Deeper analysis of the unusual conversations – part 2

Let’s next take a closer look at the number of films scored by Raja over the past 37 years. Instead of looking at the movies by years, let’s summarize it by years. The number of movies scored by Raja by year is very debatable as there is no accurate record available that is authoritative. I have used databases information available on the internet and I have filled the gaps where I am aware of. The database covers all language films set to music by Raja. While this database may not be very accurate, I find that the best way to use it is to summarize the number of films set to music by Raja over a decade. This helps in:

1. Reducing compensating film count errors over the years
2. Takes out the language aspect of films he has worked on
3. For trend analysis, it is best done on a summary data set instead of the detailed one, as the atomic level data is not deemed very accurate

Decade	#Films composed	Percent
1970	72	8%
1980	421	46%
1990	314	35%
2000	102	11%
Grand Total	909

 

Something interesting happens when we now try to correlate both these data sets. In other words, we do this:

Decade	Unusual conversation occurrences	#Films composed
1970	6	72
1980	151	421
1990	47	314
2000	6	102
Grand Total	210	909

 

When we use a statistical correlation function between Column 2 and Column 3, the correlation coefficient works out to be .91642341.  Any correlation coefficient greater than .7 is considered strong positive correlation between the data sets being compared. Data does not lie!

Let’s try and interpret this at a more granular level – at the year level.

Year	Unusual conversation occurrences	#Films composed
1978	1	25
1979	5	30
1980	7	34
1981	15	33
1982	12	33
1983	20	47
1984	17	54
1985	18	51
1986	21	50
1987	13	32
1988	15	44
1989	13	43
1990	9	46
1991	9	41
1992	7	55
1993	3	42
1994	4	27
1995	7	25
1996	2	12
1997	4	20
1999	2	24
2003	1	11
2007	2	4
2008	1	5
2009	2	18

 

In the data table above, you will find a few years missing. Those are the years, where we did not have any unusual C&R observations. The total of column 2 in this table is the same as before. However, the total of the number of films composed will be lesser as we have excluded a few years where there were no unusual C&R observations. When we use a statistical correlation function between Column 2 and Column 3, the correlation coefficient works out to be .7576654.  Any correlation coefficient greater than .7 is considered strong positive correlation between the data sets being compared.

How do we interpret this?

1. The C&R technique has a very strong correlation to the number of films composed by Raja in a decade. The unusual conversations is used as a proxy for the whole C&R technique. The correlation stays strongly positive, even if the comparison is done at the year level
2. Raja’s highest number of films and the most use of this technique is in the 1980s
3. His number of films composed have fallen significantly in the 2000s and his use of this technique has also fallen, compared the other decades
4. As most average Indian listeners can relate to a C&R technique, especially when it is set to the Carnatic format, they enjoyed it the most during Raja’s 1980s
5. Raja’s increased use of synthesized instruments have either resulted in less use of this technique, or his use has not surfaced as distinctly as it did in the 1980s and 1990s

Obviously, there are many caveats to any analysis:

1. No one technique ever contributes to a composer’s success in Indian film music
2. As most hit songs in the Indian film context have little to do with orchestration (they mainly depend on the melody of the main tune), these results have to be viewed in that broader context

However, Raja is the best orchestrator ever from India. It is worthwhile analyzing his orchestration techniques and their impact. Though the data sets are summarized ones, they show strong correlation to the number of films he has scored in a decade/year. In other words, one can take an extreme view, that ,this technique has a directly correlation to his popularity.  It may be worthwhile redeploying this technique in his future work as it has appeared to have served him well in the past.

 

One can even argue that when Raja introduced harmony and counterpoints to the Indian audience in the 80s, he always provided it along with something known – C & R. It was easy for the listener to enjoy something unknown, when it was served along with something known. It may be perhaps worthwhile for Raja to consider reintroducing C & R as he continues to experiment with newer techniques in the 21st century. If past is any indicator, of future behavior, why not use something that has worked very well in the past?

While this analysis work was the hardest of all the areas I have explored of Raja’s orchestration, it was definitely enjoyable. The data based interpretation of Raja’s work is worthwhile in my view. Hope the readers enjoyed it as much.

