Carnatic Raja

 There are several Carnatic exponents who keep wondering about Raja’s ability to freely compose music based on several rare ragas. Most music composers are happy with Mohanam, Kalyani and a few other low risk ragas that work very well for film music. Raja has tried out several rare ragas casually, and also harmonized them (I will cover some more heavy lifting WCM stuff shortly). Here are some examples:

1. Reetigowlai (Chinna Kannan Azhaikiran - Kavi kuyil - 1977)
2. Lathangi (Thogai Ilamayil - Payanangal Mudivathillai - 1982)
3. Hamsanandhi (Vedam Anuvilum - Salangai Oli - 1983)
4. Lalitha (Ithazhil Kadhai Ezhuthum - Unnal Mudiyum thambi - 1988)
5. Amirthavarshini (Thoongatha vizhigal rendu - Agni Natchathiram- 1989)
6. Paavani (Paatha Vizhi - Guna - 1992)
7. Nalinakanthi (Enthan Nenjil - Kalaignan - 1993)
8. Saranga Tharangini (Isaiyil Thodanguthamma - Hey Ram- 2000)
9. Panthuvarali (Piraiye - Pithamagan- 2004), Raja Paarvai (1980) title music

Please note that I have avoided references to ragas such as Shankarabharanam, Sarasangi, Charukesi, Keeravani, Gowri Manohari or Natabhairavi. More on this later. I do not want to focus too much on Carnatic music as I have even lesser knowledge than my small understanding of WCM. I also do not rate the capability to set tunes in rare ragas as a great genius qualifier. MSV has used several rare ragas such as ‘Mahathi’ for Apoorva Ragangal. It is our own music and we are supposed to be good at it, aren’t we? I will get back to some more discussion on Raja’s Carnatic foray after covering some other WCM topics.

 

Indian film music basics

There is a constant reference to a number of music compositions in this document. It may be worthwhile to document the standard structure of our film music track so that our references are understood by the readers in a standard way



Very rarely, there is a third charanam and a concluding interlude. More than 99% of Indian film songs do not have a concluding interlude (Postlude?). Interludes do not normally involve the main singers with the exception of humming. Mostly, it is instrumental or chorus based. A good example of concluding interlude is Megam Kottatum from Enakkul Oruvan. (More on this when I cover Raja’s percussion) Another example of a third charanam is the song “Siriya Paravai Siragai” from Andha Oru Nimidam or Samakozhi Koovuthamma from Ponnu Oorukku Puthusu (both these songs are musically rich).

An introduction to polyphony

In our folk music, we have something called ‘Esapaatu’ where two singers alternate between each other. When one finishes, the other starts and so on. Raja, who is a WCM expert, tries this with his own touch – observe the song – Megam karukkaiyile from Vaidehi KaathirunthaaL (1984). If you pay attention to the chorus in the song, you will realize that the male and female voices not only alternate using the ‘Esapaatu’’ technique, but both use Western and Eastern traditions as designed by Raja. The male voices sing it the proper Western way, the female voices in our traditional folk way. Observe that the male chorus have no ‘gamakam’ in their phrases and the female voices are full of ‘thanananna’ which is traditional. The entire song is fully a scale based song and is not CCM based. However, Raja will embellish it with flute interludes which are fully folk, but harmonized! You will realize that there is a bass guitar pattern throughout the interludes/song that will start revealing to you that this is not from a village folk artist!

I want to go from the known to the unknown - megam karukkaiyile is not polyphony. You need to have more than one melody played simultaneously fitting the same scale to get to polyphony. If the two melodies are entirely different, but together, the end effect sounds very melodic, it is called counterpoint. Westerners make a big fuss about this and you can hear this with every WCM music station in the West making a special mention of it before they play any number that contains this technique. Piece of cake for Raja! Counterpoint is a musical idea first expressed by JS Bach in the seventeenth century. Raja is a big fan of JS Bach, Mozart, Beethoven and Tchaikovsky. His music has their strong influence. JS Bach’s work was primarily on violin, piano and some other seventeenth century instruments (harpsichord) that are not in use anymore (JS Bach). Raja is the world’s greatest living counterpoint specialist. One can write a book on Raja’s counterpoints only. This should not be new to you at all, as you are hearing counterpoints every day without knowing about it! Every other Raja’s song is filled with counterpoints. Even Bach would not have thought of so many counterpoint applications. Time for few examples, as it is impossible to list all gems of Raja.

