This site attempts to showcase the Indian musical genius - Ilayaraja and his work with both Western and Indian Classical music over the last 5 decades.
As mentioned in the section of film music basics (Film Music Basics), Indian film music is structured in a particular way and this restricts any film music composer and Raja is no exception. To add to the challenge, Raja’s predecessors have already done quite a bit. So, let’s approach this challenge from the film song structural viewpoint. As usual, given the wide body of Raja’s work in at least 4 languages, it is impossible to classify all his work. Nor are the examples in any way the best examples in those categories – they are simply top of mind examples. I use about 1200 tracks of Raja from 4 languages as my basis of most research. Some of your favorite tracks not appearing in the classification could be a result of my limited candidates I use in my research (roughly 20% sample of the population). Here are a dozen things that you can do to set the bar higher than your predecessors:
Set the charanams and pallavis to Indian rhythm and the interludes to Western rhythm – this is nothing new, as Raja’s predecessors have already done it. I will not even try to list examples, as it can run into hundreds.
Set the pallavi to Indian rhythm and the charanam to Western rhythm and vice versa – Raja has done several of these and followed his predecessors. Let’s call this the rhythm follow up mode. Again, I will not bother to provide examples, as it easily runs into hundreds.
How about structuring a song where one pallavi is set to Western and another is set to Indian rhythm? Let’s call this rhythm innovation stage 1. This is done to make the track more interesting. Given the fact that Raja composes popular music, most listeners follow the melody and not the rhythm and this certainly reflects the innovative mind of the composer, who wants to change something while conforming to the overall song’s structure.
How about structuring a first pallavi and charanam in Western and follow it up with the second charanam and pallavi in Indian? That’s building on the earlier stage – let’s call it rhythm innovation stage 2. This takes the experimentation one notch up and show cases the mind of the composer who wants to raise the bar beyond stage 1.
How about structuring a song with Indian and Western rhythm with a complex transition using both rhythms between the charanam and the pallavi? – Let’s call it rhythm innovation stage 3. Transitions are hard to manage, when you have rhythm patterns that are Eastern and Western. You need to be very innovative to make the extra effort to work this transition and still not screw up the flow of the song. This again sets the bar higher then the previous stage (stage 2).
How about creating an entire interlude with just rhythm and no string or wood wind sections? – Let’s call it rhythm innovation stage 4. This is serious experimentation as keeping the listener engaged for over 30 seconds with just rhythm is not an easy task. Very few composers attempt such experiments. Even with today’s rhythm machines and synthesized drum pads, it is rare to see such compositions.
How about creating a prelude, interlude or postlude with more than one Indian rhythm instrument? – Let’s call it rhythm innovation stage 5. While drums and tabla are predominantly the rhythm instruments in Indian film music, listeners rarely pay attention to rhythm innovations by composers like Raja who make an attempt to bring several Indian rhythm instruments into mainstream film music. Particularly, Raja raises the bar by using multiple unusual rhythm instruments on the same time signature.
How about creating a prelude, interlude or postlude with more than one Indian and Western rhythm instrument? – Let’s call it rhythm innovation stage 6. As film music preferences change, so should the composer’s work. The use of Western instruments does not mean replacement of Indian ones. They can innovatively coexist and Raja has experimented in several of his tracks.
How about using the main melody to guide the rhythm pattern, thus creating a melody based rhythm? – Let’s call it rhythm innovation stage 7. This is an innovative rhythm style of Raja where he adjusts the pace of the rhythm based on the composed melody.
How about creating a charanam or pallavi with parts of it in Indian and the remaining in Western rhythm? – Let’s call it rhythm innovation stage 8. Now, with this you can have several combinations and can get very interesting. This is an innovation that Raja introduced, as he has such solid understanding of rhythm. While other composers do attempt this experiment, I am yet to hear such pleasant transitions between both these systems from anyone other than Raja.
How about creating preludes, interludes, pallavis, charanams using a percussion instrument (Western or Indian) and using claps, finger snaps on the same time signature? – Let’s call it rhythm innovation stage 9. Though his predecessors have use claps in songs, Raja raises the bar by using finger snaps and claps with unusual rhythm instruments.
How about creating a charanam or pallavi with parts of it in two different Indian rhythm instruments? – Let’s call it rhythm innovation stage 10. This is walking on thin ice as you can screw up the melody if you do not manage the rhythm well. Raja has done so many of these experiments depending on the film situation that it is hard to say which two Indian rhythm instruments is easiest for him.
