on its own time. The pallavi is played on a standard 6/8 tabla rhythm. Raja always has his experiments in songs where you never expect it!

Let's next hear the Athu Oru Kana Kaalam song ...

Kili Thattu Kili Thatu

I am not sure into which category would Om Sivoham from Naan Kadavul (2009) would belong as its orchestration is a marvel in itself. This is a song that leaves you in a trance and some sections of the orchestration to be singled out as just poly rhythmic is a gross understatement. I have a 42 second clip from the track that is an unusual display of poly rhythm in very native Indian style. When you pay attention to it, there is a lot of Western instruments in place. The first 8 seconds of the clip has several rhythms playing in their own time. The lead instrument is the udukku, a traditional folk instrument. You have crash cymbals and bells and drums playing in their own time too. For the next 7 seconds or so, you can hear a super fast play on the rhythm pad with the chanting in the background and the udukku playing in its own slow time. For the next 10 seconds (15 to 25), you hear the rhythm pad continuing at its fast time and the crash cymbals catching up in tempo. It is hard to call this section as just Indian. For the next 20 seconds, you hear the heavy kickdrum playing with the sitar (played on the synth) and the udukku, the manual bells, the crash cymbals all join the fray with their own time. Four words – Mind blowing poly rhythm! Unless you are a super rhythm guru, it is impossible to arrange something like this. When you hear it casually, the composer simply lets you focus on the mood – the chants, the Indian folk percussion. When you step back and listen more closely, you can clearly hear the genius behind the arrangement.

Let's finally hear the Naan Kadavul song...

Om Sivoham

Raja's (poly) rhythm innovation stage 15

2011-02-02T23:55:00.002-05:00

This requires Indian and Western instruments in a polyrhythmic arrangement

The Indian instrument is invarably the tabla in film music. The western rhythm instrument is invariably the drum kit. Some of the latest techno work makes it impossible to tell where the synthesized groove ends and where the synth rhythm begins.

Maapilaikku Maaman Manasu from Netri Kann (1981) is another example of a very innovative application of the poly rhythm technique. Raja uses a standard 4/4 drum beat as the rhythm and freaks out with voices and mirudhangam. Note that the singer’s jathi is not on the same time as the back beat. On two occasions within this 35 seconds clip, the composer throws also the mirudhangam on a different time. Poly rhythm is a special subject in the Western world after the import of such rhythms through Afro Americans. It is part of the Carnatic tradition for centuries. Raja just demonstrates this with a mix of Western and Carnatic traditions! We need in keep in mind that this was done long before drumming machines were invented – the first decent microprocessor came out around this time!

Let's hear the Netri kann song....

Maapilaiku Maaman Manasu

Devan Koil from Naan Padum Padal (1984) - the prelude uses a polyrhythmic arrangement between the Indian tabla and the Western drum. The prelude lasts only 20 seconds and the music transitions into Raja’s 80s style violins and tabla arrangement after the prelude. Even in the prelude, there is extensive use of synthesizer, violin and flute.

Let's hear the Naan Padum Padal song....

Devan Koil

The postlude of Megam Kottatum from EnakkuL Oruvan (1984). This is an amazing display of poly rhythm throughout the postlude that lasts about 50 seconds. The first 20 seconds of the clip does not have any poly rhythmic arrangement, just a play between the guitar and the drums. Observe from 20 seconds onwards, you will hear separate rhythm play between the left and the right. The right channel has the drums playing on slow time and the left playing in faster time till the right drummer catches up to the pace of the left drummer. The guitar that plays along stops suddenly and now it is poly rhythm all the way! At 32 seconds in the clip, the left drummer is replaced by a mirudhangam player who plays on his own time as the right drummer continues. At 42 seconds in the clip, the right drummer slows his timing and the mirudhangam player is in full cry as super fast time. There is no need for a better demo in Indian film music than this for poly rhythm! In 1984, when the world was saying welcome to the Apple Macintosh, Raja was busy with polyrhythms!

Let's hear the EnakkuL Oruvan song ....

Megam Kottatum

Puthiya Poovithu from Thendrale Ennai Thodu (1985) – this song uses two sets of poly rhythmic arrangement, one that qualifies it as part of this categorization and another that does not. The pallavi of this song has three things going on in three timing arrangement – the tabla, the click and the cymbals. Not to mention the bass guitar. Everything falls perfectly in its place and you have a great melody on top of it. The charanam replaces the tabla with the conga drums. The rest of the rhythm arrangement in the charanam is similar to the pallavi. I have the full pallavi and part of the charanam in this clip.

Let's hear the Thendrale Ennai Thodu song...

Pudhiya Poovidhu

Kavidhai Kelungal from Punnagai Mannan (1986) – if you observe the prelude of this track, the drum and the tabla play their own rhythm pattern, each one of them is clearly heard and together it sounds very pleasant. The base time is maintained by the drumming machine and the tabla rhythm is overlapped thrice in the prelude. There is also synthesized percussion that overlaps the drumming machine’s rhythm. Lastly, the drum kit based rhythm also overlaps the drumming machine’s rhythm. In all, there are five instances of polyrhythm that Raja demonstrates in this song’s prelude that lasts about 20 seconds!

Let's hear the Punnagai Mannan song...

Kavidhai Kelungal

Kathuthadi Raakozhi from Deiva Vaaku (1992) is an excellent poly rhythm between the drums and tabla throughout the track! In fact, this track fits into all categories of polyrhythm by Raja. It has folk, western, Indian style jathi, carnatic style morsing, ghatam – Raja demonstrates his total mastery over rhythm arrangement. The prelude and the pallavi have a similar poly rhythmic arrangement. The western drum plays in slow time and the tabla plays in fast time creating an exciting rhythm pattern. I have included only the second interlude and not the first. The second interlude is special from a rhythm perspective. Raja demonstrates the difference between a call and response and a polyrhythmic arrangement in less than 15 seconds! He starts off with a ‘dhinuku dhinuku’ rhythm pattern and his pattern is responded by the drum and the ghatam. This is followed by his vocals, the drum, and the ghatam playing the rhythm he leads. But, the tabla plays its rhythm on a different time, with poly rhythm in full display.

Finally, let's hear the brilliant Deiva Vaaku song...

Kathuthadi Raakozhi

In the next months, we will see how Raja works with Western and mixed rhythm instruments. I have particularly traced his polyrhythm work in each post to the beginning to prove his strong bedrock rhythm foundation. It only gets better with automation...

Introduction to Polyrhythms

2011-01-02T23:55:00.001-05:00

Polyrhythm is a very misunderstood musical phrase for the Indian film music listener. Lots of things do get passed on as polyrhythms during discussion. Here is a text book definition:

"Polyrhythm is the systematic exploitation of different rhythms performed simultaneously"

Doesn’t help much isn’t it? Two sets of phrases are worth noting from this text book defition: “Different rhythms” and “simultaneously”. Just throw a whole bunch of rhythms simultaneously in a track and you have polyrhythms – very convenient definition. The trouble is with the other phrase: “systematic exploitation”. Everything gets complicated when you start defining rules for systematic exploitation. These rules help one tell whether a particular track has true polyrhythm designed into it or not. Before we get a little deeper into the rules, let’s get a little bit more historic perspective.

Polyrhythm is a non-Western concept, originating from Africa and Latin America. Other musical systems have taken advantage of this wonderful innovation in many situations. Polyrhythms got imported into the Western world through Jazz music. Jazz music originated in New Orleans, US, and was pioneered by Afro Americans, who brought with them century old traditions passed on by generations. One such contribution was the introduction of polyrhythms into Jazz music, which later got adopted into Rock and Roll and mainstream pop culture.

Most Indian music composers have been quick in taking advantage of simple polyrhythms. Most Bollywood music today (2010) take advantage of electronic drum machines, synth pads and so on and they are characterized by simple polyrhythms where one of the rhythm pattern is an unmistakable bhangra beat emerging out of a synthpad. But for a few exceptions, most dance music from Bollywood can be categorized this way. Technically, most of these tracks may not meet the academic criteria for polyrhythms. However, the difficulty is that the academic definition of polyrhythms can be complicated to understand as well as apply.

As mentioned, there are very strict theoretical definitions for poly rhythms from a musicology standpoint which we will not dive too deep. There is no universally accepted definition on what defines a polyrhythm. We have to unfortunately settle with the least common denominator. However, in order to appreciate polyrhythms and Raja, let’s focus on the simplicity of this musical idea. A polyrhythm is, simply, more than one rhythm happening at once. For example…

When you get together with your friends to jam, each playing what you feel like, you create a polyrhythm.
When you tap your foot while you play your drum, you create a polyrhythm.
When you play along to a CD with drumming on it, you create a polyrhythm (unless you play the exact same rhythm as the drummer on the CD). When you count out loud as you play, you create a polyrhythm.

(Courtesy: Drums for Dummies)

There is a perception that African drumming (the origin of polyrhythms) is highly complex and that it takes years of study and practice to play such intricate rhythms. Not true. African drumming sounds difficult because, taken as a whole, a lot is going on, but taken individually, the parts are often very simple. The difficulty lies in being able to keep your rhythm steady while the other instruments around you play opposing rhythms.

The meter is the standard unit of time that divides Western music. In most symphonies or ensembles, all instruments basically follow the same meter; the shared rhythm is counted evenly and stressed on every main beat. We thus call Western rhythm divisive because it is divided into standard units of time. But the traditional rhythms of African music are considered additive, a term which already gives us an indication of their fundamental multiplicity. The music's complex percussive patterns bubble up from the shifting and open-ended interaction between many different individual drum patterns and pitches.

Time for an example: Fanga, a West African rhythm, uses four instruments: the bell, a set of two djun djuns (one person can play both the bell and the djun djuns), and two djembes. The djun djuns (also spelled jun jun or doun doun and pronounced either way) are natives of West Africa and consist of three drums. The djembe (also spelled jembe — either way it’s pronounced jem-bay) is a goblet-shaped African drum that is the staple of every drum circle. With its unabashedly tribal look, loud expressive sound, and ease of playing, the djembe has become one of the most popular drums around. Let’s hear the Fanga poly rhythm where the djembe plays the lead or the ‘call’. The Djun Djun and the bell play the ‘response’ and does it on a different time.

Fanga Polyrhythm example

As mentioned before, the polyrhythm tradition is quite prevalent in the Latin American world. Examples include Cuban Bolero, with ballad style of music, or the fast paced Mambo. Further South, Brazilian Bossa Nova or the fast paced Samba music.

Indian music, both Carnatic and Hindustani are rich in rhythms. The timing examples from deep classical rhythms from both these systems put 'math rock' to shame. However, polyrhythm as an idea is rarely associated with Indian classical or folk music.

If you find this description very technical, do not worry. Most Indians already know polyrhythms without really knowing any such definition. I am sure you are familiar with the Dandiya dance that is very popular in Gujarat (in Western India) and this has now become a fashion in many urban parts of India during the autumn festival of Navarathri. If you carefully observe the pattern of how the dancers pat their sticks to their foot pattern, you have polyrhythm!

Here is a great and elaborate example of polyrhythm and other related topics provided by Jerry Leake on youtube. It is interesting that Jerry uses the Indian jathi to explain the concept:

Here is Jerry's video...

Jerry Leake continues...

Jerry continues...

Jerry’s explanation is a result of a huge research effort and I am sure you would get the idea of how polyrhythm works in general.

A shorter version is available in another video where you are given a summary of how poly rhythm works.

While not all experiments qualify as polyrhythms, let’s explore Raja’s rhythmic experiments – wherever they are polyrhythmic, we will highlight them. As this is a relatively new topic in Indian film music, some of our current views may change in the future. Based on a systematic application of these principles and other rhythmic work that Raja has done, we will try and grade the tracks in increasing order of complexity from a polyrhythmic viewpoint. It is unclear if Indian music composers have composed music with polyrhythms in mind. That’s a question only composers such as Raja can answer. These categorizations are entirely based on my perception of the rhythms used – it could be deliberate or accidental or entirely wrong. Some of the advances with drumming machines and synthpads have made polyrhythm creation very simple as the machines take care of the timing when one sets them on these machines or use the pre-built patches.