Counterpoint with voices

Poomalaye Thol Serava – Pagal Nilavu (1986). This is a masterpiece of sorts on counterpoints. You can observe that Raja and Janaki sing two different melodies at the same time. There are at least 6 voice phrases in this song that demonstrate voice based counterpoint.

Dhaas Dhaas Chinappa Dhaas Dhaas – Kadalora Kavidhaigal (1986) – You can observe the chorus and Raja’s voice overlap with different melodies (this is strictly not a counterpoint as it uses a phase shift of the same melody between Raja and the chorus – polyphony nevertheless). If you research Raja’s work, you can find another hundred easily.

Raja’s famous Rakamma Kaiya Thattu from Dhalapathi (1991) is another case in point. If you observe the last pallavi of this song, which is fully scale based, the Aberi based Carnatic chorus continues when SPB gets back to his Pallavi. This song has so many other spectacular musical elements, but we will stick to counterpoint for the moment.

Thendral Vandhu Theendum Podhu from Avadharam (1995) uses the counterpoint technique between Raja and the chorus voices during the interludes. This track also has spectacular violin counterpoints and is a musically rich track. Pay attention to the below clip between 0:29 to 0:39 secs and also 0:44 to 1:18 secs to appreciate the counterpoint technique used with voices. Hear the track....

The song Pudhu Mappilaikku from Apoorva Sagodarargal (1989) has very rich counterpoints when the Ra Pa Pa humming goes on between the singer and the chorus background. In this track, pay attention to 0:33 to 0:52 seconds to appreciate the usage of vocal counterpoint. Hear the track...

One more unusual candidate for this category – the prelude of Metti Oli Kaatrodu from Metti (1982) – pay attention to the initial humming of both Raja and Janaki – a wonderful counterpoint. Pay attention to 0:01 to 0:22 seconds in the clip below to appreciate the usage of vocal counterpoint in a complete Indian melody. Hear the track...

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If you trace Raja's early work, he did some amazing vocal counterpoints as early as 1981 that was not appreciated much at that time. The track Pon Oviyam from Kazhugu (1981) has some amazing vocal counterpoint work. Both Raja and Janaki take turns, sing with the chorus as well as overlap with completely different melodies. This is far ahead of its times. Perhaps, Raja repeated his vocal experiment again in 1986 (Poo Maalaye in Pagal Nilavu -1985) and got noticed at that time. In the clip below, there are several vocal counterpoints between Raja, Janaki and the choir. Specifically focus on the usage of vocal counterpoints in the following segments: a) 0:06 to 0:28 secs b) 1:01 to 1:17 secs c) 1:25 to 1:49 secs d) 1:51 to 2:06 secs. Some segments have all the three sources and others have two. Let's hear the early Pon Oviyam...

These are some examples from Raja's wide body of work. He continues to do this till today - Nandhalala (2009), as it comes very naturally to him.

Counterpoint with violins

Here is the masterpiece. Listen to And we had a talk in Raja’s famous album How to Name it (1986). Bourre is a dance form of the seventeenth century and JS Bach did a lot of music for court dances. Raja has taken ‘Bourre in E-minor’ of Bach and played Hamsadhwani raga as a counterpoint to it. If you start comparing the scale matching in this piece and his harmonization of the CCM with WCM, you will understand the genius that Raja is. Nobody, anywhere in the world, has done anything like this before. The HTNI album is full of such gems. I would like to mention one more track on this album Study for violin the Mayamalava gowlai based Tulasi Dhala (you can hear Yesudas sing this piece in Rudra Veena) mixed with a WCM composition that matches the same violin (appears like two) in the lower and higher octaves.