Correlation and causation are different. However, correlation in this case, does have a message - highly popular Raja years have a strong positive relationship with the use of this technique. This analysis needs to be done for other techniques over the years to get to a full understanding of the other factors influencing popularity. However, in isolation, with the data gathered in this project, it appears that there is indeed a strong positive relationship between his popularity and the use of this technique.

Unusual Unusual conversations!

As with all other analysis topics, this will be a catch all bucket for unusual conversations that involves instruments that we have not discussed so far.  They are more unusual than the other unusual categories!

We will explore this with a single clip consisting of six segments separated by the usual 2 second silent segment.

1. The first segment is from the song ‘Malargalile Aradhanai’ from Karumbu Vil (Tamil 1980). The call is from the voices (chorus) singing jathis and the response is from the veena.  Set to Keeravani (courtesy Vel Ramanan), Raja arranges this C&R segment to transition to a guitar
2. The second segment is one of my Raja C&R favorites. It is from the song ‘Mannavane Mannavane’ from the film Thandhu Vittaen Ennai (Tamil 1991).  Set to Aarabhi, (courtesy Vel Ramanan) this arrangement, is a bewitching killer! The call is from the female voice – the response is not one, but three responses. The first response is from the flute and the second response is from the violins followed by another response from the flute. This whole package is repeated twice (one call and three responses) – it clearly shows that the composer enjoys this thoroughly
3. The third segment is from the song Uruginaen Uruginaen from the film Anne Anne (Tamil 1983).  The call is from the female voice and the response is from the trumpet. Very unusual!
4. The fourth segment is from the popular song 'Indraikku Enindha' from Vaidehi Kaathirundhaal (Tamil 1984). The call is from the female voice singing Carnatic swarams (set to Abhogi – courtesy Vel Ramanan) and the response is from the veena. This is the familiar Carnatic format
5. The fifth segment is from the song 'Suvvi Suvvi' from the film Swathi Muthyam (Telugu 1985). The call is from the sound of water and the response is from percussion that simulates a stick hitting a metal pot
6. The sixth segment is from the song 'Neelakuyilae' from the film Magudi (Tamil 1984). The call is from the veena and the response is from the solo violin. Set to Raskiranjani (courtesy Vel Ramanan), the entire arrangement and the song is just a bliss!

 Let’s hear the sample of Raja’s unusual unusual conversations …



There are no composers who have explored the call and response arrangement like Raja in Indian films. While his volume of work is very large for someone to navigate and uncover these arrangements, we saw quite a few of his unusual conversations. He is perhaps the only composer who qualifies for a topic such as unusual unusual conversations!

Voice(s) unusual conversations

We have covered the topic of Raja’s choir/chorus work in detail. We will be careful not to repeat any choir based C&R in this section. The work we will try and analyze deeper will be humming, that is very common with Indian film music and the way a humming itself is used as an instrument in a C&R arrangement. In his long career, Raja has used humming to be part of a C&R arrangement, much similar to the way he would use an instrument.

We will investigate the way he has used voice and guitar in a C&R mode; voice and flute in a C&R mode,; voice and violins in a C&R mode; voice and synthesizer in a C&R mode; even voice and voice in a C&R mode. No Indian composer has exploited the human voice as an instrument, the way Raja has.

Let’s first explore how Raja has used the flute in a C&R mode with voice(s). As you can expect, the clip in this illustration is a sample of the variety and imagination of the composer. Even within this narrow set of constraints, Raja shows how he can demonstrate his mastery in this technique.

1. The first segment is from the song ‘Atho Megha Oorvalam’ from 'Eeramana Rojave' (Tamil 1991). The call is from the female voice and the response is from the flute.  Set to the Carnatic ragam Vasanthi  (courtesy: Vel Ramanan), the melody of the arrangement is a treat for the ears
2. The second segment is from the prelude of the song ‘Poongatre Theendathe’ from 'Kunguma Chimizh' (Tamil 1985). The call is from the female chorus and the response is a short one from the flute. Set to Brindavana saranga ragam (courtesy: Vel Ramanan), the Carnatic arrangement of such C&R is a staple weapon in Raja’s arsenal
3. The third segment is from the song ‘Maniye Manikuyile’ from ‘Nadodi Thendral’ (Tamil 1992). The call is a long one from the female voice and the response from the flute is a lead to the next phrase. The second time around, Raja arranges the flute response as an imitation of the human voice. This is a light arrangement, where he casually transports this arrangement to a fantastic handoff to the violins, where he gets the voices and flute to play together. It takes a lot to have such an arrangement conceived and executed!
4. The last segment is from the song ‘Thendral Vandhu Ennai Thodum’ from ‘Thendrale Ennai Thodu’ (Tamil 1985). This time, Raja uses the flute to lead the conversation and uses a male/female combo to respond using scat