One thing that must be clear is what is not a polyrhythm. Just because, a composer uses a drum kit and a tabla in a track, it does not qualify to be a polyrhythm. Nor does tracks such as 'Ghanashyama' from Kochu Kochu Sandhoshangal, where Raja uses alternating rhythms.

Our journey with Raja’s rhythm innovation continues from the mono rhythm stages… We left off at rhythm innovation stage 14...

PS: For those who are interested in an academic definition of what a polyrhythm strictly is:

In order to identify polyrhythmic patterns, three rules are very helpful:

First rule:

To qualify as a poly rhythm, the contributing rhythms should be chosen such that the numbers denoting their rhythmic relation, are relatively prime to each other.

Second rule:

If the sum of two (or more) simultaneously sounding rhythms results in a subdivision of the beat that is not present in either of the constituting rhythms, we call this resultant rhythm poly rhythmic.

Third rule:

Two different rhythmic patterns do not result in a poly rhythm (when played simultaneously), when one of those rhythms can be contained in the subdivision of the beat that is implied by the other rhythm.

One major point to think about is that to qualify as a poly rhythm, the two constituting rhythms should be clearly heard and felt as separate rhythms, each with their own properties!

To be a poly rhythm, two rhythms (at least!) are needed to form this poly rhythm, and these two rhythms:

1. should be based on relatively prime subdivisions

2. should be clearly distinct from one another

Both conditions have to be met at the same time! Let’s look at prime numbers within 12 for example purposes: 2 3 5 7 11. In other words, if you have the following combinations being played simultaneously, you have polyrhythmic arrangement:

• A 2/4 simultaneously with a 3/4 (need to look at March songs).

• A 3/4 arrangement simulataneously with a 5/8 arrangement – Waltz with Kanda chapu.

• A 5/8 (kanda chapu) arrangement simulataneously with a 7/8 (misra chapu) arrangement – misra chapu with kanda chapu.

• A 3/4 arrangement simulataneously with a 7/8 arrangement – Waltz with Misra chapu.

I have no plans of doing a PhD on this. Let's enjoy Raja's music in simple terms. I am sure, you can appreciate, why I chose to stick to a simple least common denominator approach for identifying polyrhythms. Two rhythms being played simultaneously. Forget all those prime number constraints!

Techno Baroque – a rhythm perspective

2010-12-01T23:55:00.006-05:00

Raja has consciously crafted a genre for himself even from the arrangement perspective in the last 9 years or so and more importantly with the rhythm arrangement. He shines in his new armor. He takes the nice and convenient weapons such as drum machines, synthpads, synth flute, synth violins and other pleasant sounds from the Techno world and nicely marries them with his traditional arrangement. The result is a pleasant melody with a very modern arrangement without the jarring 140 bpm techno rhythm.

Enge Nee Sendralum from Kannukkulle (2009 Tamil) is a very nice melody with a lot of solo violin as the theme is around a violinist. The entire track has a nice synth drum pattern that only beautifies the track further. This track is also a new form of Raja percussion – remember melody based rhythm that we discussed when we discussed Raja’s rhythm innovation? This track is an example of where Raja uses synth rhythms on a melody basis. Also, Raja uses extensively real violins, flutes as the theme requires it. The melody is nicely guided by the bass lines. Also notice the use of cellos in this track in the charanams very aptly. The second interlude has a nice call and response between the background violins and the main solo violin – typical of the Baroque Raja.

Let's hear Enge Nee Sendralum interludes here...

Enge Nee Sendralum

In 2009, Raja almost said goodbye to chorus arrangements. Some exceptions were still there. Swapnangal from Bhagyadevatha (2009 Malayalam) is a traditional Malayalam melody where Raja used his conventional arrangements. Violins, flutes and chorus. However, even in this track, Raja uses synth drums for his pallavi. Extensive use of traditional guitar also enhanced this tune in his 80s style. The entire charanams are a nice mixed rhythm of tabla and synth drums. In the same movie, the track Allipoove Mallipoove is a nice synth based track, where the entire track is guided by guitar, synth keyboard, and the synthpads. The guitar and bass, flute play in this song is a fantastic reminder of the old Raja. However, he throws in a modern layer on top of his traditional composition driving home a clear message. The guitar is pushed to a support role and the synthesizer is given the driver role.

Let's hear Allipoove Mallipoove interludes here...

Allipoove Mallipoove

Unnai Patri Sonnal from Mathiya Chennai (2009 Tamil) uses simple synth beats (4/4) and uses synthesizer in all typical Raja modes – extensive bells, piano modes. This is a simple tune that is beautifully carved using the bass guitar, which is staple Raja instrument. Only the prominent synth beats and piano modes are new. This song has the vintage Raja melody driving it. All old basics are in place. The female voice is of course new.

Let's hear Unnai Patri Sonnal interludes here...

Unnai Patri Sonnal

Oda Thandil from Pazhassi Raja (2009 Malayalam) is a simple melody which Raja would have traditionally used tabla in the 80s. He seems to have nicely used the ethnic version (patch) of the synthpad which fits the melody so well. Also, the flute played at the end of the pallavi in my view is a synthesized flute. Raja’s bass lines are guiding the melody as usual. The charanam uses the synthpad for its rhythm support, but notice the different mode chosen! The second interlude is complete with different modes of the drum machine along with its brush effect!

Let's hear Oda Thandil interludes here...

Oda Thandil

Naan Pirandha Nerama from Kannukkulle (2009 Tamil) is a pathos tune that has a rhythm arrangement that is very atypical of Raja. As ever, the bass lines are so prominent, and so pleasant. The rhythm is fully done with the synth pad, but the composer ensures that the melody and the pathos are not compromised. The solo violin sets the mood and the bass guitar with the piano play on the synth create the background melody for the entire track – another outstanding experiment with the techno/synth tools with the traditional melody complimenting the strengths of the composer.

Let's hear Naan Pirandha Nerama interludes here...

Naan Pirandha Nerama

Kogile Kooguvaa from Prem Kahani (2009 Kannada) is a very innovative melody by Raja. The track is nicely arranged on a nice bass and a great synth drum pattern. The solo violins and the flute backing Bhela make the track so pleasing. Reminds us of Oru Kili Urugudhu from Ananda Kummi (1982). The synth drum pattern in no way spoils the party! The interludes are nicely arranged with solo violins and flute. If you observe the charanam, it sounds like Raja’s traditional tabla arrangement – but nicely arranged with the synthpad still! The second interlude has some of whatI would expect a shehnai to play replaced nicely by a combination of the keyboard and flute. That’s one new replacement for shehnai in my view.

Let's hear Kogile Kooguvaa interludes here...

Kogile Kooguvaa

Let's hear the first pallavi and charanam of the track next...

Kogile Kooguvaa Charanam1 & Pallavi2

What about his traditional strength of folk based tunes? Raja showed the new version of it with Balegaara Balegaara in Bhagyadha Balegara (2009 Kannada). Having discussed this as part of Raja’s mixed rhythm in Kannada, let’s not repeat it here. This track is mentioned here to show that when required, he brings in the tabla into the mix. Even in this track, the western rhythm is played with the synthpad!

Kooda Varuviya from Vaalmiki (2009 Tamil) is a contender for the top hit of 2009 for Raja. This set to a nice poly rhythm (more on this subject later) of the tabla and the synth drums. The track’s melody is nicely supported by the keyboard and the bass guitar. The use of synth flute in this track is truly mesmerizing. As Raja uses real flutes also, it is almost impossible to guess where the real flute ends and where the synth one plays and where both play. This is typical of the techno genre and Raja has used this aspect of this genre so well. The last few lines of the charanam guiding Bela with the bass guitar is vintage Raja. The second interlude is filled with synth rhythm with synth flute. Synthesized music does not get any better.

Let's hear Kooda Varuviya interludes here...

Kooda Varuviya

Prati dinam from Anumanaspandanam (2007 – Telugu) – notice the percussion uses the ethnic Indian mode of drumming with the synthpad. You get the impression that this is a drum/mirudhangam combination. In reality, this is a patch of the drum machine. The entire vocals use this patch. As usual the bass lines are nicely aiding the melody. In the first interlude, observe the use fade out while the synth sitar plays. You will notice this specially with Shreya’s humming in the second interlude. This track is a rehash of the 80s melody Mayanginen Solla Thayanginen from Naane Raja Naane Manthiri.

Let's hear Prati dinam interludes and charanam 1 here...

Prati dinam

Let’s step back a little back: Oru Porkaalam from Kasthurimaan (2006) uses synthetic drums very nicely in this melody. The interludes give more importance to the ethnic synth drums more than ever before. This is atypical of Raja whose melodies do not have drumming in prominence. Notice that the charanams use drumming the conventional way (uses the hi-hat).

Oru Thottavadi from Pachakuthira (2006 Malayalam) is a nice rhythm mix where Raja shows his mastery over several genres. Jazz, Techno, traditional – you name it. The initial prelude is a great play on the synth pads and synthesizer and trumpets. The pallavi is backed by synthpads. The first interlude is set to the synthesized violins, trumpet and with the synthpad for the rhythm. He throws in scat singing into the mix. The second interlude is another nice play of trumpets and here Raja throws in the mix of tabla, claps and shehnai and scat singing. This is one of the busiest interlude I heave heard from Raja in recent times. The mix is different this time – earlier it was full of violins, cellos, flute, traditional chorus, you now know the new mix.

Let's hear Oru Thottavadi interludes here...

Oru Thottavadi

Akki Thokki from Vinodha Yatra (2007 Malayalam) has several Techno elements adapted nicely for an Indian song. The prelude is played on the synth with the trademark bass lines. Observe that Raja uses flanging effects in the initial prelude that is supported fully by the synthpad. Between 32 and 34 seconds, another software effect is overdubbed on the track (can’t tell exactly what this is). Between 50 and 45 seconds, another another software effect is overdubbed on the track twice. The time signature is a traditional 4/4. Between 46 and 57 seconds, however, two synth tracks playing different melodies (traditional baroque) is in play as part of the second interlude.

Let's hear Akki Thokki interludes here...

Akki Thokki

Ishtakaari from Sooryan (2007 Malayalam) – This track has a traditional Indian melody and you can never expect a Techno treatment for such a melody. Raja uses extensive techno transformers – fade in fade out. I will try to describe the track as much as I can as there are too many things happening. In the track below, here is my impression of the heavily bass laden 4/4 synthpad driven song. For the first 20 seconds of the track, you have a simple synth melody playing in the foreground. Observe the background software overdubbed techno work – you get the idea of the music getting louder and softer by the second, that’s the fading of the sound by a software transformer. Between 21 and 35 seconds, the foreground melody changes and so does the background techno sound. This time, it does not fade, but plays a complimentary melody (software driven I suppose). My guess is that the foreground melody is played by a keyboardist and the techno effects are then added at the AWS. Between 36 sec and 1:13, there is a different fore/background melody in play. Observe something very unique in this section – between 49 and 53 seconds, there are two synthesizers playing with precise timing that you can figure out. They move to the background from 53 seconds to 1:13 and there is a third foreground melody that is added from 54 seconds onwards. 1:14 to 1:19 is a beautiful changeover from the techno world to the Indian melody world into the charanam. This is one of my favorite techno work of Raja.

Let's hear Ishtakaari interludes here...

Ishtakaari

Hodadavene from Prem Kahani (2009 Kannada) – techno rhythm to the core.
In summary, Raja chooses his rhythm arrangement very carefully. He is conscious about complimenting his baroque and melody strengths. He uses tabla, shehnai and chorus very selectively. A lot more is riding on his melody than ever before. The ride has been pretty good though we have only reviewed some tracks from the last 4 years!

Electronic Music Technology – How Raja uses it and composes music?

2010-12-01T23:40:00.010-05:00

Warning: this is pure guesswork. I have no access to how Raja composes music with his VST tools. I am also not sure about any of the tools he uses.

Raja is known for his terrific speed in writing staff notations from his baroque days. He slowly started factoring in synthesizers and drum machines by either special notes on his notations or adding a bit of improvisation at the time of arranging a song.