Let’s take some simple examples from film music. Back to Poomalaye ThoL Serava from Pagal Nilavu (1986). Listen to the 1st interlude and see the play of violins and the melodies they play. Specifically, pay attention to the following counter melodies involving violins: a) 0:01 to 0:12 secs and again 1:28 to 1:39 - these sections have violin and violin playing counter melodies b) 0:12 to 0:19 secs - violins playing counter to synthesizer c) 0:30 to 0:33 - violins and violins in counter melody d) 0:58 to 1:15 secs - violins in counter melody with synthesizer again.  Hear the track...



Ennulle Ennulle from Valli (1992). Listen to the 1st and 2nd interludes and the violins transport you to a different world. This song also qualifies for the first category on voices as the chorus does a counterpoint on the violins which also is playing against another melody on guitar. If you observe closely, there are three melodies going on simultaneously- violins, guitar and voices and you feel that everything has its place.

Another great example is Maalaiyil Yaaro from Chatriyan (1992). The first and second interlude are not just examples of violin based counter point, but also another great WCM technique called chromaticism, (http://en.wikipedia.org/wiki/Chromaticism) something no other Indian composer has touched till date! Specifically, this track uses a technique called 'tremolo' where several violins play micro notes that have a very minor degree of separation. Coming back to the topic of counterpoints with violins, pay particular attention to: a) 0:05 to 0:16 secs - synthesizer in counterpoint to violins in the background b) 0:17 to 0:24 - violins and flute in counterpoint c) 0:49 to 1:03 secs - violins and guitar in counterpoint. Hear the track...



The second interlude of Sangeetha Megam in Udhaya Geetham (1985) is almost like a simple demo of counterpoint on violins. Some more interlude examples: Metti Oli from Metti (1982), violins against a gush of background violins in Madai Thiranthu in Nizhalgal (1980). Pay attention to the following sections: a) 0:25 to 0:37 secs - violins and flute in counterpoint b) 1:22 to 1:35 secs - violins and violins in counterpoint. Hear the track...



Rasathi from Poovarasan (1996). The lyrics are folk, but focus on the orchestration. This is like hearing any Western Classical music bit! The track uses synthesized violins and real violins. Specifically, pay attention to: a) 0:03 to 0:09 secs - Synth violins and real violins in counterpoint  b) 0:10 to 0:25 secs - synthesizer in counterpoint with violins and c) 0:57 to 1:01 secs - Violins in counterpoint with background violins in tremolo.  Hear the track...




Mazhai Varuthu Mazhai Varuthu Kudai Konduvaa from Raja Kaiya Vachha (1991). The violin counterpoints with the background violins in this track are mind boggling. Specifically, a) 0:01 to 0:11 secs and 1:38 to 1:49 secs - brilliant counterpoint between violins and violins b) 0:49 to 1:05 - counterpoint between violins and violins. Hear the track...



Kanna Unai Thedugiren from Manadhil Urudhi Vendum (includes a guitar counterpoint with violins as well) (1988), Neela Kuyile Unnoduthan from Magudi (1984), Pothi Vacha Malliga Mottu from Man Vasanai (1983), Oru Naal Unnodu Oru Naal from Uravadum Nenjam (1977).

The great second interlude of Nilavu Thoongum Neram from Kunkuma Chimizh (1985 - it is hard to believe that this is film music!). Specifically, a) 0:01 to 0:14 secs  - violin and synthesizer in counterpoint b) 0:23 to 0:30 secs - violins and violins in counterpoint and c) 1:09 to 1:16 secs - violins and violins in counterpoint.  Hear the track..




Ananda Ragam Ketkum from Paneer Pushpangal (1981). This track is loaded with counter melodies all over the place. Some sections of interest: a) 0:10 to 0:20 secs and again 1:09 to 1:20 secs - violin and flute counterpoint b) 0:22 to 0:24 secs - violin and violin in counterpoint c) 0:57 to 1:00 secs - violin and violin in counterpoint d) 1:28 to 1:34 secs - violin and violin in counterpoint e) 1:53 to 1:56 secs - violin and violin in counterpoint. Hear the track..




Some others that I will feel bad if I do not mention specially Agaya Vennilavae from Arangetra Velai (1990) the interlude has mind blowing counterpoints on violin and flute. Specifically, a) 0:01 to 0:17 secs - violin and violin in counterpoint b) 1:05 to 1:10 secs - violin and violin in counterpoint. Hear the track.. 




