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...

Concluding notes on Raja’s Rhythms

In all, between mono and poly rhythms, we have seen Raja progress through 17 stages. While most composers easily do 6 to 8 stages, going beyond that is a challenge. Today, most composers blame stories, scripts for their lack of experimentation. Nothing can be farther from truth. Raja has done his musical experiments in several non descript films that did not have the great stories or scripts. If a composer has the commitment towards innovation, he can find a way.


We can only hope that some Indian music composer in the future will attempt to surpass these 17 stages. Till that happens, we must thank that we are born at the time of the genius who set the bar.

Raja's (poly) rhythm innovation stage 16

This requires Indian and folk instruments arranged in a poly-rhythmic arrangement


While most music composers have exploited Indian and folk instruments very well in film music, we will showcase tracks where the idea is to play these instruments on different time signatures. While most technological advances have made poly rhythm with Western instruments quite easy, this is done in the old fashioned manual way, displaying the strong fundamentals of the composer.

A good example of polyrhythm innovation is the song Kasturi Maane from Pudhumai Penn (1983). Observe the prelude in the song where Raja demonstrates his mastery over the idea. He uses human claps and mirudangam on different time signature almost as a poly rhythm demo! Observe the claps start off on slow time, turns into a adhi taalam (8 beat cycle) and the mirudhangam joins playing at its time as the claps continue at its adhi pace. This is a very creative use of poly rhythm technique.

Let's hear the Pudhumai Penn song...

The SPB solo version of Maanguyile Poonguyile from Karakaatakaran (1989) – observe the percussion pattern throughout the song – observe the pattern of the main instrument (thavil) and the alternative instrument (udukku) – this is folk style arrangement that is poly rhythmic. The thavil starts off with the udukku on different times and throughout the 65 second clip, you will observe that both the rhythm instruments play at their own time along with the nadaswaram to create a nice tune.  For those not used to nadaswaram, it is a pretty loud instrument similar to the trumpets in Jazz music.

Let's hear the Karakaatakaran song's poly rhythmic arrangement...

The great Telugu hit track of Raja, Abbani tiyani debba from Jagadekaveerudu Athilokasundari (1992) uses claps throughout the track with the tabla. The claps and the tabla are set to different times and create an attractive poly rhythm. As mentioned before, this was copied in Bollywood in the film Beta in the 90s.

Let's hear the poly rhythmic arrangement of Jagadekaveerudu Athilokasundari song...

Adada Ahangara from Pithamagan (2004) – the interludes of this song are great experiments with poly rhythm. The first interlude has the udukku starting off loud and it keeps playing in its time. Intervening the rhythm is the fast rhythm of the bongos (most likely played with a synth pad). There is a synth bit for a few seconds following which the urimi comes back to life. This time around, Raja uses a duffle played at a slower pace, but faster than the udukku to create another poly rhythm. 

The second interlude of this song makes you think that Raja was not fully satisfied with his experiment. The urimi now plays without any break and within its cycle, the fast bongos are thrown in along with the conch. The fast violins add to the tempo of the drumming. This song’s rhythm arrangement is a masterpiece of sorts.

Let's hear the Pithamagan song...

Kili Thattu Kili Thatu from Athu Oru Kana Kaalam (2005) uses the native drums and the tabla on two different times very innovatively. To start with, the composer lets the native drum play. It is joined on a relaxed time at 5 seconds. To this play, the composer also throws in the manual bell which plays on its own time. The pallavi is played on a standard 6/8 tabla rhythm. Raja always has his experiments in songs where you never expect it!

Let's next hear the Athu Oru Kana Kaalam song ...