These days, he also works off an audio workstation. He has a bank of MIDI inputs and integrates sound like most composers do. Here is my wild guess on how he is dealing with the new changed paradigm in composing music (I will leave out the main melody, teaching singers etc.) digitally:

He does his standard score sheet as before
He perhaps now adds more sections to take care of electronic tracks – even rhythm now needs to be defined as bass, keys, guitar
We did not cover another class of computer software called scorewriters. I have a strong suspicion that he uses them as they allow staff notation to be transcribed to a computer. Alternatively, programs such as SmartScore, or Sibelis allow optical character recognition – OCR, by which a hand written score sheet can be scanned and interpreted by the computer software. He mentioned about this process when he described how he did the background score of Pazhassi Raja (Malayalam 2009).
The base score is now ready and is printed out for the keyboardists to play and when the take is acceptable, the MIDI file is transferred to the AWS.
The click track for the rhythm and the MIDI inputs are stitched together with other inputs such as rhythm pads. Any special manual instruments (veena, violin etc) are played in appropriate bar lengths and the MIDI capability is used to have them transferred to the AWS for integration.
The special techno effects such as reverbs, delays, distortion is included. Any loops for short synth pieces are also included at this stage. The basic karaoke is now ready.
The melody is played with the keyboard for any voice over – sometimes you have another artist singing the track which will eventually get replaced by the assigned artist
Any choral parts are also assembled using digital technologies to be available as another separate track to the AWS.
Once the main artist has their track recorded that is acceptable to the composer, post production work has to take place.
Post production in the VST world is a very important activity. This requires not only a good technical sense, but also strong musical sense. It’s all about timing. Though you have several inputs and they can all be arranged as software tracks with software such as Cubase, the time signature and the appropriate alignment of musical bars is very important. The end product will sound very harsh if you do not take care of it. Given his precise timing in his music, it is all the more complicated. It is easy with these software packages to adjust the time signature for short parts to fit the music into the bar, but may not sound good to the ears.
Picture all the above when you hear songs such as ‘Aaro Padunna’ or ‘Kunnathe’. Integration of such work touches on every point listed here.
Feel free to correct me where I am wrong, if you know folks who are close to Raja’s working methods.

Recently, the Hindi flm Kites (2010), composed by Rajesh Roshan had a track called ‘Fire’ which was a complete techno track. It had all the fades, delays, echos, reverbs and some fast paced synth beats. Why am I talking about RR’s work here? You will never hear such a track from Raja. He will not use the Techno techniques in its native form. He did that with psychedelic, jazz, pop, disco, and rock – he has to add his stamp to it. Nothing goes through the Raja door and emerges in the same way out – there must be some Rajamation (Raja + transformation) to it.

That’s his integration capability that few composers in the world have. It’s about assimilating techniques, applying them with your own flavor and style – there is no pass through filter in the Raja world. He has carefully chosen his tools from the Techno world and applies very nicely to his strengths with Baroque (listen to Rangu Rangu from Prem Kahani – Kannada 2009) , Carnatic (listen to ‘Vasantha Nilavin’ from Sooryan – Mayalayam 2007), folk (listen to Balegaara Balegaara from Bhagyadha Balegara – Kannada 2009), Jazz, Broadway style (listen to Edaya Bagilu from Suryakanti – Kannada 2009), pop (listen to Swalpa Soundu from Suryakanti – Kannada 2009).

Few composers care for such handling of a new genre. It’s easy to go with the flow, but hard to swim upstream. We are lucky to listen to a great musician who just delivers his immense catch of fish to us by his upstream swim, and we are completely transparent to all the genre processing and handling he does in this process. Few generations will be lucky to receive such musical tender love and care.

Electronic Music Technology - Deep Dive 5

2010-11-02T23:45:00.006-04:00

There are many ways to create techno, but the vast majority will depend upon the use of loop-based step sequencing as a compositional method. Techno musicians, or producers, rather than employing traditional compositional techniques, may work in an improvisatory fashion, often treating the electronic music studio as one large instrument. The collection of devices found in a typical studio will include units that are capable of producing unique timbres and effects but technical proficiency is required for the technology to be exploited creatively. Studio production equipment is generally synchronized using a hardware- or computer-based MIDI sequencer, enabling the producer to combine, in one arrangement, the sequenced output of many devices. A typical approach to utilizing this type of technology compositionally is to overdub successive layers of material while continuously looping a single measure, or sequence of measures. This process will usually continue until a suitable multi-track arrangement has been produced. There can be as many layers as the composer requires with today’s software such as Fruit Loop Studio.

Once a single loop based arrangement has been generated, a producer may then focus on developing a temporal framework. This is a process of dictating how the summing of the overdubbed parts will unfold in time, and what the final structure of the piece will be. Some producers achieve this by adding or removing layers of material at appropriate points in the mix. Quite often, this is achieved by physically manipulating a mixer, sequencer, effects, dynamic processing, equalization, and filtering while recording to a multi-track device. Other producers achieve similar results by using the automation features of computer-based digital audio workstations. Techno can consist of little more than cleverly programmed rhythmic sequences and looped motifs combined with signal processing of one variety or another, frequency filtering being a commonly used process.

In recent years, as computer technology has become more accessible and music software has advanced, interacting with music production technology is now possible using means that bear no relationship to traditional musical performance practices: for instance, laptop performance (laptronica) and live coding. In the last decade a number of software-based virtual studio environments have emerged, with products such as Propellerhead's Reason andAbleton Live finding popular appeal. These software-based music production tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in microprocessor technology, it is now possible to create high quality music using little more than a single laptop computer. Such advances have democratized music creation, leading to a massive increase in the amount of home-produced music available to the general public via the internet. Artists can now also individuate their sound by creating personalized software synthesizers, effects modules, and various composition environments. Devices that once existed exclusively in the hardware domain can easily have virtual counterparts. Some of the more popular software tools for achieving such ends are commercial releases such as Max/Msp and Reaktor and freeware packages such as Pure Data, SuperCollider, and ChucK.

Let’s elaborate a bit more about some of the techno effects that are quite commonly used in this genre of music:

The term “echo” was used more often in the early days, and is sometimes used today to refer to the distinct and distant repeats of a signal, while “delay” refers to anything from the same, to the short repeats heard as reverb, to the complex, long, manipulated repeats of an intricate digital delay line. Either way, they are both really the same thing, just used differently. All these effects had their origin with guitar add-in hardware that is still in use. The techno world uses software that allows you apply this to any electronic sound that is computer generated.

An example of delay effect:

Digital reverbs, like their sibling delays, offer more power and a greater variety of settings. And in addition to doing some approximations of spring reverb sounds, digital units usually offer more “lifelike” reverberation as heard in anything from an empty room to a large concert hall. Some of Raja’s recent work use digital reverb effects extensively. For example, the track ‘Rangu Rangu’ from Prem Kahani (2009 Kannada) uses reverb extensively with the Irish violins playing the preludes and the interludes.

A very nice example of violin reverb processing:

Here is an example of reverb with guitar:

Phasers split the signal and shift one path out of phase by from 0 to 360 degrees through the entire range of the frequency spectrum, and blend it back with the dry path so the moving in-phase/out-of-phase relationship can be heard. When the two signals are totally out of phase—at 180 degrees (or, technically, 540 degrees or 900 degrees, etc, because the shift keeps moving)—they cancel each other out, creating what is called a “notch”. But a number of factors interact to give a phaser its characteristic “swooshing” sound. If you recall our example of ‘Shwashathin Thalam’ from Achuvinte Amma (2005 Malayalam), (this song is discussed in the Techno baroque melody post) some of the synth bass is processed using the Phaser effect to achieve the rapid change to the synth bass signal at the end of the charanam (this is my theory).

An example of a guitar based Phaser effect:

Usually considered the big brother to the phaser, the flanger is indeed related in a sense, but achieves its heavier, some would say more oppressive sonic results by imposing more control over its placement of the notches created by the phase relationship, rather than spacing them evenly as the phaser’s sweep does.

An example of guitar based flanger effect:

True vibrato, as distinct from the volume-chopping tremolo effect often mislabeled as such, is an actual wavering of the note above and below pitch to create a sort of harmonious “wobbling” effect. Digital vibrato tries to create harmonics and filter them out selectively to create a vibrato effect using software.

Fade In, Fade Out are facilities available with most software packages today. These effects make the signal volume rapidly swing from one end to the other creating a volume fading. For example, the track ‘Ishtakkari’ from Sooryan (2007 Malayalam) uses this effect extensively. Though we are discussing electronic music, here is an acoustic fade out, nicely demonstrated:

A piano, cello based acoustic example of brilliant acoustic fade out...

Distortion came from the world of electric guitars where using pedals, guitarists fuzzed up the raw signal. With software filters, it is easy to introduce distortion of one or more channels. This produces a ‘buzz’ like sound which is distinct from the synth bass sound. Distortion effects are quite common with Raja’s recent compositions. All the tracks of Cheeni Kum (2007 Hindi) use digital distortion effects as you will hear a hiss accompanying the keys work.

Here is a good demo of electronic distortion, though the melody is terrible:

There are several more custom effects depending on the software package you consider. Most Indian music for films will have several manual and MIDI inputs that are custom created for the track.

The techno effects are primarily used to enhance the manual work.
Several tracks have percussion, synth bass, synth strings, rhythm added to the track. Interludes get played either on independent keyboard or gets added to the track by way of additional tracks on the AWS itself.
In my view, Raja continues to have them played separately on synthesizers and the MIDI input is mixed at the AWS. The key result of the techno effects on synthesized or manual instruments is the obfuscation of instrument timbres.
The overdubbing of synth work over manual instruments was done even in the hardware synthesizer days by Raja. However, the software overdubbing with some additional techno effects leads to further difficulty in identifying instruments as they all become inseparable even with good quality recording.
When you throw a 100 track (software tracks) to a 24-track studio tape for the final cut, there is already some loss. When things go from a CD to MP3, things get worse.

Techno Baroque – A technical rhythm digression

2010-11-02T23:30:00.001-04:00

In order to explain the techno world a little better, let’s review some of the sample sounds available from manufacturers such as Roland and other sources (such as freesound.org) and get a sense of the sound. While there are so many different type of digital percussion instruments, the most popular one is called the Roland SPD 20 Multipad. This multipad is commonly referred as ‘synthpad’ or ‘rhythm pad’. This can create sounds of about 700 instruments and a max of 14 voices. Available at $600 (in 2009), this instrument has been driving many rock bands, Indian musicians alike for the past decade or so. Like a standard drum kit, one can use just the multi-pad or add a number of accessories such as damper pedals, foot switches, trigger pads, Cymbal pads, etc. to set up a full fledged electronic equivalent of a traditional drum kit. If you observed the ‘Andrum Indrum Endrum’ show of Raja in 2005, Sivamani, the drummer, uses not only two multipads, but a ton of accessories for the concert.

There is another popular Roland drum machine used by most film musicians called TR-808. This machine has been a mainstay rhythm generator for most film musicians given the dependability of this machine. If you look up some of the Amrita TV programs available on youtube – Hrudaya Ragangalude Raja – you will observe clearly the use of TR-808 by Raja. This is very useful for doing a number of things such as bass, snare, low to high tom, claves, low to high conga, handclaps (now you know how so many film songs have perfectly timed claps), moroccos, open, closed hi hats, cymbals make it like a mini professional drummer. With additional effects like flangers, reverbs, you can create several patterns and choose the right time signature for the song very easily. Again, the Amrita TV program illustrates these techniques though not in great detail. Puru, who works for Raja has been a drumming and drum machine expert who has been of great help for Raja.
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Reviewing some the standard sounds of this instrument would give us a good introduction to the world of Techno Baroque. I will try and show some Raja examples with each of the sample sound. These are my guesswork and by no means authoritative.

In order to relate some of the sample sounds to music created by Raja and other Indian composers, you can use software to adjust its pitch or tempo of a sample sound that is close to what you hear in Raja's music. Wherever, I have changed a sample, I will also ensure that the original sample is also available for review. The point is, Raja does not use any of these samples as such, but does substantial work (on one or more samples) before using it in his music. This applies to all music composers today, though some composers blatantly use samples in their work. The sounds from the drum machines and rhythm pads are sometimes very unique, with no equivalent from the manual instrument world. For example, when you hear songs such as ‘Siru Siru Siragugalil’ from Konji Pesalam (2003), you hear the sound of a mirudhangam and a western drum in perfect sync. There is no one playing these two instruments. This is a sample sound (it’s called a patch) that is called the Indian patch on the Roland multipad SPD-20.