On the surface it looks as though such arrangements would be repetitive, till you take them apart and hear them. Two in Carnatic, one in light and the last one in scat – all in a narrow topic of flute and voice C&R arrangement! 

Let’s hear the sample of Raja’s unusual Flute-voice conversations

 

Let’s next explore how Raja has used voices with guitar in a C&R arrangement. The clip has 5 segments from various songs composed by Raja. As usual, you can expect variety even with this narrow selection.

1. The first segment is from the song ‘Isai Medaiyil’ from ‘Ilamai Kalangal’ (Tamil 1983). Raja uses a female voice to begin the call for which the electric guitar responds imitating the voice. This is followed by a small variation of this melody by the male voice which again is imitated by the electric guitar
2. The second segment is from the song ‘Kaadhal Mayakkam’ from ‘Pudhumai Penn' (Tamil 1983). This song is one of the examples where Raja has used C&R on many occasions throughout the interludes. This is another variation to the first segment. The call is from the guitar and the response is divided between the female chorus voices and a lone male voice
3. The third segment is from the song ‘Kodai Kala Kaatre’ from 'Panneer Pushpangal' (Tamil 1981). The call is from the female chorus and the response is from the electric guitar. This is a staple Raja technique in this area and he has used this in several other songs
4. The fourth segment is from the song ‘Poomalai Oru Paavai’ from 'Thanga Magan' (Tamil 1983). A quintessential disco song, Raja manages to introduce an Indian part into it with a C&R arrangement and finally switches back to disco arrangement. The call is by the female voice for which the response is an exact imitation by the electric guitar. There are three phrases, each of which varies from the previous phrase
5. The fifth segment is from the song ‘Vaa Vennila’ from ‘Mella Thirandhadhu Kadhavu’ (Tamil 1986). The call is by the female voice for which the response is an exact imitation by the electric guitar. This is another example of segment 4’s technique

Let’s hear the sample of Raja’s unusual Guitar-voice conversations

Let’s next explore how Raja has used voices with synthesizer in a C&R arrangement. The clip has 3 segments from various songs composed by Raja. Some of the arrangements with a synthesizer are of the highest level of sophistication by an Indian composer.

1. The first segment is from the song ‘Enna Varam Vendum’ from ‘Nandavana Theru’ (Tamil 1995). The arrangement in this song is very sophisticated. The synthesizer is used like an organ and plays beautifully along with the voices. Pay attention to the entire 20 seconds of this arrangement. The chorus first sing their part for which the organ responds. This arrangement is carried out with variations in imitation by the instrument for 3 times. Following this, the chorus voice morphs into a counter melody with the synthesized violins and a solo violin taking over. The instrument parts are alternated between synthesized violins and solo violins, with the voices continuing their melody. Brilliant!
2. The second segment is from the song ‘Sangeetha megam’ from ‘Udhaya Geetham’ (Tamil 1985). The call is from a female voice for which the synthesizer responds in an organ mode
3. The third segment is from the song ‘Thamarakkili Padunna’ from ‘Moonam Pakkam’ (Malayalam 1988). This time around, the genre is folk. The call is by a male voice in folk mode and the response is from a synthesized flute

Let’s hear the sample of Raja’s unusual Synthesizer-voice conversations

 

Let’s next explore how Raja has used voices with violins in a C&R arrangement. The clip has 4 segments from various songs composed by Raja.

