Raja's rhythm innovation stage 5

This requires creating a prelude, interlude or postlude with more than one Indian rhythm instrument.

There are several music composers that have created this in the past. However, Raja has been unique in some of the rhythm instrument selection. Let's explore this with some examples...

The interlude 2 of the song Enna Paada Sollathe from Aan Pavam (1985) is an interesting one that has a nice dialog between a female chorus, a small boy, udukku and bongos followed by the tabla just to demonstrate the variety Raja uses if he decides on rhythm – the voices just speak the jathi. Pay attention to how Raja shifts the arrangement from Indian to Western towards the end of the interlude – vintage Raja!

Let's hear the interlude...




The pallavi of the song Varam Thantha Samikku from Sippikkul Muthu (1985 – also Vatapatra from Swathi Muthyam – Telugu) uses mirudhangam and ghatam as the rhythm backing.

The prelude of the song Kadhal Kasakuthaiya from Aan Pavam (1985) uses an innovative combination of mirudhangam, kanjeera, tabla, morsing! The interlude 1 and interlude 2 use the tabla and Congo drums. This is a song set in the Carnatic raga Shanmugapriya. There is a liberal dosage of synthesizer, shehnai thrown into the mix by Raja to his rhythm innovation!

Let's hear the prelude...


 
A good folk example – Prelude of Arisi Kuthum Akka Magale from Man Vasanai (1983) uses duffle with urimi and udukku in its prelude apart from using brushes to get the feel of a sieve.

Another folk example – Kodanu Kodi Kanda Selvanai from Murattu Kaalai (1980) – Raja freaks out in the prelude – It all begins with a slow flute play followed by a duffle and another rhythm instrument (?), continues with mirudhangam and tabla. The rhythm arrangement is able supported by vibrant violins too.

Let's hear the freaked out prelude...




Elumbalae Koodukatti from Ennai Vittu Pogathe (1988) is another innovative track from a rhythm perspective. The prelude is a peculiar combination of morsing, ghatam and khanjira.

Let's hear the prelude...




The track Thai Pongalum from Mahanadhi (1993) uses thimila and urimi throughout the track to create a folk feeling.

Let's hear the track...




All these are top of mind examples as I am sure there are several others that fit into this category. Also note the fact that the experimentation has happened throughout his career. It's doubtful if any other composer has used so many folk instruments in their compositions in India.

Raja's rhythm innovation stage 6

This requires creating a prelude, interlude or postlude with more than one Indian and Western rhythm instrument.

There are too many examples for this type of innovation as Raja uses this very frequently in his compositions. I will list a few top of mind examples, that does not include Raja’s common rhythm instrument - tabla.

The prelude and the interlude 2 of Andhi Mazhai from Rajapaarvai (1980) uses the mirudhangam and drums (more specifically hi-hat).

The prelude of the song Naan Vanagugiraen in Guru (1980) uses the duffle, drums, and tabla as the prelude.

Vandhadhe Kunkumam from Kizhakku Vaasal (1990) uses a combination of mirudhangam and synth drums through the pallavi and the 1st interlude. This track is set to the standard 6/8 rhythm all the way till the second interlude where the rhythm switches to the ¾ waltz for some time and returns to the 6/8 time signature before turning control to the pallavi.

Let's first hear the 1st pallavi and interlude 1. Pay attention to the synth drums and mirudhangam set to standard 6/8 time signature...



Let's next hear the interlude 2 set initially to the 3/4 waltz rhythm and observe the switch to the 6/8 within the interlude itself before the pallavi begins...



All the ludes (pre and inter) of the song Vannapoo thattu in the film Chinna Jameen (1993) is unique with a strange mix of thavil and Western drums sharing the same time signature.

Let's hear this interesting mix of thavil and drums...




Vennilavil venilavil from Adhiradipadai (1994) uses drums and vibraslap (Vibraslap) throughout the track for rhythm.

Raja has used vibraslap in several compositions. Let's hear the track...




Another very unique Raja rhythm experiment - Aasai idhayam –from Kanmani (1994) uses the bass drum and big cymbal throughout the track from the prelude to the final pallavi. The arrangement continues from the pallavi and the first interlude too. The first interlude initially does not appear like a typical Raja lude, but you are blown away by the flute and the violins at the end of lude – how can someone think of such a combination? What a drum arrangement with a mesmerizing flute and violins!