The best way to get a hang of these electronic rhythm instruments is to see them visually. They have all the power of drumming from all parts of the world. They allow you to do things that were very hard in the manual percussion world. See the sample of two such instruments by Roland – the SPD 20 Multipad and Handsonic 15

Here is the first video featuring the SPD20 and Handsonic 15..

And video 2..

And video 3...

And the last one...

Notice, how the same instrument is used to generate different genres of sound. You saw even the tabla being reproduced in this instrument. Some of the patches that come with the equipment is too enticing not to use! When you start wondering about strange ghatam like sounds along with synth drums, you realize that even the ghatam sound is coming out of these electronic percussion instruments.

Time to get a little under the covers...We will use the sound samples from freesound.org to illustrate how these samples are used by composers and what they could do with the sample sounds. These are simple illustrations and I am no expert in this area. This is only to demonstrate how easy it is to manipulate sample sounds with some open source software such as Audacity.

Let’s hear the first sample set to a very fast bpm – about 120 – this is called the Electro sample. The original sample is hard to use as is. When you reduce the pitch of this sample, you get close to one of Raja’s tracks – Akki Thokki from Vinodha Yatra (2007 Malayalam). When you hear the sample, focus on the rhythm pattern and not on the synth that plays along.

Let's listen to the original electro sample....

Electro Sample - Original

Now, let's hear the same sample at a slower tempo...

Electro Sample - Slower tempo (software adjusted)

Let’s hear a synthesized flute sample – Raja uses it very often in his recent compositions. The flute not only is synthesized but also comes out with a hiss. Let’s hear the Flute_tweaked sample first. I have a slower version of this sample Flute_tweaked_slow. This is close to what we hear with the track Oda thandil from Pazhassi Raja (2009).

Original Synth Flute sample

Let's next hear the same flute sample made slower....

Pitch slowed Synth Flute sample(software adjusted)

Let's take a slightly different tack to another sample. Instead of slowing it, we will speed it up. We will take an ethnic drum sample from freesound and demonstrate how it will sound when its tempo is speeded up. My impression with such samples is that it needs to be pitch and tempo adjusted to make it compatible with Indian film music use.

Original Ethnic drum sample

Let's next look athe sample speeded up...

Original Ethnic drum sample - Faster tempo

These are basic illustrations to give you an idea of how you can manipulate sample sounds. Most composers use several of these samples in their compositions and also use several techniques on their AWS to integrate them with their other inputs.

Electronic Music Technology - Deep Dive 3

2010-10-02T12:01:00.001-04:00

EMT has advanced further in the 21st century and most of the significant advances have been in the world of software. Today, all MIDI hardware and sequencing software together is called a digital audio workstation and no composer can afford not to own one. Sequencing software such as Finale , Sibelius , Pro Tools , Logic Pro or Cubase are popular software packages.

Let’s learn some quick terminology of the EMT world.

A music sequencer (or just sequencer) is an application or a device designed to play back musical notation. The original kind of sequencer is now known as a step sequencer to distinguish it from the modern kind, which records a musician playing notes.

Step sequencers

The first sequencers were primitive devices that played rigid patterns of notes using a grid of (usually) 16 buttons, or steps, each step being 1/16th of a measure. These patterns of notes are then chained together to form longer compositions. Step sequencers are monophonic by nature, although some are multi-timbral, meaning they can control several different instruments but only play one note on each of those instruments. Step sequencers are mostly used in drum machines and grooveboxes.

Modern sequencers

With the advent of MIDI and in particular the Atari ST, programmers were able to write software which could record and play back the notes played by a musician. These sequencers didn't play mechanical sounding notes of exactly equal length, but rather recorded and played back expressive performances by real musicians. These were typically used to control external synthesizers, especially rackmounted sound modules as it was no longer necessary for each synthesizer to have its own keyboard. Even in live performances, if you observe closely, the musician selects the sequence by way of pushing a few buttons and moves on to his keyboard to play his part – the sequencer plays the pre-sequenced music that makes the unassuming listener/observer think that he/she is listening to live music amidst all those colorful crazy laser beams!

Tracker is the generic term for a class of music sequencer software which, in its purest form, allow the user to arrange sound samples stepwise on a timeline across several monophonic channels. A tracker's interface is primarily numeric; notes are entered via the alphanumeric keys of the computer keyboard, while parameters, effects and so forth are entered in hexadecimal. A complete song consists of several small multi-channel patterns chained together via a master list.

An effect is a special function applied to a particular note. These effects are then applied during playback through either hardware or software. Common tracker effects include volume, portamento, vibrato, retrigger, and arpeggio.

A track (or channel) is a space where one sample is played back at a time. Whereas the original Amiga trackers only provided four tracks, the hardware limit, modern trackers can mix a virtually unlimited number of channels into one sound stream through software mixing. Tracks have a fixed number of "rows" on which notes and effects can be placed (most trackers lay out tracks in a vertical fashion). Tracks typically contain 64 rows and 16 beats, although the beats and tempo can be increased or decreased to the composer's taste.
A basic drum set could thus be arranged by putting a bass drum at rows 0, 4, 8, 12 etc. of one track and putting some hihat at rows 2, 6, 10, 14 etc. of a second track. Of course, bass and hats could be interleaved on the same track, if the samples are short enough. If not, the previous sample is usually stopped when the next one begins. Some modern trackers simulate polyphony in a single track by setting the "new note action" of each instrument to cut, continue,fade out, or release, opening new mixing channels as necessary.

Tracker music is typically stored in module files where the song data and samples are encapsulated in a single file. Several module file formats are supported by popular music player programs such as Winamp or XMMS. Well-known formats include MOD, MED, S3M, XM and IT

Programming is a form of music production and performance using electronic devices, often sequencers or computer programs, to generate music. Programming is used in nearly all forms of electronic music and in most hip hop music since the 1990s. It is also frequently used in modern pop and rock music from various regions of the world, and sometimes in contemporary jazz and contemporary classical music, recently, programming has been incorporated into various styles of hardcore and metalcore music. Now you know what musicians mean when they say – “I am into programming and work in this studio” and none of these guys know Visual Basic!

Electronic Music Technology - Deep Dive 4

2010-10-02T11:45:00.005-04:00

The latest and greatest in the world of EMT (circa 2010) is the technology of Virtual Studio Technology (VST). Steinberg played a big role in introducing this technology that created a virtual studio by way of software on a computer. Originally designed to integrate MIDI inputs and add sequencing touches, it has now become the mainstay of music composition throughout the world. Cubase, the software from Steinberg was the first one to showcase this technology and today, there are many such packages that arrive with fresher function feature set every year with a number of effects, loops, samples thrown in as a teaser.

Steinberg's Virtual Studio Technology (VST) is an interface for integrating software audio synthesizer and effect plugins with audio editors and hard-disk recording systems. VST and similar technologies use Digital Signal Processing to simulate traditional recording studio hardware with software. Thousands of plugins exist, both commercial and freeware, and VST is supported by a large number of audio applications. The technology can be licensed from its creator,Steinberg.

VST plugins are generally run within a Digital Audio Workstation, providing the host application with additional functionality. Most VST plugins can be classified as either instruments (VSTi) or effects, although other categories exist. VST plugins generally provide a custom GUI, displaying controls similar to the physical switches and knobs on audio hardware. Some (often older) plugins rely on the host application for their UI.

VST instruments include software simulation/emulations of well-known hardware synthesizer devices and samplers, emulating the look of the original equipment and its sonic characteristics. This enables VSTi users to use virtual versions of devices that may be otherwise difficult to obtain.

VST instruments require notes to be sent via MIDI in order to output audio, while effect plugins process audio data (some effect plugins do require a MIDI input too though, for example they might use MIDI sync to modulate the effect in sync with the tempo). MIDI messages can often also be used to control parameters of both instrument and effect plugins. Most host applications allow the audio output from one VST to be routed to the audio input of another VST (known as chaining). For example, output of a VST synthesizer can be sent to a VST reverb effect for further processing.

VST instruments generate audio. They are generally either virtual synthesizers or samplers. One of the first VST instruments was the Neon VSTi which was included in Steinberg's Cubase. Some, such as Native Instruments' Pro-53, specifically recreate the look and sound of famous synthesizers from years past (in this case, the Prophet-5).

VST effects, such as reverb and phaser effects, process audio input. Other monitoring effects provide visual feedback of the input signal without processing the audio. Most hosts allow multiple effects to be chained.

VST MIDI effects process MIDI messages prior to routing the MIDI data to other VST instruments or hardware devices; for example, to transpose or create arpeggios.

A VST host is a software application or hardware device that allows VST plugins to be loaded and controlled. The host application is responsible for handling the routing of digital audio and MIDI to and from the VST plug-ins.

There are a wide range of VST-compatible hosts available; some of the more popular include Ableton Live, Ardour, Audacity, AV Music Morpher Gold, Cubase, FL Studio, Mixcraft, REAPER, Sonar, and Sony Acid Pro/ Music Studio. Other VST hosts include AudioMulch, Bidule, Max MSP, and Renoise.

There are also stand-alone "dedicated hosts" whose sole purpose is to serve as a host for the VST plug-ins rather than as an extension of their sequencing or audio capabilities. These are usually optimized for live performance use, with features like fast song configuration switching. Examples of popular dedicated VST host software include Cantabile, Brainspawn Forte, Tobybear MiniHost, Deckadance, Chainer, VSTHost, and SAVIHost.

VST plugins can be hosted in incompatible environments using a translation layer, or shim. For example, FL Studio fundamentally supports only its own internal plugin architecture, but a native "wrapper" plugin exists that can, in turn, load VST plugins, among others. As another example, FXpansion offers a VST to RTAS (Real Time AudioSuite) wrapper (allowing VST plugins to be hosted in the popular Pro Tools digital audio workstation), and a VST to Audio Units wrapper (allowing VST plugins to be hosted in Apple Logic Pro Digital Audio Workstation).

The VST plugin standard is the audio plugin standard created by Steinberg to allow any third party developers to create VST plugins for use within VST host applications. VST requires separate installations for Windows/Mac/Linux. The majority of VST plugins are available for Windows due to both Apple's proprietary Audio Unit software for OS X and the lack of information and patent encumbrances that make development difficult for Linux platforms.

SoundFont is a brand name that collectively refers to a file format and associated technology designed to bridge the gap between recorded and synthesized audio, especially for the purposes of computer music composition. SoundFont is also a registered trademark of E-mu Systems, Inc., and the exclusive license for re-formatting and managing historical SoundFont content has been acquired by Digital Sound Factory.

SoundFont technology is akin to software sampling. A SoundFont file, or SoundFont 'bank', contains one or more sampled audio waveforms (or 'samples'), which can be re-synthesized at different pitches and dynamic levels. Each sampled waveform may be associated with one or more ranges of pitches and dynamics. Generally speaking, the quality of a SoundFont bank is a function of the quality of the digital samples and the intelligent association of samples with their appropriate pitch ranges. Quality is also dependent on the number of samples taken for a given range of pitches.

SoundFont banks are tightly integrated with MIDI devices and can be seamlessly used in place of General MIDI (GM) patches in many computer music sequencers. The sound quality of SoundFont banks is generally regarded as superior to standard GM banks, and many SoundFont banks have been created specifically to replace GM banks with samples of each corresponding musical instrument.

That’s one hellua list of technology that musicians have access today. No wonder, you have a number of composers who come and go, experiment and fail with a number of these tools. Suddenly, music programmers are in great demand. The studio folks are spending a lot of time playing with software, digging through manuals and browsing discussion boards on the internet for new samples, loops, ideas!

Next, we will take a deeper look at some of the specific Techno world terminology and techniques.

Electronic Music Technology – Deep Dive 1

2010-09-11T14:03:00.001-04:00

Disclaimer: This is a high level introduction to Electronic Music Technology and is by no means authoritative. There are several books and other resources available that can give you a better and deeper understanding of EMT. This introduction in 6 parts is provided so that readers can appreciate some techniques from the world of EMT that Raja uses in his music that can be appreciated better.

