Raja’s rhythm innovation stage 11

This requires using a single rhythm instrument, but using multiple patterns in a single track.

Annatha Aadarar from Apoorva Sagotharargal (1989) uses multiple tabla patterns through the song. The Prelude starts off with drums and congas and settles in a tabla rhythm. The prelude alone uses 4 rhythm patterns. The pallavi uses another rhythm on tabla. Interlude 1 uses two rhythm patterns and the first pattern is used very briefly. The charanam 1 uses 3 tabla patterns. Interlude 2 is interesting and it uses 2 more patterns, one of which is common with the first interlude but the initial drum pattern is unique. Charanam 2 is very similar to charanam1. In all, the track uses a total of 11 unique rhythm patterns!

The track Veetukku Veetuku from Kizhakku Vaasal (1990) uses multiple patterns within the same track.

Sandhu pottu from Devar Magan (1992) is an interesting track where the picturization demanded a track for a challenge to fight with sticks in a village setting. Raja chose two voices, one for the dialogues and another for singing. He goes further than that by throwing in a whole lot of rhythm patterns to make the track interesting. This is rated as one of the most difficult tabla work to play and you will never hear this played by any orchestra of the difficult tabla work. The prelude uses 2 tabla patterns. The 1st pallavi uses another two patterns. The first and second interlude uses a drums and tabla pattern. Both the charanams use a melody based rhythm and flows with the main melody. The dialogs of Kamal are backed with the Western drums. The last pallavi uses three tabla patterns. There are at least 8 tabla patterns apart from the drums work in this track.

Vanam Ellam Shenbagapoo from Nadodi Paatukaran (1992) is an interesting track The prelude alone uses at least 3 tabla patterns before the song begins. The pallavi uses pattern 3. Interlude 1 continues with pattern 3 and settles in a typical 6/8 pattern (#4). The charanam 1 uses a melody based rhythm (this makes it hard to count the patterns – let’s call this #5). Interlude 2 starts off with another new pattern (#6) and settles into a typical 6/8 pattern (#4). Charanam 2 uses a melody based rhythm (#5). Finally the postlude of this song uses at least two more tabla patterns (#7, #8). This is an interesting track as it uses a variety of patterns with one rhythm instrument – tabla. All the three songs described in this stage are hardly playable by regular orchestras and you will never hear them in live programs (unless it is Raja conducted). Prasad, the tabla expert who plays for Raja has been doing a great job for him for decades.

Raja's rhythm innovation stage 12

This requires creating a track with no percussion rhythm at all.

This is a challenge as the entire track needs to be guided by strings only. This is a bit harder to do than the traditional percussion driven rhythm. Typically done with guitar or violins, this is not the typical cinema style that all composers would venture. Remember, Waqt Ne Kiya of SD Burman – this track is guided by the cello and the guitar. Raja has done several of these. Two outstanding tracks that are worth mentioning…

The track Naan Ondru Kettal Tharuvaya from Ilaya Raagam (1995) is an interesting track. The first pallavi, and charanam are backed only by the guitar and the synth and there is no other rhythm support. However, the second charanam and final pallavi are supported by drums. Looks like an initial attempt by Raja before he turns on full experimentation.

Let's hear the first pallavi and charanam of Naan Ondru Kettal Tharuvaya. Please note that the interlude does have percussion support...




Therke Veesum Thendral Kaatru from Kolangal (1995) has no percussion at all with the exception of a couple of taps on the drum in the prelude. The entire track is guided by the guitar. The charanams are guided by the guitar and moroccos. The track is a treat on Western Classical string arrangement, that is typical of Raja.

Let's hear the first pallavi and charanam of Therke Veesum Thendral Kaatru. Please note that even the interludes do not have any percussion...



Sandirarum Sooriyarum from Avatharam (1995) is an amazing solo by Raja which is entirely guided by violins, cello and sax. There is no use of any percussion instrument in this entire track. There is use of cymbals if you consider it as a rhythm instrument a couple of times. The lyrics are entirely folk but the orchestration is fully Western – typical of Raja. This is one of my favorite tracks of Raja as a singer and anyone who loves Western classical music is in for a treat.

Let's hear Sandirarum Sooriyarum ....




There are several bit songs where Raja has done it without any percussion. Some examples: a) Saranam bhava from Sethu (1999) b) Yamunai Aatrile from Dhalapathy (1991)

This stage demonstrates the grip the composer has over rhythm arrangement. While most composers stay away from it, some do attempt...

Raja’s rhythm innovation stage 8

This requires creating a charanam or pallavi with parts of it in Indian and the remaining in Western rhythm.