I am not sure into which category would Om Sivoham from Naan Kadavul (2009) would belong as its orchestration is a marvel in itself. This is a song that leaves you in a trance and some sections of the orchestration to be singled out as just poly rhythmic is a gross understatement. I have a 42 second clip from the track that is an unusual display of poly rhythm in very native Indian style. When you pay attention to it, there is a lot of Western instruments in place. The first 8 seconds of the clip has several rhythms playing in their own time. The lead instrument is the udukku, a traditional folk instrument. You have crash cymbals and bells and drums playing in their own time too. For the next 7 seconds or so, you can hear a super fast play on the rhythm pad with the chanting in the background and the udukku playing in its own slow time. For the next 10 seconds (15 to 25), you hear the rhythm pad continuing at its fast time and the crash cymbals catching up in tempo. It is hard to call this section as just Indian. For the next 20 seconds, you hear the heavy kickdrum playing with the sitar (played on the synth) and the udukku, the manual bells, the crash cymbals all join the fray with their own time. Four words – Mind blowing poly rhythm! Unless you are a super rhythm guru, it is impossible to arrange something like this. When you hear it casually, the composer simply lets you focus on the mood – the chants, the Indian folk percussion. When you step back and listen more closely, you can clearly hear the genius behind the arrangement.

Let's finally hear the Naan Kadavul song...

Raja's (poly) rhythm innovation stage 15

This requires Indian and Western instruments in a polyrhythmic arrangement


The Indian instrument is invarably the tabla in film music. The western rhythm instrument is invariably the drum kit. Some of the latest techno work makes it impossible to tell where the synthesized groove ends and where the synth rhythm begins.


Maapilaikku Maaman Manasu from Netri Kann (1981) is another example of a very innovative application of the poly rhythm technique. Raja uses a standard 4/4 drum beat as the rhythm and freaks out with voices and mirudhangam. Note that the singer’s jathi is not on the same time as the back beat. On two occasions within this 35 seconds clip, the composer throws also the mirudhangam on a different time. Poly rhythm is a special subject in the Western world after the import of such rhythms through Afro Americans. It is part of the Carnatic tradition for centuries. Raja just demonstrates this with a mix of Western and Carnatic traditions! We need in keep in mind that this was done long before drumming machines were invented – the first decent microprocessor came out around this time!

Let's hear the Netri kann song....



Devan Koil from Naan Padum Padal (1984) - the prelude uses a polyrhythmic arrangement between the Indian tabla and the Western drum. The prelude lasts only 20 seconds and the music transitions into Raja’s 80s style violins and tabla arrangement after the prelude. Even in the prelude, there is extensive use of synthesizer, violin and flute.

Let's hear the Naan Padum Padal song....






The postlude of Megam Kottatum from EnakkuL Oruvan (1984). This is an amazing display of poly rhythm throughout the postlude that lasts about 50 seconds. The first 20 seconds of the clip does not have any poly rhythmic arrangement, just a play between the guitar and the drums. Observe from 20 seconds onwards, you will hear separate rhythm play between the left and the right. The right channel has the drums playing on slow time and the left playing in faster time till the right drummer catches up to the pace of the left drummer. The guitar that plays along stops suddenly and now it is poly rhythm all the way! At 32 seconds in the clip, the left drummer is replaced by a mirudhangam player who plays on his own time as the right drummer continues. At 42 seconds in the clip, the right drummer slows his timing and the mirudhangam player is in full cry as super fast time. There is no need for a better demo in Indian film music than this for poly rhythm! In 1984, when the world was saying welcome to the Apple Macintosh, Raja was busy with polyrhythms!

Let's hear the EnakkuL Oruvan song ....





Puthiya Poovithu from Thendrale Ennai Thodu (1985) – this song uses two sets of poly rhythmic arrangement, one that qualifies it as part of this categorization and another that does not. The pallavi of this song has three things going on in three timing arrangement – the tabla, the click and the cymbals. Not to mention the bass guitar. Everything falls perfectly in its place and you have a great melody on top of it. The charanam replaces the tabla with the conga drums. The rest of the rhythm arrangement in the charanam is similar to the pallavi. I have the full pallavi and part of the charanam in this clip.

Let's hear the Thendrale Ennai Thodu song...