Music and electronics are so close that music cannot exist without electronics. Without a microphone or an amplifier, there is no music possible that can be widely distributed, not to mention recording technologies. Every violinist has to use the electronic pickup for his/her notes to be heard by a large group of audience. Even the most conventional of classical musicians use an electronic sruthi box. So, what’s the fuss of electronic music technology that you hear loud voices about how much we miss live music today?

While electronic music is as old as the early 80s, attempts have been made even earlier to reproduce musical notes electronically. Surprisingly, most of techno music has its origin with the early Atari computing world in the early 80s. Room sized pianos were the initial target. Though pianos produced great sound, they were bulky and required annual tune up and a lot of TLC. Like wine, the older pianos have a charm. Electronic keyboards tried to mimic the piano is a crude way in the late 80s. They lacked depth and at this time and a critical invention of the MIDI (Musical Instrument Digital Interface) standard came to the rescue of the digital instrument. While expert musicians play great tunes from sheet music, most others get it right only sometimes. The MIDI allowed a well played song to be transferred as digital signals to a computer or stored in the electronic instrument. Playing the stored MIDI file will reproduce that perfect play of notes that you achieved in one of your many trials. That’s how the world started getting hooked to electronic digital music. After all, you do not have to call piano movers every time, you wanted to go to the next studio! Soon, every electronic instrument had a MIDI interface making it easy to coordinate different instruments.

Raja used to play the combo organ before he became a composer, an early electronic keyboard that produced some sounds that were hard to produce otherwise. These organs gave way to synthesizers which soon became an important part of any film musician’s arsenal. More than the film song, they were a great attraction for background music creation as they gave a wider choice to the composer. The synthesizers of the 80s were bulky and got more powerful with each successive release. They started off with the ability to play piano tunes – slowly, they morphed to producing sounds of violins, flutes, trumpets, sax and other instruments, though they sounded quite artificial. All keyboards/synthesizers of the 80s had percussion capability, though no one took it seriously. They sounded with almost no bass and musicians quickly dismissed it. Korg, Yamaha and Rolland became the main professional vendors with Casio like companies serving the low end.

Towards the end of the 80s, the synthesizers started taking advantage of the microprocessor technology and soon ASIC became affordable that electronic music instrument companies started researching digital signal processing algorithms and creating their own proprietary version of sounds. The synthesizers not only came with a huge tone bank, they also enabled clever programmability. If you recall ‘Punnagai Mannan’ title track, it is a good example of early programmable digital music. You will notice that the sounds are pretty standard and sounded a bit mechanical compared to what you hear today.

Electronic Music Technology – Deep Dive 2

2010-09-11T13:55:00.001-04:00

The 1990s was the defining decade of the EMT. The musical instruments started taking advantage of not just advances in electronic hardware but also with computer software. It is in this decade that the last bastion of manual music was broken – replacement of the drum kit. The rhythm pad was a great advancement that did the job similar to what the synthesizer did to the piano – replace the bulky drum kit. Multi-track recording technology advanced significantly from the 80s and the standard studio format was 24-track recording. Recording technology advanced further with digital mixers and ability to handle multiple MIDI inputs.

Both Apple and Microsoft allowed computers to interface digitally with instruments using the MIDI interface (Musical Instrument Digital Interface). However, the software available at this time was early versions, full of bugs. With several MIDI inputs, it became important to understand how to balance them and also sequence them.

Another major advance was the creation of rack modules taking advantage of improvements in both hardware and software technologies. The synthesizer not only became smaller, it started becoming smarter and more configurable. You can start with a base module and keep adding additional modules. The synthesizers could generate great flute, trumpet, sax, guitar, sitar, trambone and other instrument sounds. In short, a few synthesizers and a rhythm pad could replace an entire orchestra. The string sections did not sound like before, but no one cared. This was fine to create low shelf life music, which most movies demanded.

From a film music composition perspective, the melody now got played on an electronic keyboard instead of the harmonium which was portable and required no electric power. It was in a way better than the harmonium – once the tune is approved, it can be retrieved from the keyboard’s memory instead of relying on a knowledgeable assistant who took down the notes.

For music composers, it became economical to hire an expert keyboardist, who could play a huge variety of instruments. Studios also started getting smaller and many conventional instrument players lost their lustre. With multi-track digital recording techniques, the keyboardist could record all tracks including the main melody with ‘an’ instrument and have it all sequenced for the main singer to sing over.

The rhythm pad took care of replacing most percussion instruments, though they could not reproduce the tabla’s intricate patterns. Composers started shying away from tabla too, as a result. It soon became apparent that ability to assemble electronic sound was equally important as knowledge of music compositional techniques.

We need to also consider the position of a director who approves the tune eventually. While the number of musicians who contributed to the final cut went down drastically, the complexity of assembling ‘sounds’ did not. It became impossible for directors to get a sense of the final output as the electronic embellishment can even change the mood of the song. There were so many layers of sound effects that got added to the approved melody, that it got extremely hard to figure out the way the song got constructed. As more and more ‘technicans’ started doing music work who were not expert musicians, the situation got worse. They were more driven by the limitations of their electronic gear and very few could rise above the electronic din. Most of the 90s and early 21st century composers rose and fell due to their electronic gear. Most listeners were disturbed by the inappropriate rhythm, dischordant interludes and the general lack of soul in the music that was being produced.

Electronic music technology created new teams and destroyed old ones. The ‘tech savvy’ music teams survived more than the old world team sport of creating manual orchestral music. Even today, we do hear about the lack of team spirit as a result of EMT.

In the 90s, due to advances in the software world, most synthesizers, sequencers, rhythm pads and other digital instruments became more and more programmable. Vendors started offering a number of ‘sound fonts’ and other facilities such as ‘loops’ and ‘patches’ that could be integrated easily into most digital equipment, thanks to MIDI. Vendors and third parties also started shipping equipment which had a huge variety of standard sounds, loops and other facilities built in. It became apparaent that ‘integrating sound’ was the key activity around film music studios.

It also became clear that EMT will dominate music production, whether you like it or not. It was time for composers with very strong musical sense to work towards a balance of electronic and manual instruments. Some of EMTs capabilities such as ‘samples’, ‘loops’, ‘patches’ provided by vendors was a good beginning (though some composers used them as is) and the only way you could survive is to embrace them in some form.

Unlike most composers, Raja seems to have spent quite a bit of time figuring out the mindset behind some of the EMT gear and extension providers. While the culture that is hidden behind the extensions (patches, loops, samples) may not be compatible to Indian music making, he has the mind that allows him to cherry pick the right sounds that go with his style of compositions. Some of his experiments in the 90s were quite early and sounded not compatible with his style. However, in the last 10 years, he seems to have figured out a method better than his competition on making peace with EMT.

Towards the end of this section, I will elaborate some of the standard EMT ideas he has started incorporating into his still ‘soulful’ music. It is one thing to flash these EMT gadgetry when you are a new kid composer versus assimilating the technology and ‘internalizing’ the EMT function/features that augument your style and huge reputation.

Techno Baroque – a melody perspective

2010-08-01T11:57:00.014-04:00

Raja has been very successful with melodies in the 21st century as he was in the previous century. Most listeners do not pay enough attention to his very nice synth work. In reality not much has changed from a melody perspective other than usage of fewer instruments due to the trend in the industry. Raja has been using synthesizers for a very long time. Most of the flute and violin ludes from the 80s and 90s were accompanied by their synth cousins. The traditional instruments have become cousins to the synth mainstream. Other than this switch, all is good in the melody world. He has experimented this all along the 90s and now has the right mix that makes his tracks so attractive and hard to replicate. There is an increased emphasis riding on his melody composition abilities.

Let’s start with some examples. Oru Chiri Kandaal – Ponmudipuzhayorathu (2005 Malayalam) is an outstanding melody. The prelude is based on a synth violins. The rhythm is based on a simple techno 4/4. The pallavi is backed by synth violins. Observe the synth rhythms – it has the typical sustainance that is typical of techno (reverb). Observe the pallavi – apart from the usual Raja bass, there is also synth bass – another technique from the Techno world.

The first interlude – starts off with synth violins in counterpoint with bells. Nice synth violin work follows – the interlude is shorter than a 80s interlude. All regular strings are replaced with synth throughout the charanam. This is not just a mechanical 4/4 – it has all the Raja embellishments and the bass guitar is as prominent as ever. As with the pallavi, the bass guitar now has its synth cousin accompanying it.

The second interlude starts off with a beautiful guitar and veena in counterpoint mode. Control is given back to the synth violins and flute – again a short interlude. The final transition to the charanam 2 is done beautifully by a synth flute. Raja chooses the real veena as opposed to the synth cousin that we hear constantly these days. The second charanam is orchestrated the same way as the first. This track is as good as any of Raja’s top 80s/90s melody track.

Let's hear this wonderful melody...

Oru chiri kandal.mp3">Oru chiri kandal

Shwashathin Thalam from Achuvinte Amma (2005 - Malayalam) is another outstanding melody. The prelude is fully written with synthesized music. This would have been typically done with violins by the 80s Raja. The pallavi is backed by keyboard as well as synth violins.
Observe the pallavi’s synth backing. Think for a moment that these are played by a string section of about 8 violins. You can hear clearly a lead violin and the sort of hiss that accompanies it to generate the feeling of many strings playing together. This is called ‘noise’ filter addition in the techno world. There are several forms of noise filters available with most VST (Virtual Studio Technology) software packages and they have to be used carefully. The techno artists use it to get some crazy funky effects with their heavy drum loops. Raja uses it for his purpose. Nothing goes thru the Raja shop and emerges the same way!

The interlude 1 is very interesting – it starts off with nice flute work in counter with synth violins. Reminds you of the Raja’s 80s. But he embellishes it further with keyboard! This is followed by his signature synth violins. The track is fully backed by synth pad based rhythm. Pay attention to the synth pad rhythm closely. This is not played the same way as you hear in most TV shows. The rhythm is further enhanced with VST effects that sound like a bubble at the end of the beat cycle.

The second interlude is starts off with keyboard work followed by a call and response arrangement between synth violins and keyboard. The final handoff to charanam 2 is done the Raja way – brief bursts of synth violins with brief rests. Throughout the track, the synthesizers create a hiss that was there with Cheeni Kum tracks as well.

Shwashathin Thaalam Ludes

The charanams are backed by synth violin and some synth sounds that appear like the old wah wah pedal for the guitar. The synthpad rhythm is accompanied by finger snaps that are machine generated. Pay attention to the last 2 seconds of the charanam to the pallavi transition – this bass line cannot be played with a regular guitar – you get the sense of a note that is literally slipping rapidly down a valley – this is done by playing with delays and filtering – you hear these as funny slip beats in the techno world. Raja uses it for transition between a charanam and a pallavi – very innovative use of a VST technique for Indian music. He leaves his own stamp behind in his usual majestic way. This track was done in 2005. There are several Bollywood songs which are still using techno as such and they sound so foreign!

Shwashathin Thaalam Charanam

Mandarapoo Mooli from Vinodha Yatra (2007 – Malayalam) is another outstanding melody (set to Kalyani) fully set to synth rhythm. The prelude is fully synth play with flute. The bass guitar work in this track is outstanding. Again observe the use of selective noise filters as in the ‘Swashanthin Thaalam’ song in the prelude.

The pallavi is backed by the synth rhythm along with the rhythm pad. Notice, that this is not the standard 4x4 of the techno world. Raja uses the time signature he requires for his Indian melody.

The handoff from the pallavi to the interlude has the usual Raja stamp written all over it. He uses the synth rhytm to bridge both of them so seamlessly. I cannot think of a better application of the synth rhythm for Indian music – even some of his old tabla based melodies show deliberate transition management. The first interlude is starts off with synth and bells. This is followed by further synth work and followed by guitar. Briefly, you can notice that for about 3 seconds or so, Raja cuts out all synth rhythm to show how the synth pad alone would sound.

The second interlude starts off with rhythm and flute. This is followed by flute and synth again and ends up with some further work with synth. In the 80s/90s all the synth was done with a whole bank of violins. This track can easily make it to Raja’s top 100 melodies.