How about using a single rhythm instrument, but using multiple patterns in a single track? – Let’s call it rhythm innovation stage 11. This requires a mastery over rhythm management. Several composers have tried 2 or 3 rhythm patterns within a single track. Raja raises above all of them.
How about creating a track with no percussion rhythm? This technique uses strings to support the entire song – no Indian or Western percussion instruments – let’s call this rhythm innovation stage 12. When you have such strong fundamentals, it is easy to do without something that others consider impossible to do without. This is hard stuff as it may not pay off. Raja keeps raising his own bar on rhythm excellence.
How about using a complex set of rhythm patterns with both Indian and Western rhythm throughout the track – all components of the track - – Let’s call it rhythm innovation stage 13. Alternating between Indian and Western rhythm is hard enough. If you throw even more patterns into the mix, you have a great probability of screwing up. Not with the incredibly talented– Raja has created music which runs for just the 4 minutes but comes out with more than 7 patterns between Indian and Western rhythm on a single track! I am not aware of any Indian composer who has attempted this, let alone so successfully!
How about using only voices as rhythm for an entire track – let’s call it rhythm innovation stage 14. Doing without rhythm instruments is hard. However, you can use other instruments such as guitar/violins/cello to guide the rhythm. Using only voices – you must be nuts! Being a master of vocal harmony, even this challenge appears not insurmountable to the genius!
All these innovations are within the world of mono-rhythm. At any point in time, there is only one rhythm pattern playing. However, these stages demonstrate the increasing complexity and sophistication of the composer’s work from a rhythm perspective. Please note that though there are stages that demonstrate multiple rhythm instruments being used, they still fall under one time signature.
Raja’s journey with rhythms is a long one. Raja’s wide body of work takes advantage of Western, Indian and folk rhythm instruments. Raja’s work with rhythms is staggering that he has done a huge number of experiments with all these three systems. Next, we will expand on Raja’s rhythm innovation stages and explore with examples. Please note that some tracks may get repeated in several categorizations – by now, you’ll understand, that’s Raja!
I must thank Kamal for his extensive knowledge of rhythm instruments and his valuable input to several examples in the following sections.
This requires structuring a song where one pallavi is set to Western and another is set to Indian rhythm.
Raja has done several of these in his career. Please note that in this classification, only one rhythm instrument is used at a point in time, regardless. . Siriya Paravai Siragai Virikka from Antha Oru Nimidam (1985) is an unusual composition consisting of three pallavis, three charanams and three interludes. Raja uses the Western rhythm for all the pallavis, charanam 1 and 3 and interlude 1 and 3.He uses Indian rhythm for interlude 2 and charanam 2. Unless you pay attention to it, it is easy not to catch it – Raja’s transitions are so smooth between different rhythms and are typical of his compositions.
Let's hear Siriya Paravai charanam 1, set to Western rhythm...
Let's next hear Siriya Paravai charanam 2, set to Indian rhythm. ..
Let's lastly hear Siriya Paravai charanam 3, set to Western rhythm again...
The flow of melody and the rhythm is so pleasing in this track and the experimentation is so elegantly done...
Shiva Kara Damaruka from Kochu Kochu Sandhoshangal (2001 Malayalam) is an amazing track from both melody and rhythm viewpoints. This track will feature in another section also. If you observe the pallavi of this song, it is played with the tabla the first and the second time. The third time around, the composer decides to have the singer sing it twice, but change the rhythm instrument to mirudhangam for the last time in the composition.
Let's hear Shiva Kara Damaruka pallavi 1...
Let's hear Shiva Kara Damaruka pallavi 3...
Possessing great talent is one thing. Presenting it elegantly is another. With Raja, even the most complex things somehow fit so simply in their respective places...
Let’s explore some more examples with other stages of Raja’s innovation with rhythms. Rhythm is more than just loud beats!
I am sure anyone who reads this blog is musically inclined and I do not want to bore you with the importance of rhythm for any music. Film music in India is popular music and tends to showcase our modernity in the cultural sense. So, what’s the central argument that we will work on in this section? My claim is that Raja not only raised the bar with rhythms above his predecessors, but also his own. Obviously, this means that his bar is higher than what his predecessors set. That’s a tall claim in a country where there are several languages, hundreds of composers and no lack of creative ideas. That’s the trouble with geniuses – you are truly your only competition! A little historic perspective will serve as a good background to help us navigate this complex topic. It may be worthwhile reading the section on film music basics (Film Music Basics) if you have not already read it, to appreciate this entire section.