Kavidhai Kelungal from Punnagai Mannan (1986) – if you observe the prelude of this track, the drum and the tabla play their own rhythm pattern, each one of them is clearly heard and together it sounds very pleasant. The base time is maintained by the drumming machine and the tabla rhythm is overlapped thrice in the prelude. There is also synthesized percussion that overlaps the drumming machine’s rhythm. Lastly, the drum kit based rhythm also overlaps the drumming machine’s rhythm. In all, there are five instances of polyrhythm that Raja demonstrates in this song’s prelude that lasts about 20 seconds!

Let's hear the Punnagai Mannan song...




Kathuthadi Raakozhi from Deiva Vaaku (1992) is an excellent poly rhythm between the drums and tabla throughout the track! In fact, this track fits into all categories of polyrhythm by Raja. It has folk, western, Indian style jathi, carnatic style morsing, ghatam – Raja demonstrates his total mastery over rhythm arrangement. The prelude and the pallavi have a similar poly rhythmic arrangement. The western drum plays in slow time and the tabla plays in fast time creating an exciting rhythm pattern. I have included only the second interlude and not the first. The second interlude is special from a rhythm perspective. Raja demonstrates the difference between a call and response and a polyrhythmic arrangement in less than 15 seconds! He starts off with a ‘dhinuku dhinuku’ rhythm pattern and his pattern is responded by the drum and the ghatam. This is followed by his vocals, the drum, and the ghatam playing the rhythm he leads. But, the tabla plays its rhythm on a different time, with poly rhythm in full display.


Finally, let's hear the brilliant Deiva Vaaku song...




In the next months, we will see how Raja works with Western and mixed rhythm instruments. I have particularly traced his polyrhythm work in each post to the beginning to prove his strong bedrock rhythm foundation. It only gets better with automation...

Introduction to Polyrhythms

Polyrhythm is a very misunderstood musical phrase for the Indian film music listener. Lots of things do get passed on as polyrhythms during discussion. Here is a text book definition:

"Polyrhythm is the systematic exploitation of different rhythms performed simultaneously"

Doesn’t help much isn’t it? Two sets of phrases are worth noting from this text book defition: “Different rhythms” and “simultaneously”. Just throw a whole bunch of rhythms simultaneously in a track and you have polyrhythms – very convenient definition. The trouble is with the other phrase: “systematic exploitation”. Everything gets complicated when you start defining rules for systematic exploitation. These rules help one tell whether a particular track has true polyrhythm designed into it or not. Before we get a little deeper into the rules, let’s get a little bit more historic perspective.

Polyrhythm is a non-Western concept, originating from Africa and Latin America. Other musical systems have taken advantage of this wonderful innovation in many situations.  Polyrhythms got imported into the Western world through Jazz music. Jazz music originated in New Orleans, US, and was pioneered by Afro Americans, who brought with them century old traditions passed on by generations. One such contribution was the introduction of polyrhythms into Jazz music, which later got adopted into Rock and Roll and mainstream pop culture.

Most Indian music composers have been quick in taking advantage of simple polyrhythms. Most Bollywood music today (2010) take advantage of electronic drum machines, synth pads and so on and they are characterized by simple polyrhythms where one of the rhythm pattern is an unmistakable bhangra beat emerging out of a synthpad. But for a few exceptions, most dance music from Bollywood can be categorized this way. Technically, most of these tracks may not meet the academic criteria for polyrhythms. However, the difficulty is that the academic definition of polyrhythms can be complicated to understand as well as apply.

As mentioned, there are very strict theoretical definitions for poly rhythms from a musicology standpoint which we will not dive too deep. There is no universally accepted definition on what defines a polyrhythm. We have to unfortunately settle with the least common denominator. However, in order to appreciate polyrhythms and Raja, let’s focus on the simplicity of this musical idea. A polyrhythm is, simply, more than one rhythm happening at once. For example…

1. When you get together with your friends to jam, each playing what you feel like, you create a polyrhythm.
2. When you tap your foot while you play your drum, you create a polyrhythm.
3. When you play along to a CD with drumming on it, you create a polyrhythm (unless you play the exact same rhythm as the drummer on the CD). When you count out loud as you play, you create a polyrhythm.