Also, please note between 0:08 and 0:20 seconds, in the interlude clip, the flute and the synth playing in good old fugue mode – what else to call it other than Techno baroque?

Let's hear the ludes of Mandarapoo Mooli ...

Mandarapoo MooLi ludes

The charanam is backed by synth fully. Notice the use of synth flanging – another techno trick - when Swetha hums Notice the last bar when Swetha descends to the pallavi – Raja does not use his old techniques – 1) cut out all strings 2) Use of percussive time management or 3) use choir to back the falling notes. Instead, he uses beautiful synth notes with a big delay to ascend opposite to Swetha’s singing. Even if this was a patch, it is very innovative application to an Indian melody.

Let's hear the 1st charanam and second pallavi of Mandarapoo Mooli ...

Mandarapoo MooLi Charanam
Mella Oornthu Oornthu from Nandhalala (2010 - Tamil) uses a lot of guitar and keyboard throughout the track. The prelude starts off with some great guitar and keyboard work. The keyboard and guitar are used to back the pallavi also (no violins). Observe the use of a brush and the kick drum in the pallavi and has no synth bass accompaniment. He uses very nice female choir to back the pallavi – this is rare in his 21st century compositions.

Interlude 1 starts off with the keyboard and bass guitar followed by chorus. Notice that the synth cousin is playing along with the real bass guitar. Charanam 1 is backed by synth violins and keyboard. The only thing that is a bit ordinary is the use of synth violins to back Raja in the charanams – it definitely does not make you sit up and take notice.

Interlude 2 has some very nice guitar and keyboard counterpoint to start. This is followed by a short keyboard work before transferring control to the charanam 2.

This track is like the old guitar melodies of Raja such as Alli Thantha Vanam from Nandu (1981) or Poonthalir Aada from Paneer Pushpangal (1981). This time around, he keeps traditional violins out and gives importance to keyboard. This is perhaps the least techno track in this section!

Let's hear the ludes of Mella Oornthu Oornthu...

Mella Oornthu Oornthu ludes

In the same film (Nandhalala), Raja has created another outstanding melody – Kai Veesi Nadakura. This track starts off with some nice keyboard prelude followed by nice flute work. The pallavi is fully supported by keyboard. This is a different melody with several singers. Notice that the vocal melody rides on top of the synth melody which plays in a loop. Notice the last two bars. There is an additional synth melody the composer throws on the left channel while the synth melody continues on the right channel. This is Raja – unlike his competitors who look for the multi-layered electronic music (more on this later) to create a single effect, Raja layers multiple melodies on top of each other to create a multi-effect musical experience. He finds ways within the electronic music world to create his musical imagery and not let the electronic world control him. Once you understand the musical imagery of Raja, you can appreciate any genre he touches – it is a kaleidoscope of ideas drawn from several musical schools, but the imagery is not coming out of a random shake but clearly designed pattern of ideas.

Interlude 1 is interesting. It has synth violins, flute and keyboard in total synth! This is followed by flutes that turn control over to the charanam.

Interlude 2 is different. It starts off with synth flute. This is followed by the synchronized synth violins, keyboard and flute. The second charanam is orchestrated similar to the first one.

Let's hear the ludes of Kai Veesi Nadakura...

Kai Veesi ludes

The entire charanam is backed by the synchronized synth violins, flutes and keyboard. There are at least 4 synthesizers (or rack modules) in action in my guess. The first 4 bars are backed by a combo of synth violins. Flutes, bass and piano. The middle 4 bars have only the synth bass and keyboard. The last 4 bars are supported by two synth keyboards playing on the left and right channels. Notice that the melody played by the two synth keyboards (perhaps two rack modules) are different. Notice the pitch and tempo of both these melodies. Say hello to Bach in the background! Who will think of this, other than Raja? Who said Bach and baroque is forgotten in the Techno world?

Let's hear the first charanam and second pallavi of Kai Veesi Nadakura... Pay particular attention to the last 4 bars...

Kai Veesi Charanam

Thendralum Maruthu from Valmiki (2009 – Tamil) is another nice melody track fully set to synth rhythm. The prelude is a nice synth melody – throughout the track, there is very nice solo violin usage.

The pallavi is nicely backed by keyboard and flute. The bass guitar is in full play. Interlude 1 is interesting – a solo violin plays along with synth violins. A couple of bars is played with two solo violins taking turns so nicely (I call one as foreground and another as background) with the synth violins. Stunning work of real and electronic strings - 17th century and 21st century beautifully coexist! (24 secs to 52 secs in the clip) The transition to the charanam is brilliant with very nice play of solo violin and the synth keyboard playing exactly the same melody. One of the finest interludes of 2009! The charanam is backed by synth bass and keyboard.

The second interlude starts off with keyboard work and some complex rhythm work. The second charanam is orchestrated the same way as the first.

Let's hear the ludes of Thendralum Maruthu...

Thendralum Maruthu Ludes

Shrungara from Prem Kahani (2009 – Kannada) is another interesting melody. It starts off with some nice keyboard work and supported by synth rhythm. The synth rhythm that Raja uses in this track is becoming more common – there is a keyboard-like sound accompanying every beat on the synthpad. More on this in the next section. There is no need to back the main melody with any other instrument as a result. Did you observe that the first 18 seconds of this track is a wonderful cell phone ring tone, second to none?

The first interlude starts off with a synth followed by some nice synth violins in counterpoint with synth! The second interlude starts off with only the rhythm part followed by some synth work. Finally, the keyboard based veena play is interesting and some nice synth flute work.

Let's hear the ludes of Shrungara...

Shrungara Ludes

Let’s analyze the charanam next. With the exception of the bass guitar, no other instrument accompanies the singer which is typical of Raja tracks – no detailed string sections backing the melody. However, the bass guitar sings its own melody, as it with most Raja compositions! Notice the note at which the bass guitar leaves the charanam – does it not remind you of ‘Naan Yerikarai Melirukka’ from Chinna Thai?

Let's hear the first charanam and second pallavi of Shrungara... Pay attention to the transition with the synth bass...

Shrungara Charanam

All these demonstrate that Raja’s focus is more on his ability to compose melodies. The interludes are smaller than before and most of it is synthesized computer generated music. All the seven tracks discussed in this section are great melodies, and have heavy use of synthesizers and synthpads. Though interludes are smaller than before, but are still catchy. Baroque is not forgotten. There are several counterpoints, fugue techniques in only the tracks listed. This is not layered studio music created with Fruit Loop Studio.

Please do not interpret my commentary and conclude that Raja has put away his traditional violins and other strings to the back burner. He is very selective about its usage. Here are two examples from the last 9 years, where he has extensively used real violins and cellos in his compositions: 1) Thoorigai Indri from Ajantha (2007) is a wonderful orchestration treat using real violins with the synthesized ones with cellos and double basses 2) Enge Nee Sendralum from Kannukkulle (2009) uses solo, regular violins, synth violins and cellos.

In essence, Raja sounds pleasantly different! His bass lines, his baroque is all intact (that’s the way the man is wired). His tabla has disappeared and he uses violins, double basses and cellos very selectively. His shehnai, veena, sitar have been replaced with the synthesizer.

In order to appreciate Techno music, it is important to get a good understanding of the world of electronic music technology. We will next take a deep dive to understand the components of electronic music technology.

After that, we will return to analyzing the Raja’s rhythm shift in the Techno world.

A simple introduction to Techno Baroque

2010-07-01T22:30:00.004-04:00

As with polyphony and other WCM ideas, we will go from the known to the unknown. We have all heard Raja’s great conventional baroque compositions from the 80s. Let’s look at some his earlier works and also its newer techno baroque versions to understand the difference.

Ananda Ragam from Paneer Pushpangal (1981) – this is a classic Raja composition from the 80s, where he used a whole bank of violins in harmony and created this track which is still difficult to reproduce. Set to Carnatic ragam of Simmendramadhyamam, this has been one of those all time favorite for most Raja fans.

Let’s hear the original composition…

Ananda Raagam Ketkum

Let’s hear En Nenjin Ragam from Udhayam (2006) – this carefully avoids use of tabla that was extensively used in the original composition. The prelude uses the violins as in the original composition. However, the violins backing Shreya’s voice through the pallavi are all synthesized ones. The first interlude has synthesizers backing traditional violins everywhere and the flute work remains as in the original composition. The second interlude is done mostly with synthesizer supporting the original composition (the second and first interlude were done with traditional violins only in the 80s composition). Throughout both the charanams the violins backing the singers are synthesized violins. Raja had used bells extensively in the original composition and this remains the same in the 2006 rebirth. Also, Raja avoids the shehnai (he replaces them with santoor) that was used in the first interlude in the 80s composition.

Let's hear the 21st century version...

En Nenjin Raagam

Let’s hear Jyotheyale from Geetha (1980) – one of the famous melodies of Raja from the 80s. This is a nice duet fully written with guitar, violins, bells and flute. The pallavis are fully backed by conventional violins. The first interlude is a great example of harmony of violins and uses vocal humming. There is some synth and bells along with the violins. The track uses drums throughout for rhythm. The second interlude starts off with sliding violins and has some nice bells work and some great violin and flute harmony.

Let’s hear the original composition…

Jyothayale

Now, let’s hear Jaane Do Naa from Cheeni Kum (2007). This has the same melody as Jyotheyale and uses keyboards extensively in the piano mode. The rhythm arrangement is with synth pads and is completely different from the Jyotheyale and the tempo is a little faster. The first interlude uses all synthesized violins and keyboard, preserving the harmony elements. The charanams have synth violins backing Shreya’s voice. The second interlude is structured differently from the original and uses synthesized violins throughout.

Let's hear the 21st century version...

Jaane Do Naa

Next, let’s look at the track – Kulzhaloothum Kannanukku from Mella Thiranthadhu Kadhavu (1986). The prelude is famous for its flute work. The first interlude is a simple one by Raja standards, which has simple orchestration. The charanams are backed by regular violins. The second interlude starts off with a violin/flute counterpoint and has some synth play followed by violins and bells. The rhythm is traditional conga drums for the pallavi and tabla for the charanams.

Let’s hear the original composition…

Kuzhaloothum Kannanukku

Baatein Hawa from Cheeni Kum (2007) has the same melody as Kuzhaloothum. Notice the strings are fully replaced by synthesized violins. Also, the congas are replaced by a 4/4 synth pad. The bass guitar does its usual work as in all Raja compositions. The first interlude works off two synth violins in counterpoint, This is followed by a synthesized violins in counter to the synth violins. The charanam is fully backed by synth violins. The charanam also is backed by a 4/4 synthpad rhythm. The second interlude has the rock guitar and synth performing some wonderful harmony, followed by some nice jazz play with the sax. Finally control is transferred to the charanam by some great piano style keyboard play. In the earlier Raja compositions, the piano was always suppressed by his majestic violins – not anymore in the techno baroque world.

Let's hear the 21st century version...

Baataein Hawa

Some of you may be thinking – this is cheating! Here is a Raja fan trying to pass his recycling of old tunes as a new genre!

This is just an introduction and we will see in the next few sections, the workings of this new genre on tracks that have no precedent. No recycling – just new genre!

In summary, this is what we have seen in our introduction:

Raja replaces his rhythm with simple 4/4 synthpad based rhythms
Raja replaces elaborate violin sections with synth violins
He switches to synth flute where appropriate
He maintains strict harmony and does his usual counterpoint work
He throws an occasional new genre into the mix (most of Raja’s Jazz sax work in Cheeni Kum is a good example)
He keeps his bass lines intact
He keeps his bells intact
Some of his usual guitar work is replaced by keyboards
Piano style keyboard work is given more prominence.

Techno Baroque - A Raja genre

2010-06-02T23:45:00.002-04:00

There is an old joke with orchestration:

When ain’t baroque, don’t fix it.

The opposite is quite true with Raja. He brings in Baroque style composition regardless of the era he operates. Raja has been criticized by both his fans and detractors for his excessive use of synthesized music in the last 10 years or so. There have also been allegations that his music has become outdated and his new experiments are not working. In this blog, I have maintained that he is as modern as ever and have always provided examples from his entire career span.

