Quadruple instrument based imperfect symmetry without bridge

This involves a number of call and response arrangements involving four instruments that have a pattern. It is hard to get perfect reflection symmetry with four instrument choices. Lots of Raja’s interludes do fall under this category where it is hard to identify symmetry and the composer uses a number of C&R arrangements with 4 instrument choices

Let’s first start with the song Andhi Varum Neram from Mundhanai Mudichu (Tamil 1983). The first interlude of this song is based on C&R arrangements involving 4 instruments. There are no bridges and Raja uses Violins, guitar, flute and veena to create the interlude. The pattern of this interlude is as shown below:

Vi-Fl x2

Gu-Vi x4

Gu-Ve x2

Ve-Vi x2

In short form, one can say that the pattern of this arrangement is 2+4+2+2. This is not symmetrical in any way and a possible translation symmetry would look like this:

Vi-Fl x2

Fl-Gu x2

Gu-Ve x2

Ve-Vi x2

You can see that there is only one element that stops this arrangement from being a perfect translation symmetry based arrangement.

Let’s hear the near perfect Andhi Varum Neram…

The second interlude of Maalaiyil Yaaro from Chatriyan (Tamil 1989) is our next track to analyze. Raja uses 4 instruments in atypical C&R arrangement. While a particular instrument combination can be argued as pure harmony, I still think it is a C&R. He uses, Guitar, Sax, Violins and Synthesizer to weave this beautiful melody. The pattern of this interlude is as shown below:

Gu-Sax x3

Gu-Sy

Vi-Sax x2

In short form, one can say that the pattern of this arrangement is 3+1+2. This is not symmetrical in any way and a possible translation symmetry would look like this:

Gu-Sax x3

Gu-Sy

Sy-Sax x3

Sy-Vi

Vi-Sax x3

Though far from perfect translation symmetry, the melody of the arrangement is definitely striking. 

Let’s hear the second interlude of Maalaiyil Yaaro…

The last example in this post would be the second interlude of Madurai Marikozhundu from Enga Ooru Paatukaran (Tamil 1987).  Raja uses four sets of instruments in C&R arrangement in this interlude – Synthesizer, Violins, Flute, and Chorus. The pattern of this interlude is as shown below:

Sy-Vi

Ch-Vi x4

Ch-Fl x3

Vi-Sy x2

Fl-Vi

In short form, one can say that the pattern of this arrangement is  1+4+3+2+1. This is not symmetrical in any way . If you leave out the first C&R element, it appears like a simple progression of descending number of C&Rs going from 4 to 1.

Let’s hear the second interlude of Madurai Marikozhundu…

There are a few other songs of Raja, where he has used a four instrument C&R as the interlude of his composition. While most composers do use this technique, it is rare to find a composer who can do the entire interlude with just C&R arrangements, be it with three , four or more instrument combinations.

Quadruple instrument based imperfect symmetry with bridge

This involves a number of call and response arrangements involving four instruments that have a pattern. It is hard to get perfect reflection symmetry with four instrument choices. Lots of Raja’s interludes do fall under this category where it is hard to identify symmetry and the composer uses a number of C&R arrangements with 4 instrument choices. These arrangements also feature one or more musical bridges. Even with these bridges, there is nothing like perfect symmetry you can infer from such arrangements. 

The first track we will take up for analysis is ‘Vaanile Thenila’ from Kaaki Chattai (Tamil 1985). The first interlude uses 4 instruments – Trumpet, Guitar, flute and Violins in various call and response combinations. There is also the use of musical bridges in this interlude. The pattern of this interlude is as shown below:

Vi-Tr x4

Vi-Fl x2,

Vi-Gu Br

Gu-Vi x2

Gu Br

Fl Br

In short form, one can say that the pattern of this arrangement is 4+2+b+2+b+b. In other words, there are three musical bridges that send you into a tizzy trying to map this from a symmetry perspective. 

Even if one discards the bridges, the arrangement is far from being symmetrical. The only common aspect of all the C&R usage in this track is the use of Violins in each of the C&R arrangement. 