Let's hear the 1st pallavi and interlude of Aasai Idhayam...




The prelude of the track Appadi Paakarthinna Veandam from Ivann (2002) uses the drums, mirudhangam beautifully along with the synthesizer. The interludes use the hi-hat beautifully for rhythm.

Let's hear the enticing Appadi...




The prelude and the pallavi of the song Azhagana manjapura from Ellame En Rasathaan (1995) use a combination of a duffle and thavil as rhythm support.

Let's hear the prelude and pallavi of Azhagana...




The track Chella Thathee from Manasinakkare (2003 Malayalam) is an interesting track. The track is fully set on synth drums and the composer chooses to mix it with mirudhangam in the second interlude.

Let's hear the unique Chella Thathee ...




The track Siru Siru Siragugalil from Konji Pesalam (2003) is fully set to synth drums and mirudhangam. The pallavis alone are set this way by the composer.

Let's hear the pallavi of Siru Siru... Notice, the experiment leaves the melody intact and enhances it and not spoil it as we hear in several new tracks by current composers. That's the touch of the genius. The unique ability to choose the right rhythm for the right melody..
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Raja's rhythm innovation stage 7

This requires using the main melody to guide the rhythm pattern, thus creating a melody based rhythm.

There are hundreds of tracks where Raja has used this technique – rhythm follows melody. On most occasions, he has chosen tabla for rhythm. Some examples from the long list:

Ada Uchanthalai from Chinna Thambi (1990) uses a melody based rhythm where the pace of the rhythm is adjusted to the melody.

Adi Gomatha from Senthamizh Paatu (1992) uses a melody based rhythm as well.

Let;s hear the 1st charanam and 2nd pallavi of Adi Gomatha. Please note the change of the timing (nadai) as rhythm follows melody...




Vandhadhu Vandhadhu from Kili Petchu Ketkavaa (1993), Hey Chithira from En Bommukutty Ammuvukku (1988), Poongatre Theendathe from Kunguma Chimizh (1985), Siru Kootila from Paandi Naatu Thangam (1989), all use this technique of rhythm following melody.

Let's hear the 1st charanam and 2nd pallavi of Vandhadhu Vandhadhu...




Let's next hear the 1st charanam and 2nd Pallavi of Hey Chitthira...




Another interesting melody based rhythm is used by Raja in the track Adi Vanmathi from Siva (1989). Let's hear the 1st charanam and 2nd pallavi. In all these tracks, Raja makes it interesting by adding his signature bass guitar and the moroccos for emphasis..




To quote an interesting view point in the TFMPage website on melody based rhythm:

Raja used the tabla for two reasons. One, it does give a local flavor to the songs. Secondly, the table gives a good steady background for the vocalist to take on more complex compositions. For example, in many songs, you will clearly hear the tabla giving a constant beat of say a tisram, like ta-ki-ta while the singer may be singing in a different rhythm, say the standard 4x4 or chatusram. This gives some tension to the song. This also helps the song's pallavi or charanam to have different takeoff points. Too much of rhythmic complication would have made it a nightmare for the singer.

The mixing of two nadais or gaits (one of the singer and one of the rhythm) and the different take off points are two important aspects of Raja that you don't tired of his songs. Same happens in the case of many modern songs. While the loops may be attractive at first, after a few listens, due to lack of any tension, you get very bored.

Raja also introduces a lot of asymmetry in his compositions. In the sense that two lines would go for the whole eight beat cycle while one line may go for only 7 beats and so on. Again, a source of musical tension and breaks the monotony.

Raja's rhythm innovation stage 2

This requires structuring a first pallavi and charanam in Western and follow it up with the second charanam and pallavi in Indian.

Though there are several tracks where Raja has used these techniques, let me draw your attention to two top-of-mind tracks...

Oh Vasantha Raja from Neengal Kettavai (1985) is another outstanding Raja innovation rhythmically – pallavi 1, interlude 1 and charanam 1 all use Indian rhythms complete with mirudhangam, tabla. Suddenly in interlude 2 and charanam 2 everything switches to western drums and finally returns to the final pallavi 3 in Indian rhythm!