1. The first segment is from the song ‘Naadham Ezhundhathadi’ from ‘Gopura Vasalile’ (Tamil 1990). The song is set to the Sriranjani ragam (courtesy: Vel Ramanan) and the call is from a female chorus for which the violins respond
2. The second segment is from the song ‘Putham Pudhu Kaalai’ from 'Alaigal Oiyvathillai' (Tamil 1981). This is the prelude of the song , where the call is from the female voice for which the violins respond
3. The third segment is from the song ‘Ponmaane Kovam Eno’ from 'Oru Kaidhiyin Diary' (Tamil 1984). This time the arrangement is a Western one where the call is from the female voices and the response is from the violins
4. The fourth segment is from the song ‘Poo Mudithu’ from ‘En Purushan Thaan Enakku Mattum Thaan’ (Tamil 1989). Set to Hamsadhwani (courtesy: Vel Ramanan), the call is from a female chorus for which the violins respond

Let’s hear the sample of Raja’s unusual Violins-voice conversations

 

 Let’s next explore how Raja has used voices with voices in a C&R arrangement. The clip has 3 segments from various songs composed by Raja.

1. The first segment is from the song “Halli Lavaniyalli” from “Namoora Mandara Hoove” (Kannada 1997). As we already analyzed this song, this is one of Raja’s masterpieces with voices. The segment has two sets of female voices arranged along with flutes in a call & response mode. Initially, the call and the response are both in Indian style, followed by one of the voices sticking to the Indian format when the second set of voices switches to scat mode. The flute supports the whole exchange beautifully. Master work!
2. The second segment is from the song ‘Oru Kili Urugudhu’ from ‘Ananda Kummi’ (Tamil 1982). The call and response are both female voices which eventually merge giving way to the flute to take the interlude to the charanam
3. The last segment is from the song ‘Pon Oviyam’ from the film ‘Kazhugu’ (Tamil 1981). While there are several harmony parts to this composition, the segment focuses on the C&R arrangement. Raja plays with the call, the first call from the male and the second one being a mixed call from the male and female voice. The response is a discrete one from the chorus for both the calls. Nice arrangement.

Let’s hear the sample of Raja’s unusual voice-voice conversations

 

There are no composers who have explored human voice like Raja in Indian films. He has not only used them in harmony, but also very extensively as an instrument in his call and response arrangements. Before him, very few composers ever had the imagination of using the human voice as an instrument in such arrangements. …

Veena unusual conversations

Raja’s use of Veena in his compositions is legendary. No composer who came after him have used the instrument so well and few who came before him can compete in this regard.  This is a vast subject as he has used veena in combination with several other instruments. He has also used the guitar in a veena mode (it deserves a separate post later). Raja’s specialty with the use of veena in the C&R mode is his boldness to use it with another similar instrument and still drive the distinction between both these instruments very clearly. Use of the veena and guitar, or veena and synthesizer is a bit risky, but Raja seems to love such risks. We will cover this topic with several clips.

First let’s start listening to some songs where Raja has used the veena in C&R mode with flute. The clip below has several segments:

1. The first segment (16 seconds) is from the song ‘Ponnil Vaanam’ from Villu Paatukaaran (Tamil 1992). The call is a long one from the flute and the veena responds is not as long. Set to khamas (courtesy: Vel Ramanan), this is one of the finest from Raja in this arrangement category
2. The second segment (about 15 seconds) is from the song ‘Oru Ragam Padalodu’ from Ananda Ragam (Tamil 1982). The call from the flute is responded by the veena is almost same time
3. The third segment is from the song ‘Poomalai Vaangi Vandhaan’ from Sindhu Bhairavi (Tamil 1986). The call is a long one from the flute and the veena responds is not as long. Set to Kanada (courtesy: Vel Ramanan), this song uses a lot of hidden western harmony in its interludes though it gives an external appearance of a very CCM laden song!
4. The fourth segment is from the song ‘Ravivarman Ezhudhaatha’ from Thaikku Oru Thaalaatu (Tamil 1986). The call here is a long one from the veena and it gets a short flute response
5. The fifth segment is a short one from the song ‘Nee Paadhi Naan Paadhi’ from the film Keladi Kanmani (Tamil 1990). The call is from the flute and the response is from the veena – bewitching melody!
6. The sixth segment is from the apt song ‘Veene Veene’ from the film Aalolam (Malayalam 1982). The call is a long one from the veena and it gets a short response from the flute