Another very worthy mention is the prelude of Nilavondru Kandaen from Kai Rasikaren (1984) and its interludes a masterpiece of sorts by Raja. In particular, a) 0:04 to 0:33 secs has several counterpoint combinations - violin-violin, violin-flute, violin-synthesizer b) 0:47 to 1:00 secs - violin and synthesizer in counterpoint  c) 1:00 to 1:07 secs - violin and violin in counterpoint and d) 1:31 to 1:41 - violin and  synthesizer in counterpoint. Hear the track..




There are at least 500 tracks of Raja where you can see the use of this technique (counterpoint with violins) and none of them are the same! I just highlighted only some examples here.

Counterpoint with Flute

Raja has done several mini flute sonatas (inspired by Bach) very quietly in his film interludes and we have to separate these gems to appreciate it. Here are some that I am aware of: Poovile Medai Naan Podava from Pagal Nilavu (1986) – listen to the prelude and the interludes with flute with the keyboard/guitar counterpoint - this is vintage Raja paying homage to Bach. You can use this great composition as your phone ring tone! You can feel proud that a musician of our times could do something like this. Hear the track....





Pacha Mala Poovu from Kizhakku Vaasal (1990)- pay attention to the first and second interlude – I will challenge anyone who thinks this is some folk fluke. The flute and the guitar are on co-opetition to create a wonderful listening experience. Another great counterpoint. I will cover this song more when I cover Raja's folk based compositions. Hear the track...





Etho Mogum from Kozhi Koovuthu (1982). I am yet to hear a prelude that is better than this song. Raja played this prelude to Paul Mauriat, the French classical music composer, when he traveled to Europe. The guitar, violin and flute play in this song deserves an award for just the prelude. Amazing composition. The prelude is so enchanting that the track below has it 3 times! Hear the track...





Another Raja flute counterpoint based masterpiece – Chinna Chinna from Mouna Ragam (1986) – I will cover this song more when I uncover Raja’s use of bass guitar.Pay attention to the flute, the synthesizer and the guitar in the first and second interlude. Hear the track...





Putham Pudhu Kaalai from Alaigal Oiyvathillai (1981) – there is no discussion on flute that is complete without this song. The counterpoint play is between violins, flute and voice in this song - another masterpiece. The conversations that take place between the violins, the flutes and the guitar in this composition, clearly shows the master mind behind the work. We have every reason to be proud that this was a creation during our lifetime and can easily stand up with some of the best orchestration work anywhere in the world. Hear the track...




How about a counterpoint with flute and flute? Oru Kili urangudhu from Ananda Kummi (1982). Hear the track... 





Another masterpiece that it is impossible to ignore is the track from the album called Nothing But Wind (1985) titled Mozart – I love you. Raja takes on a WCM composition that is Mozart’s style, brings in Hariprasad Chaurasia in his native format (Hindustani), merges him slowly with Mozart and gets him to play a counterpoint piece with the grand violins in the background.


Now let’s look at a sample of his hundreds of flute and violin based counterpoints. Most of the ones that I have mentioned in the violin section qualify for this section as well. The trouble with Raja’s music is it is hard to categorize – you never know which one technique he uses in a song. Naan Padum Mouna Ragam from Idhaya Koil (1985) features both flute and violin based counterpoints. The solo violin brings out the pathos when the string section continues in the background. Hear the track...




Nee Padhi Naan Padhi from Keladi Kanmani (1990) uses flute in counterpoint mode with violins in the first interlude in an enchanting way. Siru Ponmani from KallukkuL Eeram (1980), second interlude of Vanakuyile from Priyanka (1994). Hear the track... 




Ithazhil Kadhai Ezhthum from Unnal Mudiyum Thambhi (1988), Thaalaatum Poongatru from Gopura Vasalile (1991). Amazing flute work that is hard to ignore. Pay attention to the 1st interlude between the flute and the bells in counterpoint. Hear the track...




Observe the first interlude of Sempoove from Siraichaalai (1996) – please listen to the cellos and the string section when you hear only the flutes – mind blowing! Raja's techniques only get better with time. Hear the track... 




