This site attempts to showcase the Indian musical genius - Ilayaraja and his work with both Western and Indian Classical music over the last 5 decades.
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.
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...
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...
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...
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...
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 ...
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.
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....
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....
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 ....
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...
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...
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...
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...
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.
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!
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...
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.
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...
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...
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.
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...
Let's hear the first pallavi and charanam of the track next...
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 Varuviyainterludes here...
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 dinaminterludes and charanam 1 here...
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 Thottavadiinterludes here...
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 Thokkiinterludes here...
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...
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!
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 someRajamation (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.
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.