Let’s hear the sample of Raja’s unusual veena-flute conversations …

 

Let’s next shift out focus to a Raja specialty – veena and guitar conversations. The clip below has several segments:

1. The first segment is from the song ‘Kamalam Paada’ from the film Mogha MuLL (Tamil 1994). The call is from the veena and the guitar responds beautifully. Set to Ramapriya (courtesy: Vel Ramanan), this is one of Raja’s finest in this combination of veena and guitar
2. The second segment is from the song ‘Nanna Jeeva Nenu’ from the film Geetha (Kannada 1980). The call is from the veena and the guitar responds beautifully. This is a Raja regular 80s arrangement and it gives a fantastic melody
3. The third segment is from the traditional song ‘Alai Payuthe’ orchestrated by Raja in its traditional kanada ragam. Raja however, adds interludes to this song makes it even more attractive than traditional Carnatic renderings.  The song is from the film ‘Ethanai Konam Ethanai Paarvai’ (Tamil 1983). This is another top veena-guitar C&R arrangement of Raja
4. The fourth segment is from the prelude of the song ‘Kaalai Thendral’ from Uyarntha ULLam (Tamil 1985). The call is by the veena and the response is by the guitar. However, the bass guitar keeps playing in the background and you can also hear a synthesizer being used in bells mode.
5. The fifth segment is a rare song – ‘Kaalai Netra Kaatre’ from the film Bhagavathipuram Railway Gate (Tamil 1983). The call is a detailed one from the guitar and is met with a short veena response
6. The last segment is from the song ‘Velli Nilave’ from the film Nanadavana Theru (Tamil 1995). The call is a short one from the veena and the response is a sober one from the guitar. This is my all-time favorite in this category of veena-guitar C&;R arrangement. To this date, I have not heard such a sweet arrangement between these two instruments

Let’s hear the sample of Raja’s unusual veena-guitar conversations …

 

Let’s next shift out focus to a veena and violin conversations.  There are many examples from Raja’s work over the past 5 decades. The clip below has several segments:

1. The first segment is from the song ‘Poovai Vinrinjnu’ from the film Adharvam (Malayalam 1989). The call is from the veena and the detailed response is from the violins. Set to keeravani ragam, this is another bewitching melody of Raja in Malayalam in the late 80s
2. The second segment is from the song ‘Sangathamizh Kaviye’ from the film Manadhil Urudhi Vendum (Tamil 1987). The call is from the veena for which the violins respond. There are two back to back melodies in this segment and two C&R arrangements sandwiched brilliantly by the composer
3. The third segment is from the song ‘Tham Thananam’ from the film Pudhiya Vaarpugal (Tamil 1979). The call is from the violins for which the veena responds
4. The fourth segment is from the song ‘Naadha Vinodhangal’ from the film Salangai Oli (Tamil/Telugu 1983). The call is from the violins for which the veena responds
5. The fifth segment is from the song ‘Pallaviye Charanam’ from the film Oruvar Vaazhum Aalaiyam (Tamil 1988). The call is from the violins at a rapid pace and the veena responds with equally same temp but in short phrases
6. The fifth segment is from the song ‘Vaidehi Raman’ from the film Pagal Nilavu (Tamil 1985). The call is a detailed one from the violins for which the response is from the veena

Let’s hear the sample of Raja’s unusual veena-violin conversations …

Raja’s work with veena is unmatched by any composer when it comes to the C&R arrangement with this instrument. He uses a blend of Carnatic and western traditions in his conversations. While he claims that he does not do fusion, in this aspect of arrangement, we can easily say that he makes at times both these systems converse with ease!

Synthesizer unusual conversations

Raja has done a lot of C&R arrangements with the synthesizer throughout his career. Among the unusual conversations, this is perhaps the most elaborate. We will see several clips with several segments within them. The level of experimentation with this technique is both deep and broad. The list a long one and to keep the interest high, I will only include some examples from each category, though my initial research had too many entries in this category.