If you look at the criticism on the surface, it may appear to make sense. A few scratches and the underlying reality shines. When the biggest banners and directors have deserted Raja, how is he able to survive with small time directors? In 2009, he completed about 18 films in all major Indian languages – Malayalam, Tamil, Telugu, Kannada and Hindi. This counts only films that were released. There is only so much your past reputation can buy. There must be some truth to what’s driving one of the most prolific composers of 2009 – few composers have such a track record to show after almost 34 years in the competitive film industry. The truth is he is indeed very modern and is set to compete with everyone including composers the age of his grandson!

As usual, we will argue about his new technique that is making him successful in a different way. Here is a musical genius who is reborn in his own lifetime. This series of discussions will speak to his new tools and approach to music making in the 21st century.

Raja in the 80s composed songs making Bach proud (he considers Bach as his mental guru). He started moving away from just guitar, violins and flute to the modern electronic sound with the Roland/Korg synthesizers. Without exception, his compositions between 1985 and 1995 feature a lot of synthesizer, bells. Despite all the modernity, he still wrote meticulously the bass lines and stuck to his short score format – it was four part nevertheless. He continued to make Bach and Hendel proud. Little would have Bach imagined that a villager from Asia will apply his ideas 300 years later using modern electronics six ways to Sunday.

After 1995, he started using a lot of synth drums and sequencers as part of his composition but still stuck to his baroque fundamentals. Slowly, as he replaced some of his violins, tabla, shehnai with his synth sounds, most listeners were unable to keep pace. The criticisms are very loud and were similar to the ridicule he went through in his early days as a composer. His earlier attempts with fusing CCM and WCM were criticized even more than his synth sounds of today. We did not hear the decibel levels of those noises, as the amplifier of noises – internet, was absent. At least, some of today’s critics blunt their criticism as they give his long career of success due credit. In the late 70s, he had no track record to defend as a composer – he faced fireworks from both the CCM and WCM world. Now, he sounds very Techno and jarring to the 90s and early 21 century listeners. Also, in this time period, assembling large string ensembles became hard as most musicians switched to the new electronic sound. This makes life difficult for someone who is used to writing scores for large string/brass/wind ensembles. Any other composer would have packed his bags and left. Raja seems to have experimented and found a new direction to his music. His experiments in Malayalam films with synth sound has turned out to be great and in the last nine years or so, (2001 onwards), he has settled into a new genre of music I call Techno Baroque.

How can you have Techno and Baroque together?

That must be a crazy concoction! There is no genre with that name, but I use it to describe what Raja has been doing in the last 9 years (as of 2010) or so with some of his music. We all understand the Baroque style of music composition and Raja has been doing this for a few decades. We have also described it in great detail in the section ‘What’s the fuss about harmony – Part 1’. Now, what’s this Techno genre of music?

Techno features an abundance of percussive, synthetic sounds, studio effects used as principal instrumentation, and, usually, a regular, 4/4 beat usually in the 130 - 140 bpm range, sometimes faster, but rarely slower. Some techno compositions have strong melodies and bass lines, but these features are not as essential to techno as they are to other dance genres, and it is not uncommon for techno compositions to deemphasize or omit them.

There are many ways to make techno, but a typical techno production is created using a compositional technique that developed to suit the genre's sequencer-driven, electronic instrumentation. While this technique is rooted in a Western music framework (as far as scales, rhythm and meter, and the general role played by each type of instrument), it does not typically employ traditional approaches to composition such as reliance on the playing of notes, the use of overt tonality and melody, or the generation of accompaniment for vocals. Some of the most effective techno music consists of little more than cleverly programmed drum patterns that interplay with different types of reverb and frequency filtering, mixed in such a way that it's not clear where the instrument's timbres end and the added effects begin.

We have a big problem – please note the two statements that can cause a lot of grief in this definition:

it does not typically employ traditional approaches to composition such as reliance on the playing of notes
a regular, 4/4 beat usually in the 130 - 140 bpm range

That does not cut it with Raja. He needs to have his Baroque style notes written for music at any time – so he will employ a traditional approach. The techno musicians were weak in writing score sheets – instead, they improvised, sticking to some convenient limitations. Rhythms – 4/4 is too simplistic for Raja – throw that out of the mix. 130-140 bpm range does not suit Indian film music that well as it can get monotonous and pretty hard with lyrics. And throw traditional melody composition on top of all this drawn from CCM, WCM and folk – now, you got the new genre – Techno Baroque.

Notice two more important ideas from the Techno world that has left most of his fans and detractors equally confused:

A little more than cleverly programmed drum patterns that interplay with different types of reverb and frequency filtering
It's not clear where the instrument's timbres end and the added effects begin

There is a lot of confusion about some of the rhythm patterns and instrument timbres that Raja uses recently (2009/10) as a result it gets very hard to take apart some of his recent compositions. It’s pretty hard to analyze tracks of Pazhassi Raja (2009) or Kadha Thodharunnu (2010). Analyzing some of the karaoke tracks of Kadha Thodarannu clearly shows how he is easily able to mix genres and blend them easily – the song ‘Aaro Padunnu’ has the rhythm set to techno, the keyboard set to modern electronic Jazz and the melody is still Indian! It takes a lot of experimentation to get to where Raja has got. In my view, he has not only taken a wild beast called Techno and domesticated it, but also trained it to coexist with his other farm animals! To put it otherwise, here is the new bar he has set for all Indian composers! Baroque style music by itself is quite boring beyond a point unless you embellish it with other melody elements such as CCM, folk techniques. Techno by itself is quite monotonous and not so pleasant to the average Indian film music listener. An appropriate mix of these two schools of music – one from the 17th century and another from the 20th century is something only an ultra modern musical genius can think of. Welcome to the new Raja!

Cherry Vanilla Cleverfolk

2010-05-02T23:55:00.004-04:00

This category uses chorus arrangements which are inspired from folk music traditions. Chorus arrangement is a staple technique of Raja and he has used it on every genre he has worked with. However, he uses both folkish chorus as well as Western choral arrangement in different combinations.

Kannodu Kannu from Paalooti Valartha Kili (1976) is a nice folk tune supported well by chorus.

Kothamalli Poove from Kallukkul Eeram (1980) has the first interlude with folk style chorus set in a farm setting. The second interlude has a similar chorus arrangement.

Megam Karukkaiyile from Vaidehi Kaathirunthaal (1984) is a masterpiece of sorts. As discussed earlier in the section

‘Introduction to polyphony’, the male and female choir alternates between Western and folk arrangement throughout the track. It is arranged as a call and response type arrangement.

Poo pookum maasam from Varusham 16 (1989) – the track starts off with a chorus repeating the main singer’s lines. The transition from the charamans to the pallavi is arranged as a chorus. The choir also sings melody lines in interlude 2.

Puthu Rootile from Meera (1992) – this track starts off with a male chorus in a folkish style – it is arranged as a nice harmony. The pallavi has the male choir supporting the main singer. The charanams have similar choir support throughout the track.

Rasave Unnai Naan from Thanikattu Raja (1982) is an interesting track. The first interlude has a nice choir arrangement which is hard to classify. It is neither folkish, nor Carnatic but a nice creative arrangement! At least I have no way of describing it. The second interlude has the female choir singing melody lines supported nicely by some guitar work.

The clip below starts off with Kothamalli Poove followed by Pudhu Rootile. Finally the track has Rasave Unnai Naan. Observe the difference with folk choir treatment for all the three tracks. Most casual listeners think that the choir arrangement for such folk choir is identical – nothing can be farther from truth.

Raja's Cherry Vanilla Cleverfolk

Coffee flavored Cleverfolk

2010-05-02T23:45:00.005-04:00

This category is a catch all that has traces of any of the 9 other flavors!

Aayiram Thamarai Motukkale from Alaigal Oiyvathillai (1981) uses the kummi style composition completely set to subhapanthuvarali ragam. It’s hard to classify this track as it has folk, Carnatic and Western flavors supported by chorus!

Ilangathu Veesuthe from Pithamagan (2003) has folk lyrics, beautiful western orchestration for a karaharapriya ragam based tune. Again another quintessential Cleverfolk that has Western, Carnatic flavors for a folk lyric!

Thendralai kandu kolla from Nilave Mugam Kaatu (1999) – the interlude, is a clear demo by Raja of a light music piece, a sloka and a folk piece all overlapping. He goes back to his old famous quote that all musical systems are the same. A light music piece where Raja throws a slokam in parallel with a folkish female voices!

In the track Raman kadhai kelungal in the film Sippikkul Muthu, Raja uses the folk technique of kadha kalashebham – conventional religious storytelling. However, he sets the track to the reetigowlai Carnatic ragam. The lyric is not folk, the technique is, but the track is set to a Carnatic ragam – only Raja delivers such surprises.

Thendral Vandhu Theendum Podhu from Avatharam (1995) – the lyrics are folk, but the orchestration is completely Western, the rhythm arrangement is Western and Raja throws also chorus into the mix, not to mention a few counterpoints into a folk track!

There are several tracks of Raja which are set to the folkish style lullaby when the lyric itself is not folkish! Example, Thooliyile Aada Vandha from Chinna Thambhi (1991).

The clip below has three tracks. It starts off with ‘Aayiram Thamarai Motukkale’ followed by ‘Thendralai kandu’ and finally ‘Raman kadhai kelungal’. Observe the variety of flavors Raja throws withi just these three – kummi, subha panthuvarali, Sanskrit slokam, folk rendition, western orchestration, kadha kalashebam, reetigowlai all in those 3 minutes. That's like being inside a coffee grinder with flavors ranging from Brazil to Coorg!

Raja's Coffee Flavored Cleverfolk

I have attempted to provide a menu with some examples of the Raja Cleverfolk flavors. By no means is this complete. He took the basic ice cream and flavored it 6 ways to Sundae (pun intended) and he is fighting the world that he is not the first ice cream maker.

Though we have extensively analyzed Raja’s folk work, this is just one approach. It does not cover several aspects of folk music as that was not the intent. However, most of the analysis on Raja’s folk are serious ones and leave out his various flavoring to the folk idiom. I hope the readers enjoyed this fun ice cream trip.

Cookies and cream flavored Cleverfolk

2010-04-03T11:55:00.007-04:00

This category has folk lyrics with mixed rhythm arrangement (Indian and Western). As we saw in the rhythm series of posts, this is a Raja specialty and he has ensured that switching Indian and Western rhythms are in every possible genre of composition.

In this section, unfortunately, we will have to repeat some of the tracks from ‘Raja’s rhythm innovation stage 8’ as some of the tracks in that post had folk lyrics.

Balegara Balegara from Bhagyadha Balegaara (2009) – this is the latest from Raja using switching rhythms in his latest Kannada venture.

Unnai Maathi from Uthamarasa (1993) is a typical Raja song that appears very folk from lyrical and arrangement. The pallavi is backed by both drums and tabla in alternate phrases. The female voice is backed by western drums and the male voice by tabla. The charanams are also set the same way – male voice backed by the tabla and the female voice by western drums.

Sandhu Pottu from Devar Magan (1992) is another track where the lyric is folkish and the rhythm arrangement is very sophisticated. The arrangement uses several patterns with the tabla and the dialogs are backed by western drums.

The clip below has two tracks (both charanams) – the first one is Sandhu Pottu followed by the charanam of Unnai Maathi. Notice the alternating rhythm arrangement between Indian and western drums in both tracks.

Raja's Cookies and Cream Flavored CleverFolk

The cookie is perhaps the Indian rhythm and the cream is the Western or the other way around. While Raja has done several of these as discussed in the Rhythm Section, his folk application of this technique is limited. However, very pioneering and unique.

Rocky road flavored Cleverfolk

2010-04-03T11:50:00.005-04:00

This category has folk lyrics with interludes set to rock music style arrangement. Mostly, Raja serves this flavor with the rhythm arrangement. Prior to Raja no one dared to serve this flavor!

Aasai Adigam Vachu from Marupadiyum (1993) is served with rock beats! The prelude of this song starts off with the heavy beats. The guitar usage in this track is very interesting (electric). The second interlude uses the wah wah guitar for the folk song!