This stuff is tough as you have the additional constraint of not screwing up the melody which drives the vocals. This requires top talent in vocals as any novice singer will be thrown away by the changing rhythm pattern – this is true even if you are singing tracks. This also requires an expert orchestra where the bass guitar, the violins backing the melody and the rhythm players must play in total harmony to the composer’s creation. In short, unless you are Raja, you would stay away from it!

The final pallavi of Poo Malarnthida from Tik Tik Tik (1981) alternates beautifully between the mirudangam and the drums. The track was a great innovation during its time, where Raja demonstrated how he can switch between a traditional Karaharapriya and western orchestration. Also, the transition between the interludes and the charanam is handled beautifully by Raja. For the transition between charanam 1 (western) and pallavi 1 (western) Raja uses mirudhangam. For the transition between charanam 2 (western) and pallavi 2 (western), the same Raja uses a beautiful violin swaram. As I do not have good audio quality clip, I am not unfortunately including the audio for you to hear this wonderful composition.

Thom Thom Thom Ena from Oorellam Un Paatu (1991) – the charanam 1 and 2 of this track is set with both mirudhangam and drums. This is a very well orchestrated charanam for a semi-classical track, where the western drum does not interfere with the Indian classical melody.

Idhazh Inikka from Agnippaarvai (1992) has an interesting pallavi where Raja switches between Indian and western rhythm arrangement. Raja loves competition songs as this gives him the opportunity to showcase his talent. This track’s prelude gives you a flavor of things to come as Raja starts off with a mixed Western and Indian rhythm arrangement even for the short prelude. The Pallavi also follows the mixed arrangement and interlude 1 also shows a mixed arrangement but different from the prelude and the pallavi!

Let's hear Raja's work with Idhazh Inikka... Observe the prelude that has a mixed arrangement, followed by the pallavi and interlude 1...




The arrangement is not the exact opposite of the Uthamaraasa track. Each charanam is divided into 7 phrases. In charanam 1, phrases 1, 3, 7 are set to Indian (tabla), phrases 2,4,5,6 are set to Western! In charanam 2, the composer decides to change order - phrases 1, 3, 5, 6 are set to Western phrases 2,4,7 are set to Indian (tabla)! This is an extremely difficult undertaking to orchestrate and Raja shows the way! This is another track that shows the experimental mindset of this gifted composer.

Let's next hear charanam 1 - starts and ends with the Indian rhythm. However, pay attention to the switching rhythm as described...



Let's next hear charanam 2 - starts with the Western rhythm and ends with the Indian rhythm. However, pay attention to the switching rhythm as described...




Oh Prema from Aswamedham (1992 - Telugu) is another track of Raja. Both the pallavi and charanam are partly orchestrated with Indian and Western rhythm in turns.


Unnai Maathi from Uthamaraasa (1993) is a typical Raja song that appears very folk from lyrical and arrangement. The pallavi is backed by both drums and tabla in alternate phrases. The female voice is backed by western drums and the male voice by tabla. The charanams are also set the same way – male voice backed by the tabla and the female voice by western drums.

Let's hear the pallavi of Unnai Maathi with switching rhythm arrangement...




Let's next hear its first charanam. The second charanam is arranged very similar to the first...




Vaa Veliye from Paatu Paadava (1995) – this is a competition song that has an unusual rhythm structure. The pallavi 1 is set to western rhythm. The interlude 1 and charanam 1 are set to western. The pallavi 2 in Indian/Western format, interlude 2 is set to western. The charanam 2 is very interesting – it has first 4 phrases set to Indian followed by 4 phrases set to Western. The entire swaram following is backed by western. The pallavi 3 set to Western.

Let's hear the Pallavi 1 (W) , interlude 1 (W) and charanam 1 (W) of Vaa Veliye...



Let's next hear the Pallavi 2 (I/W) and interlude 2 (W) of Vaa Veliye...




Let's follow this up with charanam 2 (I/W) of Vaa Veliye...




This track is unusual in structure and includes a swaram at the end that is fully supported by Western rhythm - this is followed by the pallavi 3 (W) - let's hear that...




Shiva kara damaruka from Kochu Kochu Sandhoshangal (2001 Malayalam) is an amazing track from both melody and rhythm viewpoints. Both charanam 1 and charanam 2 have 7 phrases, the first two are set to Indian, the next two with Western and the last three in Indian without affecting the melody in any way. I am yet to see an Indian film music composer who has done this. The melody flow in this song, set to a Hindustani style is truly an achievement by itself. I am not sure, what was the expectation of Sathyan (the director) from Raja for the dance songs of this film. Raja resets his own bar, having done all the innovations I have described so far.