Let’s start with analyzing Raja’s unusual synth-flute conversations. This clip has seven segments:

1. The first segment is from the song ‘Ilancholai Poothatha’ from Unakkaagave Kaathiru (Tamil 1986). The call is from the flute and the response is from the synthesizer. Even the interludes are set to a classical mode with the mirudhangam taking care of the percussion
2. The second segment is from the song 'Nee Medha Naaku' from the film Rashasudu (Telugu 1986). This is a very unusual arrangement as both the call and the response are exactly the same melody. The call is by the synthesizer and the responding flute plays exactly the same melody. This is very uncommon in Raja’s work. This song is set on a very western arrangement
3. The third segment is from the famous song ‘Ooru Sanam’ from Mella thirandadhu kadhavu (Tamil 1986). The call is by the flute and the response from the synthesizer is a complex one. This is repeated twice in the interlude
4. The fourth segment is from the song ‘Ponnaana Meni’ from Meendum Kokila (Tamil 1981). The call is by the synthesizer and the response is a short from the flute
5. The fifth segment is from the song ‘Thaimaavin Thanalil’ from Oru Yatra Mozhi (Malayalam 1997). The call from the flute is a short one and the response is a beautiful synth roll.
6. The sixth segment is from the song ‘Unnaiyum Ennaiyum’ from the film Aala Pirandhavan (Tamil 1987). The long call from the flute is responded equally by the synthesizer
7. The seventh segment is from the prelude of the song ‘Vaa Vennila’ from Mella thirandadhu kadhavu (Tamil 1986). The call from the synthesizer (one can argue this to be bells too) is a single tone for which the flute responds at length

Let’s hear the sample of Raja’s unusual synth-flute conversations

Let’s next move on to analyzing Raja’s unusual synth-guitar conversations.

This clip has five segments:

1. The first segment is the famous prelude of the song ‘Mounamana Neram’ from Salangai Oli/Sagara Sangamam (Tamil/Telugu 1983). The call is from the synthesizer for which the response from the guitar is a beautiful melody. This is one of Raja’s finest synth guitar arrangements
2. The second segment is from the song ‘Raathiriyil Poothirukkum’ from Thanga Magan (Tamil 1983). The call is from the guitar for which the response is another melody from the synthesizer.
3. The third segment is the most unusual among all the segments in this clip. This is from the song ‘Poovadai Kaatru’ from Gopurangal Saivathillai (Tamil 1982). The long call from the guitar (almost simulates a piano roll) is responded beautifully by the synthesizer taking equal time. This is a fantastic arrangement and I have not heard a similar arrangement by Raja
4. The fourth clip is from the song ‘Raghavane Ramana’ from the film Ilamai Kalangal (Tamil 1983). This is a Raja specialty, as he uses two western instruments in a Carnatic classical composition, effortlessly. The call is by the guitar and the response is short from the synthesizer
5. The fifth clip is from the famous song ‘Rum Bum Bum’ from Michael Madana Kamarajan (Tamil 1991). The long call from the guitar is responded by the synthesizer

Let’s hear the sample of Raja’s unusual synth-guitar conversations

Let’s hear next, Raja’s unusual synth-synth conversations….

The clip below has 6 segments.

1. The first segment is from the song ‘Kogile Kooguva’ from Prem Kahani (Kannada 2009). The call is from the synthesizer and the response is from a synthesized flute. The song is centered on flute tones and this part is executed with synthesizers melodiously
2. The second segment is from the famous song ‘Sindhiya Venmani’ from Poonthota Kavalkaran (Tamil 1988). The call is a detailed one from one synthesizer and the response is an equal one from another. Set to a very rare ragam (Strothiswani) this song has some excellent parts all over the place from an orchestral sense too
3. The third segment is from the song ‘Vaigai Nadhikarai’ from the film Nilave Mugam Kaatu (Tamil 1999). The call is a short one from a synthesizer and the detailed response is from another
4. The fourth segment is from the prelude of the song ‘Nannanne Noduvanu’ from the film Bhagyadha Belagara (Kannada 2009). You have to pay a bit more attention to this arrangement as the call and response tones are very close to each other. The call is from one synthesizer and the response is from another (could be played on the same machine in two racks by the same player)
5. The fifth segment is from the song ‘Siru Ponmani’ from the film Kallukkul Eeram (Tamil 1980). The call and the response have a gap and both the melodies are played at a very relaxed pace. After the initial two bars, the response from the synthesizer is a different one
6. The sixth segment is from the song ‘Thamara Kili Padunna’ from Moonam Pakkam (Malayalam 1988). There are 4 bars in this clip. All the responses from the second synthesizer is exactly the same. The calls are different between the first and the last two bars