(Courtesy: Drums for Dummies)

There is a perception that African drumming (the origin of polyrhythms) is highly complex and that it takes years of study and practice to play such intricate rhythms. Not true. African drumming sounds difficult because, taken as a whole, a lot is going on, but taken individually, the parts are often very simple. The difficulty lies in being able to keep your rhythm steady while the other instruments around you play opposing rhythms.



The meter is the standard unit of time that divides Western music. In most symphonies or ensembles, all instruments basically follow the same meter; the shared rhythm is counted evenly and stressed on every main beat. We thus call Western rhythm divisive because it is divided into standard units of time. But the traditional rhythms of African music are considered additive, a term which already gives us an indication of their fundamental multiplicity. The music's complex percussive patterns bubble up from the shifting and open-ended interaction between many different individual drum patterns and pitches.

Time for an example: Fanga, a West African rhythm, uses four instruments: the bell, a set of two djun djuns (one person can play both the bell and the djun djuns), and two djembes. The djun djuns (also spelled jun jun or doun doun and pronounced either way) are natives of West Africa and consist of three drums. The djembe (also spelled jembe — either way it’s pronounced jem-bay) is a goblet-shaped African drum that is the staple of every drum circle. With its unabashedly tribal look, loud expressive sound, and ease of playing, the djembe has become one of the most popular drums around. Let’s hear the Fanga poly rhythm where the djembe plays the lead or the ‘call’. The Djun Djun and the bell play the ‘response’ and does it on a different time.






As mentioned before, the polyrhythm tradition is quite prevalent in the Latin American world. Examples include Cuban Bolero, with ballad style of music, or the fast paced Mambo. Further South, Brazilian Bossa Nova or the fast paced Samba music.

Indian music, both Carnatic and Hindustani are rich in rhythms. The timing examples from deep classical rhythms from both these systems put 'math rock' to shame. However, polyrhythm as an idea is rarely associated with Indian classical or folk music.

If you find this description very technical, do not worry. Most Indians already know polyrhythms without really knowing any such definition. I am sure you are familiar with the Dandiya dance that is very popular in Gujarat (in Western India) and this has now become a fashion in many urban parts of India during the autumn festival of Navarathri. If you carefully observe the pattern of how the dancers pat their sticks to their foot pattern, you have polyrhythm!



Here is a great and elaborate example of polyrhythm and other related topics provided by Jerry Leake on youtube. It is interesting that Jerry uses the Indian jathi to explain the concept:


Here is Jerry's video...

Jerry Leake continues...

Jerry continues...

Jerry’s explanation is a result of a huge research effort and I am sure you would get the idea of how polyrhythm works in general.



A shorter version is available in another video where you are given a summary of how poly rhythm works.

 
While not all experiments qualify as polyrhythms, let’s explore Raja’s rhythmic experiments – wherever they are polyrhythmic, we will highlight them. As this is a relatively new topic in Indian film music, some of our current views may change in the future. Based on a systematic application of these principles and other rhythmic work that Raja has done, we will try and grade the tracks in increasing order of complexity from a polyrhythmic viewpoint. It is unclear if Indian music composers have composed music with polyrhythms in mind. That’s a question only composers such as Raja can answer. These categorizations are entirely based on my perception of the rhythms used – it could be deliberate or accidental or entirely wrong. Some of the advances with drumming machines and synthpads have made polyrhythm creation very simple as the machines take care of the timing when one sets them on these machines or use the pre-built patches.


One thing that must be clear is what is not a polyrhythm. Just because, a composer uses a drum kit and a tabla in a track, it does not qualify to be a polyrhythm. Nor does tracks such as 'Ghanashyama' from Kochu Kochu Sandhoshangal, where Raja uses alternating rhythms.

Our journey with Raja’s rhythm innovation continues from the mono rhythm stages… We left off at rhythm innovation stage 14...