Let’s hear the first interlude of Vanile Thenila…

The next track we will take up for analysis is ‘En Vaanile from Johny (Tamil 1980)’. The first interlude uses 4 instruments – piano, Solo Violin, Synthesizer and violins in various call and response arrangements. This track is the closest to any form of symmetry with 4 C&R arrangement I observed in this category. The pattern of this interlude is as shown below:

Pi-Fl,

So-Fl,

Vi-Sy

Vi br,

Pi-Vix2

Pi-Pi

In short form, one can say that the pattern of this arrangement is 1+1+1+b+2+1. On the surface, from the short form, it appears that at least if the Piano and Violin (cell 5) is broken down, you could have reflection symmetry on both sides of the bridge. Unfortunately, this is not true as the parts before the bridge and after the bridge are also not using the same instrument combination, let alone any true reflection symmetry. 

Let’s hear the first interlude of En Vaanile…

The next three examples, though not perfect in symmetry have a very striking arrangement – the C&R combinations are not the usual once or twice,  but they occur four times and still does not bore the listener. 

The first track we will take up for analysis in this sub-section, is Kanmaniye Pesu from Kaaki Chattai (Tamil 1985). The second interlude uses 4 instruments – synthesizer, violins, flute and shehnai. The pattern of this interlude is as shown below:

Sy-Vi-Fl

Vi-Fl

Vi br

Sh-Fl x4

Vi br

In short form, one can say that the pattern of this arrangement is 1+1+b+4+b. You can see that the Shehnai-Flute arrangement being repeated four times is unique and does not occur in many Raja compositions.

Let’s hear the second interlude of Kanmaniye Pesu…

The second track we will take up is the first interlude of Oomai Nenjin Osaigal from Ananda Kummi (Tamil 1982). It uses 4 instruments in the interlude – Violins, Synthesizer, Solo Violin and Flute. The pattern of this interlude is as shown below:

Vi-Sy x2

So-Fl x4

Vi-Fl x3,

Sy br

In short form, one can say that the pattern of this arrangement is, 2+4+3+b. You can see that Raja uses the Solo Violin and Flute C& R arrangement four times and Violins – Flute arrangement three times in this interlude.

Let’s hear the first interlude of Oomai Nenjin Osaigal…

The third track takes C&R arrangement to the next level, though it does not achieve any symmetry in arrangement. This is the first interlude of the song Thaen Poove  Poove from Anbulla Rajnikanth (Tamil 1984). In this interlude, again not symmetrical, Raja uses an instrument combination 8 times repeatedly and gets away with it! On top of this, he uses two instrument combination four times in the same interlude. That is definitely mastery over this arrangement technique.  He weaves this magic using 4 instrument combinations – guitar, flute, Violins and Bells. The pattern of this interlude is as shown below:

Gu-Fl x4

Vi-Be x8

Fl-Gu x4

Gu br

In short form, one can say that the pattern of this arrangement is 4+8+4+b. You can notice that the Violin and Bells are used eight times in this interlude! Also, you can see that the Guitar-Flute combination is repeated 4 times and the Flute-Guitar combination is repeated another 4 times.

Let’s hear the magical interlude of ‘Thaen Poove Poove Vaa’…

We do not get to hear such great C&R arrangements anymore, nor do the current composers care about any symmetry. Their focus is getting a good tune out and even the interludes are just fillers from standard sample materials and a few boring lines with keys...

Triple instrument based imperfect symmetry with bridge

This involves a number of call and response arrangements involving three instruments that have a pattern and also includes a musical bridge. With some exceptions, the arrangement is symmetrical. Mostly, it is a single exception that stands out. This is common as the film music composer has time constraints and does not focus on perfect symmetry. Also, there are cases with one, two and even three bridges that makes this a hard one to analyze.

The first track we will analyze is the song Kaalidasan Kannadasan from Soorakottai Singakutti (Tamil 1983). The first interlude uses three instruments, Santoor, Violins and Flute in C&R arrangements. There are also two musical bridges used that throws the arrangement out of symmetry. The arrangement of the first interlude is as below:

San-Fl x2

Vi-San x2

Vi Br

Vi-Fl x4

Vi-San Br

The last Vi-San bridge upsets the symmetry.  Not only that. The Vi-Fl x4 also complicates matters from a symmetry perspective. The ideal arrangement could be without the last Vi-San bridge, something like this:

San-Fl x2

Vi-San x2

Vi Br

Vi-San x2

San-Fl x2

However, the perfectly symmetrical arrangement is no guarantee for a great melody and the not so perfectly symmetrical arrangement definitely is.