The first interlude of Un Kuthamma En Kuthamma from Azhagi (2002) – interesting counterpoint between the string section and flutes. Raja uses counterpoints for all moods - this is a track that is very pensive (similar to Naan Paadum Mouna Raagam). Hear the track..



The list is endless as one of Raja's primary instruments is flute and his flautist (Arunmozhi alias Napolean) sings for him too.

Counterpoint with guitar

Raja was a guitarist and an organ player before he became a composer. No prizes for guessing who has done some of the best guitar work in Indian cinema – he got his music qualification in Western Classical guitar. The unique feature of Raja's guitar work is its simplicity. I do not think anyone in Indian cinema has used the regular acoustic, electric and bass guitar the way Raja has used it. I will start with Manadhil Enna Ninaivugalo from Poonthalir (1979) – please hear the prelude, first and the second interludes and see the play of guitar (electric, rhythm, bass), flutes and saxaphone in counterpoint/call and response mode – vintage Raja. Pay attention to the following segments on counterpoint technique: a) 0:01 to 0:15 secs - guitar in counterpoint with sax b) 0:16 to 0:33 secs - guitar in counterpoint at times with another guitar and also with a flute c) 1:20 to 1:35 secs - brilliant guitar-guitar counterpoint. Hear the track...



I chose this track first as this demonstrates the mastery Raja has over the Western idiom. If you notice closely, the lead guitar plays three roles: 1) plays along with the melody at times 2) plays a different melody at times (counterpoint) and 3) plays a coversation with the other instruments (also called call and response technique).

Then Poove Poove Vaa from Anbulla Rajinikanth (1984) – pay attention to the second interlude and see the guitar play with the keyboard in counterpoint mode. It is the regular hollow guitar (or Hawaiian guitar) that plays for a few seconds with the bells in a different melody. Pay attention to the following counterpoint segments in the track below: a) 0:03 to 0:13 secs - Guitar in counterpoint with flute b) 0:25 to 0:34 secs - again, guitar in counterpoint with flute, but the melodies are completely different c) 0:35 to 0:52 secs - guitar in counterpoint with the synthesizer and at times with the flute d) 1:09 to 1:29 secs -  again, guitar in counterpoint with flute, but the melodies are completely different from the earlier two examples! Hear the track...



Singara Cheemaiyile from Ninaivu Chinnam (1989) - the first interlude is a masterpiece using a guitar in counterpoint with a western flute – another masterpiece. It is very easy not to pay attention to this wonderful piece of work. Sometimes, Raja places some of his great work on orchestration in some obscure song that you need to unearth. This is truly a gem in my view. Pay attention to 0:01 to 0:17 seconds. Hear the track...



In Ilaiya Nila from Payanangal Mudivathillai – (1982) the second interlude has an acoustic guitar playing in counterpoint to the electric guitar. Not to mention the flute doing the same with the electric guitar. However, this track is more popular for the jazz style guitar usage by Raja very early in his career.

All that I mentioned about Ilaiya Nila applies equally to Nalam Vazha Ennalum from Marupadiyum (1993) – on top of it, note the violin counterpoints in the song’s interlude – this is another masterpiece of Raja. This film has some excellent tracks in general and one of the finest scores by Raja for Balu Mahendra. The simplicity and the elegance of the guitar usage somehow reveals how close this instrument is to the composer's heart! I will cover more on this track later as the original Hindi film ('Arth') tried to convey melancholy through the usage of ghazals - Raja did better with his guitar in counterpoint with the violins. Pay attention to two fantastic guitar-guitar counterpoints in this clip, the first one between 0:09 to 0:23 secs and the second one between 1:06 and 1:16 secs - notice the melodies are not repeated. Raja also throws in a violin-violin counterpoint in the same track between 0:47 to 0:53 secs as a bonus! Hear the track...



How can we forget Pani Vizhum Malarvanam from Ninaivellam Nithya (1982) ?– the string section is one of Raja’s best not to mention the counterpoint rich interludes with guitar and violin. The usage of solo violin is special in this track and I will discuss more on this in the section – moods of Raja.