 
PS: For those who are interested in an academic definition of what a polyrhythm strictly is:

In order to identify polyrhythmic patterns, three rules are very helpful:



First rule:


To qualify as a poly rhythm, the contributing rhythms should be chosen such that the numbers denoting their rhythmic relation, are relatively prime to each other.


Second rule:


If the sum of two (or more) simultaneously sounding rhythms results in a subdivision of the beat that is not present in either of the constituting rhythms, we call this resultant rhythm poly rhythmic.


Third rule:


Two different rhythmic patterns do not result in a poly rhythm (when played simultaneously), when one of those rhythms can be contained in the subdivision of the beat that is implied by the other rhythm.


One major point to think about is that to qualify as a poly rhythm, the two constituting rhythms should be clearly heard and felt as separate rhythms, each with their own properties!

To be a poly rhythm, two rhythms (at least!) are needed to form this poly rhythm, and these two rhythms:


1. should be based on relatively prime subdivisions


2. should be clearly distinct from one another


Both conditions have to be met at the same time! Let’s look at prime numbers within 12 for example purposes: 2 3 5 7 11. In other words, if you have the following combinations being played simultaneously, you have polyrhythmic arrangement:


• A 2/4 simultaneously with a 3/4 (need to look at March songs).


• A 3/4 arrangement simulataneously with a 5/8 arrangement – Waltz with Kanda chapu.


• A 5/8 (kanda chapu) arrangement simulataneously with a 7/8 (misra chapu) arrangement – misra chapu with kanda chapu.


• A 3/4 arrangement simulataneously with a 7/8 arrangement – Waltz with Misra chapu.

I have no plans of doing a PhD on this. Let's enjoy Raja's music in simple terms. I am sure, you can appreciate, why I chose to stick to a simple least common denominator approach for identifying polyrhythms. Two rhythms being played simultaneously. Forget all those prime number constraints!

Techno Baroque – a rhythm perspective

Raja has consciously crafted a genre for himself even from the arrangement perspective in the last 9 years or so and more importantly with the rhythm arrangement. He shines in his new armor. He takes the nice and convenient weapons such as drum machines, synthpads, synth flute, synth violins and other pleasant sounds from the Techno world and nicely marries them with his traditional arrangement. The result is a pleasant melody with a very modern arrangement without the jarring 140 bpm techno rhythm.


Enge Nee Sendralum from Kannukkulle (2009 Tamil) is a very nice melody with a lot of solo violin as the theme is around a violinist. The entire track has a nice synth drum pattern that only beautifies the track further. This track is also a new form of Raja percussion – remember melody based rhythm that we discussed when we discussed Raja’s rhythm innovation? This track is an example of where Raja uses synth rhythms on a melody basis. Also, Raja uses extensively real violins, flutes as the theme requires it. The melody is nicely guided by the bass lines. Also notice the use of cellos in this track in the charanams very aptly. The second interlude has a nice call and response between the background violins and the main solo violin – typical of the Baroque Raja.


Let's hear Enge Nee Sendralum interludes  here...




In 2009, Raja almost said goodbye to chorus arrangements. Some exceptions were still there. Swapnangal from Bhagyadevatha (2009 Malayalam) is a traditional Malayalam melody where Raja used his conventional arrangements. Violins, flutes and chorus. However, even in this track, Raja uses synth drums for his pallavi. Extensive use of traditional guitar also enhanced this tune in his 80s style. The entire charanams are a nice mixed rhythm of tabla and synth drums. In the same movie, the track Allipoove Mallipoove is a nice synth based track, where the entire track is guided by guitar, synth keyboard, and the synthpads. The guitar and bass, flute play in this song is a fantastic reminder of the old Raja. However, he throws in a modern layer on top of his traditional composition driving home a clear message. The guitar is pushed to a support role and the synthesizer is given the driver role.


Let's hear Allipoove Mallipoove interludes  here...




Unnai Patri Sonnal from Mathiya Chennai (2009 Tamil) uses simple synth beats (4/4) and uses synthesizer in all typical Raja modes – extensive bells, piano modes. This is a simple tune that is beautifully carved using the bass guitar, which is staple Raja instrument. Only the prominent synth beats and piano modes are new. This song has the vintage Raja melody driving it. All old basics are in place. The female voice is of course new.