Let’s hear the near perfect three instrument symmetry of Kaalidasan Kannadasan…

The next track we will analyze is the song Kanmaniye Pesu from Kaaki Chattai (Tamil 1985). The first interlude of this song uses Violins, Flute and Synthesizers in C&R arrangement with three violin bridges. The arrangement of the first interlude is as below:

Vi-Fl

Vi br

Fl-Sy x3

Vi br

Fl-Sy x2

Vi br

Vi-Sy x2

Not only does three violin bridges throws the arrangement awry from a symmetry perspective, but also the number of times the C&R arrangements are repeated. The ideal symmetrical configuration would be something like this:

Vi-Fl x2

Vi br

Fl-Sy x2

Vi br

Sy-Fl x2

Vi br

Fl-Vi x2

The above arrangement would render this into a perfect translation symmetry with bridges. 

Let’s hear the imperfect three instrument arrangement of Kanmaniye Pesu…

The next track we will analyze is the first interlude of the song Kiliye Kiliye from aa Raathri (Malayalam 1983).  The interlude uses tabla, synthesizer and flute as the three instruments in a C&R arrangement. With a Flute and a synthesizer bridges, this interlude is close to perfection though not perfectly symmetrical. The arrangement is as below:

Ta-Sy x2

Fl-Sy x2

Fl br

Sy-Fl x2

Sy br

If the last Synthesizer bridge was replaced with a C&R arrangement, this could have been another perfect translation symmetry with a bridge.

Ta-Sy x2

Fl-Sy x2

Fl br

Sy-Fl x2

Sy-Ta x2

Let’s hear the near perfect three instrument symmetry of Kiliye Kiliye…

Next, let’s analyze the complex prelude of the song Nikattuma Pogattumaa from Periya Veetu Panakkaaran (Tamil 1990). This prelude uses conga drums, flute and Violins in its C&R arrangement. It is not perfect, but nevertheless a complex arrangement that is worthy of analysis. The arrangement of the prelude is as below:

(Vi-Fl-Co) x2

Vi-Co x2

Fl-Co x4

Vi-Fl-Co

Sy br

In a perfectly symmetrical world, there is no need for the Synthesizer bridge at the end. However, notice that all the three instruments participate in a single C&R arrangement, which is unique.  This is perhaps the reason for the lack of symmetry when you start analyzing it from a C&R perspective. In the ideal arrangement, it could be something like this:

(Vi-Fl-Co) x2

Vi-Co x2

(Vi-Fl-Co) x2

Fl-Co x2

However, with such arrangements, it is hard to meet perfect symmetry arrangements.

Let’s hear the complex arrangement of the prelude of Nikattuma Pogattumaa…

The next track is the 1st interlude of the song Sangathamizh Kaviye from Manadhil Urudhi Vendum (Tamil 1987). The first interlude uses Veena, Violin and Flute in C&R arrangement. There is also a violin bridge in this arrangement and is near perfect from a symmetrical perspective. Here is how it is arranged:

Vi-Ve x2,

Vi br,

Ve-Fl x2,

Ve-Vi x2

The perfection in symmetry is not achieved due to several reasons. The Flute is used only in one segment twice. Also, the bridge is out of place. Ideally, this will become perfectly transnationally symmetrical if the arrangement is as follows:

Vi-Ve x2,

Ve-Fl x2,

Vi br

Fl-Ve x2

Ve-Vi x2

Let’s hear the not so perfect symmetrical arrangement of the first interlude of Sangathamizh Kaviye…

There are several other examples that were part of the research that shows how the symmetry is missing due to the other pressures of film music composition. However, rarely have composers focused on the symmetrical aspect of C&R within an interlude as Raja has. 

Triple instrument based perfect symmetry with bridge

This involves a number of call and response arrangements involving three instruments that have a symmetrical pattern around a musical bridge. Being three instruments, there is a possibility of perfect reflection symmetry with these instruments around the bridge

The prelude of the song Sindhiya Venmani from Poonthota Kaavalkaaran (Tamil 1988)  is a special one, as the prelude uses three instruments in C&R mode with a bridge. The pattern that is used in the prelude is as below:

Sy-Be x2

Fl Br

Be-Fl x2

The arrangement has almost perfect reflection symmetry with its instruments with one exception. The last C&R arrangement uses a flute instead of synthesizer. In other words, the perfect symmetry would have been something like this:

Sy-Be x2

Fl Br

Be-Syl x2

Let’s hear the near perfect reflection symmetry based arrangement of Sindhiya Venmani…

The second interlude of Naadham Ezhundhadhadi from Gopura Vaasalile (Tamil 1991) is another example of near perfect symmetry with three instruments with bridges. The pattern used is as below:

Ch-Fl x2

Ch br

Vi-Ch x2

Vi-Fl br

In the short form, one can also state this arrangement as 2+b+2+b, where you can see the high level translation symmetry. However when you examine this closely, Raja uses Chorus as one of the participating instrument. Secondly, from a perfect translation symmetry point of view, there are a few shortcomings. While this is a very melodious arrangement, the perfect translation symmetry would look something like this:

Ch-Fl x2

Ch br

Ch-Vi x2

Vi br

Let’s hear the near perfect three instrument arrangement with bridges in Naadham Ezhundhadhadi…

Triple instrument based perfect symmetry

This involves a number of call and response arrangements that have a symmetrical pattern involving three instruments. Being three instruments, there is a possibility of perfect symmetry with these instruments.


Let’s consider the song Erettu Padhinaaru from Raja Rajaathaan (Tamil 1989).  The first interlude is a beautiful arrangement with three instruments in C&R that have a good translation symmetry. The combination here is a bit unusual, Sitar, Flute and Violins.  The arrangement pattern is as below:

Si-Vi x2

Si-Fl x2

Vi-Fl x2

Though not perfect from a perfect mathematical translation symmetry, which would be one of the choices below, assuming that the starting instrument combination is fine,

Si-Vi x2

Vi-Fl x2

Fl-Vi x2

Raja keeps one variable constant in the initial two patterns and uses the variable combination in his third pattern. Given that Indian composers rarely focus on symmetry, this is very good arrangement

Let’s hear Erettu Padhinaaru…

Let’s next review the second interlude of the song Oru Mandharapoo Vandhaa Mandhiramaa from Chinna Jameen (Tamil 1993). This interlude has a bit complex but perfect translation symmetry in its arrangement.  The interlude’s arrangement pattern is as below:

Vi-Fl x2

Vi-Sy x2

Vi -Fl x2

Sy-Fl x2

How do you read the above arrangement’s symmetrical C&R arrangement? The first and the third C&R instrument pairs are constant. The variability is introduced in the second and fourth instrument pairs. This is like a mathematical progression. Unfortunately, as the interlude length is limited, we do not see the fifth, sixth pairs and so on. The symmetry of this arrangement is hard to uncover as you get swayed by the melody and it becomes clear only when you document he instrument pairs. 

Let’s hear the perfect symmetrical arrangement of Oru Mandharapoo Vandhaa…

Dual instrument (C&R) based perfect symmetry with bridge

This involves a number of call and response arrangements that have a symmetrical pattern and also includes a musical bridge.  With two instrument based C&R arrangements, I have not observed any symmetry around a bridge.  In other words, I have not come across a Raja composition that has a musical bridge in the center with perfectly symmetrical C&R arrangements on either sides of it.  In the previous post, there were two songs that had perfectly symmetrical but had a bridge at the end of the interlude. For the purposes of demonstration of a perfect symmetry with two instruments, we ignored the bridge at the end of the interlude.

1. Melle Melle Vannu Chernu from Apaaratha (Malayalam 1991)
   
2. Oli Tharum Sooriyanum from Vaalmiki (Tamil 2009)

Dual instrument (C&R) based imperfect symmetry with bridge

This involves a number of call and response arrangements that have a pattern and also includes a musical bridge. With some exceptions, the arrangement is symmetrical. This again is not an easy one as there are fewer compositions that use two instruments in a C&R arrangement throughout an interlude 

Vasantha Nilavin from Sooryan (2007 Malayalam) is a song that qualifies. The second interlude of this song is primarily a two instrument arrangement – Veena and a synthesizer. The arrangement patterns is as below:

Sy-Ve x2

Sy br

Sy-Ve x2

Sy Br

Sy-Sy x2

From a symmetry point of view, this is imperfect as the Sy x Sy arrangement breaks the symmetry. There are several combinations of ideal symmetrical arrangement with a bridge for this combination. However, this is more of a theory and no guarantee of a great melody as the current Raja arrangement is quite melodious. As this interlude is short, it could be still symmetrical with some extension.

Sy-Ve x2

Sy br

Sy-Ve x2

Sy Br

Sy-Sy x2

Sy Br

Ve-Ve x2

Or

Sy-Ve x2

Sy br

Sy-Sy x2

Sy Br

Ve-Sy x2

Sy Br

Ve-Ve x2

Let’s hear the imperfect, but melodious two instrument arrangement of Vasantha Nilavin…