Let’s hear the sample of Raja’s unusual synth-synth conversations

Let’s next hear something very special to Raja – conversations between a synthesizer and a veena. This is a Raja specialty and you do not get to hear as much from other composers…

1. The first segment is from the song ‘Oru Ragam Padalodu’ from ‘Ananda Ragam (Tamil 1982).  The call is from the veena and the response is from the synthesizer. It is delightful to hear such combinations as the tonal variance adds to the beauty of the melody
2. The second segment is from the song ‘Mouna Ragam’ from the film Kolangal (Tamil 1995).  The call is a detailed one from synthesizer and the response is from the veena. Note that the response from the veena varies between bar1 and bar 2. Typical Raja!

Let’s hear the sample of Raja’s unusual synth-veena conversations

 

Let’s next move on to some of Raja’s unusual conversations between the synthesizer and the violins. This does not include any solo violin.

The clip below has 6 segments.

1. The first segment is from the song ‘Halli Lavaniyalli’ from the film Namoora Mandara Hoove (Kannada 1997). The call is from the rapid violins (also called as staccato) and the response from the synthesizer is not just equally rapid, but also of an equal matching tone. Brilliant arrangement
2. The second segment is from the famous song ‘Kaalai Nera’ from Amman Kovil Kizhakale (Tamil 1986). The call is a long one from the violins and the response is a short one from the synthesizers
3. The third segment is from the song ‘Unnai Naan Sernthirukka’ from the film Ilaya Ragam (Tamil 1995) and the C&R here is very unusual. The call is from the synthesizers and there is a bar where the synthesizer and the rhythm arrangement continues and the violins responds back to the call at equally relaxed pace
4. The fourth segment is from the prelude of a rare song ‘Naan Kadhalil’ from the film Mandhira Punnagai (Tamil 1986). The call is from the synthesizer (can be argued as bells too) and the response is a bit lengthy one from the violins.
5. The fifth segment is from the song ‘Padoo Sakhi Padoo’ from the film Chaitram (Malayalam 1989) . This is a brilliant arrangement where the notes descend in both the call (synthesizer)  and the response (violins). This is a flute centered song and this is a pivotal transition part of the lead over to the charanam
6. The sixth segment is  from the song ‘Ponana Meni’ from the film Meendum Kokila (Tamil 1979). The call is from the rapid synthesizers and the response is from violins arranged in staccato fashion. Though the segment is short, this is another example similar to segment 1, with a different melody

Let’s hear the sample of Raja’s unusual synth-violins conversations...

The synthesizer based C&R arrangements of Raja are too many to list. Readers can add their favorite pieces to the list that is hard to contain.

Trumpet unusual conversations

Raja has used trumpets extensively in his compositions and we have touched on some of these compositions in past posts. We will focus on the use of trumpets in a C&R mode in this post.

The clip below has five segments drawn from Raja’s work over the past 5 decades.

1. The first segment is from the song Oho Laila from the film Chaitanya (Telugu 1991). The call is a long one from the trumpet and the response is equally long from the guitar
2. The second segment is from the song Rum Bum Bum from the film Michael Madana Kamarajan (Tamil 1991). For the short trumpet calls, you get longer guitar responses. Very beautifully arranged work
3. The third segment is from the song Sevvaname Pon megahame from the film Nalladoru Kudumbam (Tamil 1979). The rapid drumming accompanied trumpet call is responded by the guitar with an equal rapid pace
4. The fourth segment is from the song Vaa Vaa Vaa Kanna Vaa from the film Velaikaran (Tamil 1987). The call is from the trumpet and the response is the exact same melody played by the guitar. This is very unusual in Raja’s orchestration
5. The fifth segment is from the song Siriya Paravai from the film Antha Oru Nimidam (Tamil 1985). The call is from the trumpet and the response is from the violins. The violins add to the grandeur of the composition

Let’s hear the sample of Raja’s unusual trumpet conversations...