Let's hear the pallavi 1, interlude 1 and charanam 1 and pallavi 2 of the song, all set to Indian rhythm....


 
Pay attention to interlude 2 and charanam 2 and you will notice that the composer has switched the rhythm to Western drums...

Lastly, let's now hear the final pallavi 3, where composer switches back to Indian rhythm...




Pazhamudhir Solai from Varusham 16 (1989) is a complex mix showing the composer’s ease with any type of rhythm arrangement – the pallavi 1 and the charanam 1 are in Western arrangement. The interlude 1 alone is set in Indian rhythm. Then the composer chooses to reverse everything – the interlude 2 is in Western and the pallavi 2 is set to Indian! In a way, this track also qualifies for stage 1. As this is a fast paced song, it is easy to miss out on the experiments that Raja does with this wonderful tune...

Let's first hear pallavi 1 set to Western rhythm...




Let's next hear interlude 1 set to Indian rhythm...




Observe that charanam 1, pallavi 2 and interlude 2 is set to Western rhythm, just opposite of interlude 1...




Next, let's hear the charanam 2 set to Indian rhythm....




Let's lastly hear pallavi 3, set back to Western rhythm...

Another example from Raja's Malayalam work - Ponnavani Poomuthe from Man of the Match (1996). The track starts off in a peaceful tabla based rhythm and continues all the way till the first charanam. The composer chooses to change the rhythm to Western drums from interlude 2 and charanam 2. The song returns back to its original Indian rhythm for the final pallavi.

Another song that has a strikingly similar rhythm arrangement to Ponnavani Poomuthe is the track Uruginen Uruginen from Anne Anne (1983). The track starts off in a bongos based rhythm and continues all the way till the first charanam. The composer chooses to change the rhythm to Western drums from interlude 2 and charanam 2. The song returns back to its original bongos for the final pallavi.

The nice part is, if you did not pay attention to the rhythm setting, it does not matter. In the hands of a master like Raja, transitions are so smooth between rhythm patterns, it is easy to miss his experimentation.

Raja’s rhythm innovation stage 3

This requires structuring a song with Indian and Western rhythm with a complex transition using both rhythms between the charanam and the pallavi.

This is a complex case to orchestrate. In most of the compositions that use Indian or Western rhythm in a single track there are standard techniques used for the transition: 1) Cut out all rhythm and use violins to fill the transition (example, Thenmozhi from Solla Thudikkuthu Manasu (1989)) 2) Cut out all rhythm and use guitar to fill the transition (example, Vaanile Thenila from Kaaki Chattai (1985)) or 3) Use the bass guitar to facilitate the transition (Poove Ilaya Poove from Kozhi Koovuthu (1982)). This is another example of how Raja resets his own bar!

In the track Raadha AzhaikiraaL from Therkathi Kallan (1988), Raja uses the singing bass guitar throughout the track which has all the pallavis supported by the Western rhythm and all the charanams by the Indian rhythm – observe the transition between both the charanams and the pallavis – it’s about 2 seconds where there is a mini dialog between Indian and Western rhythm – I call it rhythm on steroids!

Let's hear the beautiful transition management of Raadha AzhaikiraaL...




Though not an exact example, the song Siru Kootile from Pandi Naatu Thangam (1992) uses a fantastic rhythm transition throughout the track. The song is supported fully by the tabla. However, notice every pallavi to pallavi transition (when the pallavi is sang twice), pallavi to charanam transition – Raja uses the congos to manage it beautifully. Sounded very RD Burman style (Hum Dono Do Preme from Ajnabee is a good RD example), but very innovative and clever in an otherwise folk composition! Also notice that the transition is set to a ¾ when the rest of the track follows a different time signature.

Let's hear Siru Kootile transition between the charanam and the pallavi transitions so well orchestrated by Raja...




 Now, let's go back to the famous 70s tune of RD Burman, who pioneered this transition using congo drums in his Hum Dono Do Preme from Ajnabee...




Another example of a nice congo transition that I find unique in Raja’s compositions is a pathos number – Malaiyoram Veesum Kaatru from Paatu Paadava (1995). Observe the transition between the charanam and the pallavi – Raja uses the RD Burman style Congo drums based transition and though the Congo drums play at a faster pace, the pathos mood is still preserved!