If you observe Ithu Oru Pon Maalai Pozhuthu (from Nizhalgal – 1980) second interlude the guitar plays counterpoint to the keyboard.

Similarly if you observe Pattu Poove Mettu Podu from Chembaruthi, (1992) the interludes are very vibrant with the great counterpoint play of guitar with violin and keyboard – I rate this one of the vibrant guitar play of Raja. Observe the orchestration in this song - once the guitar and the violin counterpooint play is over, the saxaphone is used as a brilliant bridge between the guitar and the high powered violin play to keep the vibrant mood of the composition. The track is an example of how great things can be achieved in less than 2 minutes! Pay attention to the following segments: a) 0:01 to 0:15 secs and again 1:36 to 1:51 secs - guitar in counterpoint with sax b) 0:19 to 0:39 secs - violins in counterpoint with violins c) 0:52 to 1:02 secs - guitar in counterpoint with violins d) 1:55 to 2:15 secs - guitar in counterpoint with violins e) 1:09 to 1:18 secs - synthesizer in counterpoint with violins. Hear the track..



You cannot discuss Raja's guitar and not include Senthoora Poove from 16 vayathinile (1977) – the guitar and violin play counterpoint throughout both the interludes and has been lauded as one of the earliest display of Raja's Western music abilities. Pay attention to the following segments int he clip below: a) 0:01 to 0:09 - guitar in counterpoint with violins b) 0:29 to 0:40 secs - violins in counterpoint with violins and c) 0:58 to 1:17 secs - violins, flute and shehnai in counterpoint. Hear the track...



Guitar playing a different melody with flute and chorus is all over Pani Vizhum Iravu from Mouna Raagam (1989). Hear at the relaxed pace of the electric guitar when the violins try to play the counterpoint at a different pace. Another display of mastery over the counterpoint technique by Raja. Pay attention to the counterpoint segments 0:01 to 0:15 secs and 0:25 to 0:32 secs. Hear the track...



Similarly, violin and guitar counterpoint play in the interludes of Seer Kondu Vaa from Naan Padum Paadal (1984) is another pleasing one.

Observe the second interlude of Raja Raja Chozhan Naan from Rettai Vaal Kuruvi (1987) and you can see the play of guitar, solo violin and flute in counterpoint.

Another great guitar and guitar counterpoint that is unforgettable is the second interlude of Poonthalir Aada from Paneer Pushpangal (1981). With the chorus Raja will transport you out of this world – this is one of the best interlude scores of Raja, in my view. There is also a view that this score uses Invertible Counterpoints- supposed to be the highest level of sophistication in western orchestration that you can ever get to. While I am not knowledgeable enough to add to this view, it must be mentioned that I have never heard of any Indian music composer even talk about it other than Raja. If there is a guitar track to die for, it is this! The first 16 seconds of the clip below is simply the best guitar to guitar counterpoint in Indian film music! There are other bonuses too: a) 0:17 to 0:36 secs - brilliant arrangement of the bass guitar and voices b) 1:17 to 1:28 secs - another brilliant arrangement of the bass guitar and voices, set to a different melody c) 1:50 to 2:01 secs - a violin-violin counterpoint thrown in as another bonus. No wonder, Raja elevates the art of interlude composition to the highest level on the planet. Hear the track...



Another song that uses the invertible counterpoint technique by Raja is the song 'Gangai Aatril Nindru Kondu' from Aayiram Nilave Vaa (Tamil 1983). The clip below is the second interlude of this song. Listen to the 16 seconds onward and you can hear the two guitars in invertible counterpoint mode, with one climbing in notes as the other descends. Hear this brilliant work in this track...

 


Some others that are worth mentioning from a guitar counterpoint perspective – Vaan Engum and En Iniya Pon Nilave from Moodupani (1980), Ithu Oru Nila Kalam from Tik Tik Tik (1981) – I will cover more on this song in the chorus discussion etc. Poove Sempoove from Solla Thudikuthu Manasu (1988) is another great guitar and flute play in counterpoint. The list is endless and shows not only the talent of Raja as a composer but also his lead guitarist Sadanandam. There was a time I used to wonder about RD Burman’s use of guitar – looks insignificant before Raja’s work.