Let's hear the smooth melody with switching rhythms of Charanam 1 of Shiva kara damaruka ...




Let's next hear the master composer repeat his performance in Charanam 2 of Shiva kara damaruka ...




Raja takes this technique to Kannada as well. In the 2009 film Bhagyadha Balegaara, the folk track Balegaara Balegaara, the charanams are structured in Indian and Western format alternating in this otherwise folk track. In this track, Raja tries to be a little different in his arrangement compared to his earlier attempts – he gives two phrases to the male voice (Kunal), the first phrase backed by Indian and the second by Western, he gives the phrase 3 backed by Indian and phrase 4 backed by Western for Shreya, followed by 4 phrases of Indian rhythm arrangement. He tries to play around the phrasing in a duet with rhythms.

Let's hear the charanam 1 and pallavi 2 of Balegaara Balegaara with switching rhythms as described...


The experimentation mindset of Raja tries to apply any technique to semi classical, light or folk. He does not rest on his laurels and wants to keep experimenting till he gets to a point of total satisfaction. He tries to use every opportunity in every mood setting to try out his orchestration experiments. We are truly blessed to have a composer of his caliber in our times.

Raja’s rhythm innovation stage 9

This requires creating preludes, interludes, pallavis, charanams using a percussion instrument (Western or Indian) and using claps, fingersnaps on the same time signature.

Using claps or finger snaps in film music is nothing new. Now how do you try to be different from the crowd? There are several ways that Raja’s creative mind has worked throughout his career.

One of the earliest tracks where Raja used claps with mirudhangam and tabla very effectively was Aayiram Thamarai Motukkale from Alaigal Oiyvathillai (1982).

The second interlude of Pothi Vacha Malligai mottu from Man Vasanai (1983) uses claps as rhythm for part of the interlude.

Another early track of Raja – Chinna Kuyil Paadum from Poove Poochoodava (1985) uses claps for the later part of each charanam.

The pallavi of the track Tham Thanthana from Athisaya Piravi (1990) uses a novel combination of claps, duffel and thavil.

Let's hear the prelude of Tham Thanthana ...




Raja’s famous track Rakamma Kaiya Thattu from Dhalapathy (1991) uses finger snap along with the drums in the pallavi of the song.

The great Telugu hit track of Raja, Abbani tiyani debba from Jagadekaveerudu Athilokasundari (1992) uses claps throughout the track with the tabla. The rhythm was so attractive, that the tune appeared in the Hindi film Beta (1992) – not sure if this was with Raja’s knowledge.

Let;s hear the enticing prelude, pallavi and interlude 1 of this highly imitated rhythm - Abbani tiyani debba ...



The track Konji Konji from Veera (1994) uses tabla and finger snap as the rhythm for the pallavi of the track.

Nilavu Paatu from Kanukkul Nilavu (2000) uses finger snap throughout with pallavi with the drums. The interludes also use finger snap. The finger snaps form the rhythm pattern for the whole song including the charanams. Very unique in its composition style.

Let's hear the Pallavi, interlude 1 and charanam 1 of Nilavu Paatu. Notice the slow pace used by the composer of a widespread fast pace technique ...




Adida Melathe from Kanukkul Nilavu (2000) uses claps and finger snap as the rhythm in the prelude.

Let's hear the prelude of Adida Melathe...




The track Thamara Kuruvikku from Achuvinte Amma (2001 Malayalam) has an interesting prelude of drums, claps and bass guitar.

Let's hear the prelude, pallavi and interlude 1 with Raja in full blast with claps in the fast track Thamara Kuruvikku...




Thevaram from Rasathanthiram (2006 Malayalam) is an interesting rhythm track. The pallavi uses claps with duffel and drums as rhythm.

This is typical of claps and Raja uses the claps in a fast paced song - faster than Thamara Kuruvikku in the Thevaram track. Notice the nativity of the rhythm...




In essence, both finger snaps and claps are another pair of weapons in Raja’s armor. He chooses to use one or the other or the combo along with all possible rhythm instruments. It ranges from the slow paced Nilavu Paatu to fast paced Thevaram.

While there are other composers who have used finger snaps and claps in their compositions, Raja started the tidal wave of combining these elements with any type of percussion instrument. Finger snap was restricted to only drums and claps with tabla before Raja. Now, everybody freely experiments, thanks to all the innovation and guidelines shown by Raja.

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.