Nila Athu Vanathu Mela from Nayakan (1987). The track starts off with a nice guitar strum as though it is another regular song and deflects you with its rock beats. The lyrics are folkish. The first interlude uses nice saxophone with the rock beats making you wonder if this is Jazz or Rock! The second interlude misleads you even more – the saxophone is on a counterpoint with the nice guitar melody!

Yeh aatha from Payanangal Mudivathillai (1982). The guitar work in this song is amazing that you tend to ignore it given the nice tabla rhythm throughout the song. The second interlude of this track is noteworthy – the rock style guitar strumming in counterpoint with the western flute makes you forget for some time that this is supposed to be a folk type track.

The clip below has two tracks. It starts off with Aasai Adhigam and ends with Nila Athu (charanam). Observe the sax and the nice counter melody with the guitar in the 2nd interlude of this otherwise folk song. Vintage Raja…

Raja's Rocky Road flavored CleverFolk

While most of the present day tracks use the same western rhythm arrangement, they miss out on the rich folk flavor. The difference is in the way Raja orchestrates. The flavor does not suffer in any way because he chooses a Western orchestration method - that's the genius of Raja. Very folky, very Indian, the orchestration happens to be western for those who choose to observe and enjoy.

Cookie dough flavored Cleverfolk

2010-04-03T11:30:00.008-04:00

This category is folk lyrics with Jazz style interlude arrangement. Now, that’s probably a first in Indian cinema where someone dares to make such an attempt! Lots of composers have tried to set Indian film songs to a Jazz arrangement, but they never take a folk lyric and experiment!

Kaatile Kamban Kaatile from Rajakumaran (1994) set to a nice Jazz rhythm with folkish lyric. In the first interlude Raja throws the kitchen sink – female choir, with a nice synth play very typical of Jazz. The second interlude confirms any doubts by the wonderful sax and pan flute in typical Jazz style.

Thangakili Tholil Vacha Neethane Meenachi from Manam Virumbudhe Unnai (1999). As described in the section ‘Raja’s rhythm innovation stage 13’ this is a fantastic folk track that is set to the Jazz style arrangement, it becomes hard to say if this is folk or Jazz.

The track below has the beginning of the track Kaatile Kamban Kaatile followed by the second interlude. Let’s first analyze the prelude. It starts off with brilliant violins in tremolo. The synth joins at a relaxed pace. Raja cuts the violins out with a very slow jazz paced folk song! Do not miss the bass playing nicely on the left channel. The interlude has all the elements of a Jazz elements – the Western pan flute is the embellishment which plays for few brief seconds that is not typical of jazz. With that exception, (you got to go looking for it), it’s like any other jazz song. Nice use of sax and synth which is typical of Jazz music.

Raja's Cookie dough flavored CleverFolk

This is experimentation at its best. Folk meets Jazz so effectively. While Raja has used Jazz techniques in several compositions , his application to folk is limited.

Strawberry Flavored Cleverfolk

2010-03-02T23:50:00.006-05:00

This category has folk lyrics with a CCM raga based melody. This is a very popular Raja flavor and the CCM raga is mostly ignored due to the rhythm arrangement and folkish lyrics.

There are countless tracks of Raja that have the Carnatic touch to a folk lyric. I will list some top of mind examples. All ragams are courtesy of Vel Ramanan.

Chitira Chevvanam from Kaatrinile Varum Geetham (1978) set to Savithri ragam.

Megam Karukuthu from Ananda ragam (1982) set to Abheri ragam.
Aathadi Paavadai kaathada from Ponvilangu (1984) set to Laavantika ragam.
Paadariyaen Padipariyaen from Sindhu Bhairavi (1986) set to Saramathi ragam.

Arumbagi Mottagi from Enga Ooru Kavalkaran (1988) set to Charukesi ragam.
Thaana Vandha Sandhaname from Ooru Vitu Ooru vandhu (1990) set to karaharapriya ragam.
Kottukali kottu nayanam from Chinnavar (1992) set to Mayamalavagowlai ragam.
Adukkumalli from Avarampoo (1992) set to Karaharapriya ragam
Vanam Ellam Shenbagapoo from Nadodi Paatukkaran (1992) set to Madhyamavathi ragam.
Aalapol Velappol from Ejaman (1993) set to Shankarabharanam ragam.
Chinna rasavey from Walter Vetrivel (1993) set to Lathangi ragam.
Azhagana Manja Pura from Ellame En Raasathaan (1995) set to Madhyamavathi ragam.

All the tracks listed are fantastic melodies but have a folkish lyric. Most of them are runaway hits of Raja and he seems to have used a lot of this technique in the early 90s – nice flavor to folk lyrics. While several composers have attempted to do this strawberry flavoring, no one has succeeded as much as Raja as he has the deep knowledge of both the systems – folk and Carnatic.

The clip below is a folk raagamalika with the following ragas Savithri (Chitira Chevvanam) followed by Charukesi (Arumbagi Mottagi) followed by Karaharapriya (Thaana Vandha Sandhaname) and finally ends with Madhyamavathi (Azhagana Manja Pura).

Raja's Strawberry Flavored CleverFolk

Neapolitan flavored Cleverfolk

2010-03-02T23:40:00.006-05:00

This category has folk lyrics with western rhythm arrangement. This is a flavor that Raja uses rarely, but does have its attraction.

Some top of mind examples…

Oru Kolakili from Uzhaipali (1993) – this entire track is set to western drumming and nice strumming guitar work. Interludes use the synthesizer extensively. Nice flavoring for a folk track!

Nethu Oruthara Orutharu from Pudhu Paatu (1990) – the track is set to a western rhythm arrangement. Like the previous track, nice use of guitar and synth in this track too.

Thenpandi Seemaiyile from Nayakan (1987) – this is one of the most popular Raja tracks in Kamal’s voice. Notice the orchestration in this track – fully western with its bass drum, violins The Raja version of the same song uses tabla for its rhythm arrangement and does have the bass drum and grand violins as it is also included towards the end.

Maasi Madham Aalana Ponnu from Dharmadurai (1991) is one of the best Raja compositions in the Western major scale. The beats get everyone’s attention, but not the wonderful compositions. The choir arrangement along with the violins is mesmerizing
Western composition.

The clip below has three tracks in it. It starts off with Oru Kolakili followed by Nethu Oruthara Orutharu and finally it has the mesmerizing pallavi of Maasi Madham Aalana Ponnu. That’s a sample of Raja’s Neopolitan Flavored Clevrfolk.

The arrangement of these songs are so clever that you either get swayed by the Western rhythm arrangement or the folk lyrics that it escapes the listener's mind how innovative the composer has been in putting such extreme musical elements together. This must be contrasted with the remixes that composers are doing today with old Raja folk tunes. While it goes without saying that this is original work, I call Raja as the microchip maker - he somehow sticks stone and metal together and none of us realize what he does!

Raja's Neopolitan Flavored CleverFolk

Chocolate Flavored Cleverfolk

2010-02-01T23:55:00.004-05:00

This category has folk lyrics presented with camouflaged WCM interlude arrangement. It takes a while to figure this one, but is very popular flavor among listeners. The flavor is hidden by tabla arrangement to an otherwise Western string section.

Poovarasambu Poothathu from Kizhakke Pogum Rayil (1978) – Observe the second interlude in this track – the flute parts followed by the accordion. This track has three charamans – if you observe the 3rd interlude, it freely uses bells and a sliding violin scale. Now, this is supposed to be a folk track. Nice flavoring by the master ice cream maker!

Samakozhi Koovuthamma from Ponnu Oorukku Pudhusu (1979). This song is another classic with violins, synthesizer, guitar and flute all set to a typical western arrangement but cleverly hidden with congas and tabla based rhythm arrangement. The second interlude is a beautiful call and response arrangement between flute and bells. The third interlude has an amazing counterpoint between the synthesizer and the violins.

Pothi Vacha Malligai Mottu from Man Vasanai (1983) – this is another classic Raja song that has some outstanding Western orchestration, but cleverly disguised with a tabla and folkish lyric.

Rasanthi Unnai from Vaidehi Kaathirunthaal (1984) – this is a classic Raja song that I have described in the section called ‘Revisiting folk’. Suffice to say that this is wonderful western orchestration camouflaged with tabla rhythm arrangement.

Muthu Mani Maalai from Chinna Kounder (1991) – the comments that apply to the previous track applies here too.

Pacha Malai Poovu from Kizhakku Vasal (1990) – this song is a classic Raja track that uses folk lyric but completely western orchestration arrangement nicely hidden behind the tabla rhythm. As I have mentioned in the section – ‘counterpoint with flute’, Raja has done some outstanding flute and guitar counterpoints in the track. Also, the violin work in the first interlude uses another western orchestration technique of call and response with a long passage with flute answered by violins followed by the synth and bells.

Onnavida from Virumandi (2004) is another track with a folk lyric but the interludes are set to a WCM style arrangement. If you observe the second interlude, the arrangement is quite stunning. If you keep your mind off the lyrics, the interludes are part of the vanilla flavor of Raja.

These are some top of mind examples of folk songs where Raja delivers one of his most successful flavors. This type of flavoring shows the creativity employed by Raja where he takes his strong WCM foundation and applies it to folk lyrics making it very palatable (pun intended).

The clip below has Poovarasambu Poothathu followed by Samakozhi Koovuthamma and Pothi Vacha Malligai Mottu. You can also hear Onnavida at the end. You can notice how cleverly Raja hides a Western interlude within his folk melody.

Raja's Chocolate Flavored CleverFolk

Chocolate Chip Flavored Cleverfolk

2010-02-01T23:45:00.005-05:00

This category has folk lyrics WCM interlude arrangement (not camouflaged). Raja takes the smoke and mirrors and lets you enjoy almost a WCM concert in the interludes while you listen to folk lyrics throughout the track. Perhaps the WCM arrangement sticks out like a c

hoco chip and that has its own nice taste as well!

Poovarasan was a 1996 Tamil film that disappeared without a trace. Raja has two duets in this film completely set to

folk lyrics. Itha Poovukoru Arasan and Rasathi Rasathi – both sang by SPB and Chitra. If you hear the prelude, interludes of these Intha Poovukoru Arasan, they are very modern sounding and amazing WCM work. Raja uses very pleasant synth sound with flute, with beautiful violins and solo (violins) as well. The last few lines of the charanams are beautifully backed by synthesized violins. The second interlude starts off with a beautiful flute and synth counterpoint followed by synth work. This is one of his fine WCM work hidden by a folk lyric. Rasathi Rasathi

also starts with synthesized violins as part of its prelude. The first interlude uses a nice chorus arrangement with flute and synth parts – towards the end of the interlude switches to a tremolo violin arrangement which is typical of Raja’s WCM work. The second interlude starts off with another counterpoint between plucked violin strings and synthesizer followed by extensive violin work. He makes no attempt to hide any of these flavors – no tabla, no duffle – pure WCM work.

Kadhaipola Thonum from Veera Thaalatu (1998) is another interesting track where Raja provides a choco chip and vanilla flavor to the track. The prelude and first interlude are like several songs of Raja. However, the second interlude is just stunning. There is a brief silence followed by synthesizer to simulate wind followed by some very fine tremolo string work. This is supposed to be a folk track – Raja uses a nice WCM technique to bring additional flavor to the song.

Sandhirarum Sooriyarum from Avatharam (1995) is a track that fully does away with any percussion and uses western style violins throughout the song that is very folkish in its lyrics. More of it in the section – Raja’s rhythm innovation stage 12.

The clip below starts off with the interlude of Intha Poovukoru Arasan – this is like hearing a western classical concert than a folkish melody. This is followed by an astounding interlude (2nd) from Kadhaipola Thonum fully using western ideas such as tremolo strings. Finally, I included Rasathi from Poovarasan. When you hear this whole collage, you never get an impression of hearing any folk melody. Raja’s interludes live in a different world. He somehow stitches his interludes to his main pallavis and charanams. There is nobody who is better than him in this. I almost forgot that I was providing you examples with his folk work. Enjoy the hidden Western classical music interludes in the folk melody – except, Raja does not make any attempt to hide it.

Raja's Chocolate Chip Flavored CleverFolk