As part of showcasing our modernity, music composers have used every possible opportunity to introduce new techniques locally as well from other parts of the world, especially the West. Let’s take some of Raja’s predecessors – SD Burman or MSV (Raja respects both of them immensely).
Waqt Ne Kiya from Kagaz Ki Phool (1959) sang by Geeta Bali for SD Burman - amazing orchestration for its time. The bass, the cellos, the violins – trademark of Dadha! For better audio clarity, I am including the link where Lata pays homage to Geeta…
I recently heard a couple of tracks that caught my attention to one of Raja’s predecessors - MSV - Manidhan Enbavan Deivamagalam from Sumai thaangi (1960). If you hear this track closely, the pallavis are orchestrated in Western rhythm and the charanams are done with Indian rhythm. This is way ahead of its time.
Another MSV track – Engeyum Eppodhum from Ninaithaale Inikkum (1979) is set fully to Western rhythm complete with electric guitar, chorus and the works. RD Burman has done some amazing rhythm work during and before the time of Raja.
So, how do you beat that and also become better than your own self?
In my view, Raja approached rhythms in a multi-faceted way:
He does follow his predecessors and does better than them with their techniques
He brought in new folk paradigms and explored rhythms that no one did before
He explored new areas in rhythms and kept resetting his own bar higher that competition found it extremely hard to match it let alone beat it. This is due to his grasp of musical techniques – be it a drum kit, a synth pad, a tabla, a mirudhangam, udukku, urimi etc.
Music composers who came into the scene after Raja, I must admit, have done a good job with rhythms than any other area where Raja excels. In my view, they have still not caught up with the master!
Disclaimer: The information presented in this section is to get a general appreciation of the concepts. They are by no means complete or accurate.
This section is not meant to be a musicology type explanation, but simplified to appreciate rhythms that are used in film music so that one can appreciate Raja’s rhythms.
Timing is everything in music, more so with rhythms. Rhythms are expressed as time signatures and it typically is written like a fraction – example 3/4, 4/4 or 6/8.
What does this fraction mean?
The numerator shows you the number of beats in each measure.
The denominator tells you which note gets one beat.
Now, what is a measure? A measure (sometimes called a bar) is any segment of written music.
So, what does 6/8 mean? In a measure (or bar), you can count 6 beats. That explains the numerator. What about the denominator? It means that one eight of a note gets one beat.
Similarly, in a 3/4 rhythm, you can count 3 beats in a bar. One fourth of a note gets one beat. Obviously, the 6/8 rhythm is faster than the 3/4 rhythm. In other words, the greater the denominator, the faster is the rhythm.
Time signatures such as 3/4 or 3/8, 4/4, 2/4 are considered simple time signatures.
4/4 is the Western time signature for Aadhi Thaalam.
3/4 in Western music is called the Waltz rhythm (we briefly covered some examples in the section Thaalagathi vendum). This is called theesram in Carnatic music.
2/4 is typically a March rhythm.
Time signatures such as 6/8, 9/8, 12/8 are considered compound time signatures. Note that the numerator is always divisible by 3 in these cases.
6/8 rhythm is the roopaka thaalam in Carnatic music.
9/8 rhythm is called Sangeernam in Carnatic music.
6/8 in the Western world is used in fast waltzes, 12/8 in 12-bar blues and doo-wop music.
The third type of time signature is called Asymmetric or complex or irregular time signatures and these include signatures such as 5/4, 5/8, 5/16.
There is a whole genre of western rock music called math rock that tries to use complex time signatures such as 7/8, 11/8, 13/8 and so on.
5/8 is widely used in Carnatic music (kanda chapu) and so is 7/8 (misra chapu) are considered complex by the Western world.