Let's hear the transition of Malaiyoram Veesum Kaatru, where Raja uses this technique cleverly in a pathos situation...




Vayasu Vandha from En Mana Vaanil (2002) is an interesting track from a rhythm perspective. The pallavi 1 is set to rhythm using thavil. The charanam 1 and charanam 2 is set to Western drums. The transition of charanam to pallavi is set using a nice thavil rhythm.

Let's hear Vayasu Vandha ...




Transition between pallavi and charanam in film music is very critical to maintain the interest of the listener. This is generally an area a lesser composer would dare not to experiment. Raja not only gets into unchartered territory but keeps resetting his own bar. We will continue our jouney on his other stages of rhythm innovation.

Raja’s rhythm innovation stage 4

This requires structuring an entire interlude with just rhythm and no string or wood wind sections

Ila Nenje Vaa from Vanna Vanna Pookal (1991). With the exception of a few guitar strains, both the interludes are carried out only by drums and tabla – no string section or brass. The dialog between the tabla and the drums in the interlude is so captivating. The challenge for Raja is two fold: 1) create an interesting interlude with just rhythm instruments and 2) defend his reputation as the best interlude composer in Indian cinema. This is hard stuff as this entire track is a great experiment with rhythm supported by a wonderful melody. At no point in the composition does the rhythm spoil the melody of the song.

Let's hear the captivating dialog between rhythm instruments in Ila Nenje Vaa ...




Even in his earlier track, Raja Rajathi Rajan Intha Raja from Agni Natchathiram (1989) uses percussion throughout its first interlude. However, the second interlude does have chorus voices supporting the percussion. Ila Neje Vaa takes this one step forward by using creative rhythm for both the interludes.

The film music rhythm innovation

As mentioned in the section of film music basics (Film Music Basics), Indian film music is structured in a particular way and this restricts any film music composer and Raja is no exception. To add to the challenge, Raja’s predecessors have already done quite a bit. So, let’s approach this challenge from the film song structural viewpoint. As usual, given the wide body of Raja’s work in at least 4 languages, it is impossible to classify all his work. Nor are the examples in any way the best examples in those categories – they are simply top of mind examples. I use about 1200 tracks of Raja from 4 languages as my basis of most research. Some of your favorite tracks not appearing in the classification could be a result of my limited candidates I use in my research (roughly 20% sample of the population). Here are a dozen things that you can do to set the bar higher than your predecessors:

1. Set the charanams and pallavis to Indian rhythm and the interludes to Western rhythm – this is nothing new, as Raja’s predecessors have already done it. I will not even try to list examples, as it can run into hundreds.
2. Set the pallavi to Indian rhythm and the charanam to Western rhythm and vice versa – Raja has done several of these and followed his predecessors. Let’s call this the rhythm follow up mode. Again, I will not bother to provide examples, as it easily runs into hundreds.
3. How about structuring a song where one pallavi is set to Western and another is set to Indian rhythm? Let’s call this rhythm innovation stage 1. This is done to make the track more interesting. Given the fact that Raja composes popular music, most listeners follow the melody and not the rhythm and this certainly reflects the innovative mind of the composer, who wants to change something while conforming to the overall song’s structure.
4. How about structuring a first pallavi and charanam in Western and follow it up with the second charanam and pallavi in Indian? That’s building on the earlier stage – let’s call it rhythm innovation stage 2. This takes the experimentation one notch up and show cases the mind of the composer who wants to raise the bar beyond stage 1.
5. How about structuring a song with Indian and Western rhythm with a complex transition using both rhythms between the charanam and the pallavi? – Let’s call it rhythm innovation stage 3. Transitions are hard to manage, when you have rhythm patterns that are Eastern and Western. You need to be very innovative to make the extra effort to work this transition and still not screw up the flow of the song. This again sets the bar higher then the previous stage (stage 2).
6. How about creating an entire interlude with just rhythm and no string or wood wind sections? – Let’s call it rhythm innovation stage 4. This is serious experimentation as keeping the listener engaged for over 30 seconds with just rhythm is not an easy task. Very few composers attempt such experiments. Even with today’s rhythm machines and synthesized drum pads, it is rare to see such compositions.
7. How about creating a prelude, interlude or postlude with more than one Indian rhythm instrument? – Let’s call it rhythm innovation stage 5. While drums and tabla are predominantly the rhythm instruments in Indian film music, listeners rarely pay attention to rhythm innovations by composers like Raja who make an attempt to bring several Indian rhythm instruments into mainstream film music. Particularly, Raja raises the bar by using multiple unusual rhythm instruments on the same time signature.
8. How about creating a prelude, interlude or postlude with more than one Indian and Western rhythm instrument? – Let’s call it rhythm innovation stage 6. As film music preferences change, so should the composer’s work. The use of Western instruments does not mean replacement of Indian ones. They can innovatively coexist and Raja has experimented in several of his tracks.
9. How about using the main melody to guide the rhythm pattern, thus creating a melody based rhythm? – Let’s call it rhythm innovation stage 7. This is an innovative rhythm style of Raja where he adjusts the pace of the rhythm based on the composed melody.
10. How about creating a charanam or pallavi with parts of it in Indian and the remaining in Western rhythm? – Let’s call it rhythm innovation stage 8. Now, with this you can have several combinations and can get very interesting. This is an innovation that Raja introduced, as he has such solid understanding of rhythm. While other composers do attempt this experiment, I am yet to hear such pleasant transitions between both these systems from anyone other than Raja.
11. How about creating preludes, interludes, pallavis, charanams using a percussion instrument (Western or Indian) and using claps, finger snaps on the same time signature? – Let’s call it rhythm innovation stage 9. Though his predecessors have use claps in songs, Raja raises the bar by using finger snaps and claps with unusual rhythm instruments.
12. How about creating a charanam or pallavi with parts of it in two different Indian rhythm instruments? – Let’s call it rhythm innovation stage 10. This is walking on thin ice as you can screw up the melody if you do not manage the rhythm well. Raja has done so many of these experiments depending on the film situation that it is hard to say which two Indian rhythm instruments is easiest for him.
13. How about using a single rhythm instrument, but using multiple patterns in a single track? – Let’s call it rhythm innovation stage 11. This requires a mastery over rhythm management. Several composers have tried 2 or 3 rhythm patterns within a single track. Raja raises above all of them.
14. How about creating a track with no percussion rhythm? This technique uses strings to support the entire song – no Indian or Western percussion instruments – let’s call this rhythm innovation stage 12. When you have such strong fundamentals, it is easy to do without something that others consider impossible to do without. This is hard stuff as it may not pay off. Raja keeps raising his own bar on rhythm excellence.
15. How about using a complex set of rhythm patterns with both Indian and Western rhythm throughout the track – all components of the track - – Let’s call it rhythm innovation stage 13. Alternating between Indian and Western rhythm is hard enough. If you throw even more patterns into the mix, you have a great probability of screwing up. Not with the incredibly talented– Raja has created music which runs for just the 4 minutes but comes out with more than 7 patterns between Indian and Western rhythm on a single track! I am not aware of any Indian composer who has attempted this, let alone so successfully!
16. How about using only voices as rhythm for an entire track – let’s call it rhythm innovation stage 14. Doing without rhythm instruments is hard. However, you can use other instruments such as guitar/violins/cello to guide the rhythm. Using only voices – you must be nuts! Being a master of vocal harmony, even this challenge appears not insurmountable to the genius!

All these innovations are within the world of mono-rhythm. At any point in time, there is only one rhythm pattern playing. However, these stages demonstrate the increasing complexity and sophistication of the composer’s work from a rhythm perspective. Please note that though there are stages that demonstrate multiple rhythm instruments being used, they still fall under one time signature.

Raja’s journey with rhythms is a long one. Raja’s wide body of work takes advantage of Western, Indian and folk rhythm instruments. Raja’s work with rhythms is staggering that he has done a huge number of experiments with all these three systems. Next, we will expand on Raja’s rhythm innovation stages and explore with examples. Please note that some tracks may get repeated in several categorizations – by now, you’ll understand, that’s Raja!

I must thank Kamal for his extensive knowledge of rhythm instruments and his valuable input to several examples in the following sections.