Female choir singing the traditional choir - White tulips

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


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


The 1970s


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


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


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


Let's hear Malargalile Nadaswarangal...




The 1980s


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


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


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


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


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


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


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


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


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


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


Let's hear Kadhal Mayakkam...




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


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


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


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


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


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


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


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


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


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


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


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


Let's hear Oru Pooncholai...




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


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


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


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


Let's hear Poonthalir Aada...




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


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


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


The 1990s


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


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


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


Let's hear Enna Varam Vendum...




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


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


Let's hear Kalaiya Nizama...




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


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


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


Let's hear Kannirendil Etriya...




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


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


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


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


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


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


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


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


The 2000s


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


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


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


Let's hear Koda Manjin...




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

Raja's (fl)choral world

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


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


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


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


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


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


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


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

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


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

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

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


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


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

All music is one - Part 1

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


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


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


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





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





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





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





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





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





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




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




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




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

Fine fugue fete

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

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

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

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

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

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

Let's hear Manjal Veyyil from Nandu...

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

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

Let's hear Oru Kili Uruguthu ....

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

Let's hear Devan Koil ...

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

Let's hear Chinna Chinna...

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

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

Let's hear Paadoo Sakhi...

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

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

Here are the interludes are Thamaraikodi...

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

Here are the interludes of Yey thendrale...

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

Here are the interludes of Aala Asathum...

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

Here are the interludes of Appadi...

Here is some good examples on fugue from Vijay...

https://soundcloud.com/vijeeth/layer-after-layer

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


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

Hope you had a fine fugue fete...

Raja’s rhythm innovation stage 17

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


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


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

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

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


Let's hear the Athu Ithu track...





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


Let's hear the Yenniyello  track...





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


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





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


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


Let's hear the Singari Pyaari  track...





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


Let's hear the Kaatukuyilu track...





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


Let's hear the Kalakalakkum Maniosai track...





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


Let's hear the Vennilavu Kothipathenna track...





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


Let's hear the Swalpa Soundu track...