Also, another great resource on odd time signature that carries a great tutorial…
As mentioned before, Veena was typically to signify an auspicious situation typically in Indian film music. Not after Raja came on board. He has used it in different situations, both in his classical as well as his light tracks. Specifically, Raja used the electric veena to produce some amazing moods.Let’s begin with tracks that invoke happiness mood. Ilancholai Poothatha from Unakaakave Vazhkiraen (1986) creates this mood along with synth, flute and violins. Thogai Ilamayil from Payanangal Mudivathillai (1982) created this veena magic with the support of guitars, synth and flute. Kadhal Oviyam from Alaigal Oiyvathillai (1981) uses the veena along with guitar and violins to create this mood. Kanmaniye Kaadhal Enbadhu from Aarilirunthu Arubathu Varai (1979) creates this mood using veena along with violins, nadaswaram and synth. My top pick would be Ilancholai Poothatha…
Let’s move over to the pleasant memories mood. Oru Raagam Tharatha Veenai from Unnai Vazhthi Paadugiraen (1992) is a track that creates this mood along with synth and violins. Amma enrazhaikatha from Mannan (1992) is another great track that evokes this mood. Kaalai Nera Poonguyil from Amman Kovil Kizhakaale (1986) is a great contender for this section. Tham Thananam from Pudhiya Vaarpugal (1979) is an innovative track using veena to bring out this mood along with violins and chorus. Thanga Nilavukku from Rickshaw Mama (1992) is another melodious track that uses veena along with flute, violins to create this mood. My top pick would be Tham Thananam…
Used properly, veena can be used very effectively in romantic situations. Indraikku Ennindha Aanandhamo from Vaidehi Kaathirundhaal (1984) creates this mood using veena with support from violins and flute. Sanga Thamizh Kaviye from Manadhil Urudhi Vendum (1987) creates this mood along with violins and flute. Kadhal Mayakkam from Pudhumai Penn (1983) is a great example of usage of electric veena in a romantic mood along with flute, violins and chorus. Nee Oru kadhal Sangeetham from Nayakan (1987) uses violin to create a romantic mood along with flute. Nee Padhi Naan Padhi from Keladi Kanmani (1990) uses veena with violin, synth and flutes to create this mood beautifully. Hey Paadal Ondru from Priya (1978) uses veena along with veena is an innovative way to create a romantic mood. Another outstanding romantic song with Veena is a Malayalam track by Raja in the 80s in the film Aalolam which goes Veene Veene. My top pick would be Kadhal Mayakkam…
Party mood with veena – sounds bizarre? Not for Raja. The track Vasantha Nilavin from Sooryan (2007 Malayalam) creates this unique blend of synthesizer and veena/sitar set to a catchy rhythm revealing another facet of Raja’s musical journey. In his earlier years, Raja created one of his all time best tracks – Pani Vizhum Malar Vanam from Ninaivellam Nitya (1982) where he used a unique blend of guitar, synth and violins to create a party mood. My top pick would be Vasantha Nilavin…
Veena fits easily into the pathos mood and Raja has used it on many occasions. Poo malai vaangi vandhaan from Sindhu Bhairavi (1986) creates this mood along with violins. Kanna Varuvaya from Manadhil Urudhi Vendum (1987) creates this mood along with violins, guitar and chorus. Nee Pournami from Oruvar Vazhum Aalaiyam (1988) creates this mood along with flute very well. My top pick would be Kanna Varuvaya…
Devotion, meditation mood is easily created using the veena and Raja has exploited the veena/sitar very effectively. Poovai Virijnu from Adharvam (Malayalam - 1989) brings out this mood extremely well along with violins and flutes. Vedam Nee from Kovil Pura (1981) creates this mood along with synth, violins and flute. Mouna ragam manaveenai, Kamalam Paadha Kamalam and Sollayo Vaai Thirandhu from Moga MuLL (1995) are all contenders for this mood using veena, ably supported by violins and flute. Mandhiram Idhu from Avaarampoo (1992) is another magical track that creates a sense of meditation extremely well. Kai Veenaiyai from Vietnam Colony (1994) set to Ameer Kalyani raga is my top pick for this section.
In our analysis, we looked at seven moods by way of seven colors and we tried to analyze it from seven main instruments that Raja has used. While this gives a perspective of Raja’s breadth and depth, it is by no means comprehensive. It is just an initial attempt. As mentioned before, there are many emotions beyond the seven that Raja has brought out with his songs and background music in films. Also, the seven instruments are just too limiting for this genius’ large body of work.
For instance, Raja’s work with solo violin alone deserves a separate analysis. Similarly, he has used unusual instruments (for South Indian music) such as saarangi, sitar, sarod, santoor along with his mainstream instruments to create a kaleidoscope of emotions/feelings.
There are many emotions/feeling that fall outside of our seven categories – jubilation (example, Ilamai Itho Itho from Sakala Kala Vallavan), intoxication (example, vaanam keele vanthalenna from Thoongathe Thambhi Thoongathe), maternal love (example, Chinna ThayavaL from Dhalapathi), Arrogance (example, Ennama Kannu from Mr. Bharat), competitiveness (example, Vaa Veliye from Paadu Nilave) and so on. Most of these emotions/feelings are created with lyrics, singing and excellent interludes.
Perhaps, at a later stage, we may want to expand this analysis to these moods as well. As this is an emerging area of research, with more information, we may either have to revisit our classifications or confirm our analysis.
Raja gets little credit for his usage of Sax/trumpets in various moods as it generally gets overshadowed by his usage of guitar, violins and flutes. In my view, he has used Sax/trumpets on a spectrum of moods that merits exploration.Let’s begin with tracks that invoke happiness mood. The title track of Cheeni Kum (2007) is a fantastic example of this mood. Maha Rajanodu from Sathi Leelavathi (1995) is another example of a track in this mood. Rum Bum Bum from Michael Madana Kamarajan (1991) is another wonderful example of this mood. Vazhavaikum Kadhalukku from Aboorva Sagodargal (1989) is another example for this mood. Please note that none of these tracks are set in a night club like backdrop. Raja just chose the sax and delivered! My top pick for this category is Vazhavaikum Kadhalukku…
Let’s move over to the pleasant memories mood. Enna Satham Intha Neram from Punnagai Mannan (1986) uses saxophone beautifully along with guitar to bring out this mood so well! Kanukkum Kanukkum from Ninaika Therindha Maname (1987) is another great track in this mood. The saxophone track in Cheeni Kum (2007) uses saxophone to bring out the mood of mischief – I have not heard any Indian film music that does this. Vaanile Thenila from Kaaki Chattai (1985) brings out this mood very well. Then Mozhi from Solla Thudikudhu Manasu (1988) creates this mood in the second interlude. My top pick is the Cheeni Kum track…
Sax offers excellent scope in a romantic mood when used properly. Though this is not very new in Indian film music, this is not the common mood for which this instrument is used as a norm. Gingila Gingila from Thai Mozhi (1992) uses the saxophone along with guitar in a jazz fashion so beautifully to bring out this mood. Kannan Vandhu Paaduginran from Rettai Vaal Kuruvi (1987) is another great example of a sax track in a romantic situation. Sangeetha Megam from Udhaya Geetham (1985) is a masterpiece with violins/guitar to create a romantic mood. Sorgathin Vasapadi from Unnai Solli Kutramillai (1990) is another great track that evokes this mood. Ennathaan Sugamo from Maapilai (1989) creates this mood along with flutes and violins. Maalaiyil Yaaro from Kshatriyan (1990) creates this mood with violins. My top pick is Maalaiyil Yaaro…
The party mood is the most common usage of the sax in Indian film music. Raja has done several in this mood too. Ennodu Paatu Paadungal from Udhaya Geetham (1985) brings out this mood along with electric guitar and chorus very well. How can one forget Sorgam Madhuvile from Sattam En Kaiyil (1978) – this used to be a regular party song. Vaanam Keele Vandhalenna from Thoongathe Thambi Thoongathe (1983) brings out this mood along with violins and electric guitar. Paatu Thalaivan from Idhaya Kovil (1985) is a wonderful track with ably supported by electric guitar, violins to create this mood. My top pick is Sorgam Madhuvile…
Saxaphone is rarely used in a pathos situation in Indian film music. Raja successfully used it with Mandram Vandha Thendralukku in Mouna Ragam (1986) – Raja brings out pathos so well with sax and flutes. Diana Diana supported by the synth from Kadhal Kavidhai (1999). Chandirare Sooriyare from Amaran (1992) uses sax in a pathos situation. My top pick is Mandram Vandha Thendralukku…
Another common usage of sax/trumpets is in an aggressive mood in Indian film music. Ennadi Meenachi from Ilamai Oonjaladukirathu (1978) uses saxophone and trumpets to create this mood with electric guitar. Raja has used trumpets/sax in another aggressive mood in Yaar Veetil Roja from Idhaya Kovil (1985). My top pick is Yaar Veetil Roja…