Let's hear Unnai Patri Sonnal interludes  here...






Oda Thandil from Pazhassi Raja (2009 Malayalam) is a simple melody which Raja would have traditionally used tabla in the 80s. He seems to have nicely used the ethnic version (patch) of the synthpad which fits the melody so well. Also, the flute played at the end of the pallavi in my view is a synthesized flute. Raja’s bass lines are guiding the melody as usual. The charanam uses the synthpad for its rhythm support, but notice the different mode chosen! The second interlude is complete with different modes of the drum machine along with its brush effect!


Let's hear Oda Thandil interludes  here...




Naan Pirandha Nerama from Kannukkulle (2009 Tamil) is a pathos tune that has a rhythm arrangement that is very atypical of Raja. As ever, the bass lines are so prominent, and so pleasant. The rhythm is fully done with the synth pad, but the composer ensures that the melody and the pathos are not compromised. The solo violin sets the mood and the bass guitar with the piano play on the synth create the background melody for the entire track – another outstanding experiment with the techno/synth tools with the traditional melody complimenting the strengths of the composer.


Let's hear Naan Pirandha Nerama interludes  here...




Kogile Kooguvaa from Prem Kahani (2009 Kannada) is a very innovative melody by Raja. The track is nicely arranged on a nice bass and a great synth drum pattern. The solo violins and the flute backing Bhela make the track so pleasing. Reminds us of Oru Kili Urugudhu from Ananda Kummi (1982). The synth drum pattern in no way spoils the party! The interludes are nicely arranged with solo violins and flute. If you observe the charanam, it sounds like Raja’s traditional tabla arrangement – but nicely arranged with the synthpad still! The second interlude has some of whatI would expect a shehnai to play replaced nicely by a combination of the keyboard and flute. That’s one new replacement for shehnai in my view.


Let's hear Kogile Kooguvaa interludes  here...




Let's hear the first pallavi and charanam of the track next...




What about his traditional strength of folk based tunes? Raja showed the new version of it with Balegaara Balegaara in Bhagyadha Balegara (2009 Kannada). Having discussed this as part of Raja’s mixed rhythm in Kannada, let’s not repeat it here. This track is mentioned here to show that when required, he brings in the tabla into the mix. Even in this track, the western rhythm is played with the synthpad!


Kooda Varuviya from Vaalmiki (2009 Tamil) is a contender for the top hit of 2009 for Raja. This set to a nice poly rhythm (more on this subject later) of the tabla and the synth drums. The track’s melody is nicely supported by the keyboard and the bass guitar. The use of synth flute in this track is truly mesmerizing. As Raja uses real flutes also, it is almost impossible to guess where the real flute ends and where the synth one plays and where both play. This is typical of the techno genre and Raja has used this aspect of this genre so well. The last few lines of the charanam guiding Bela with the bass guitar is vintage Raja. The second interlude is filled with synth rhythm with synth flute. Synthesized music does not get any better.


Let's hear Kooda Varuviya interludes  here...




Prati dinam from Anumanaspandanam (2007 – Telugu) – notice the percussion uses the ethnic Indian mode of drumming with the synthpad. You get the impression that this is a drum/mirudhangam combination. In reality, this is a patch of the drum machine. The entire vocals use this patch. As usual the bass lines are nicely aiding the melody. In the first interlude, observe the use fade out while the synth sitar plays. You will notice this specially with Shreya’s humming in the second interlude. This track is a rehash of the 80s melody Mayanginen Solla Thayanginen from Naane Raja Naane Manthiri.


Let's hear Prati dinam interludes  and charanam 1 here...




Let’s step back a little back: Oru Porkaalam from Kasthurimaan (2006) uses synthetic drums very nicely in this melody. The interludes give more importance to the ethnic synth drums more than ever before. This is atypical of Raja whose melodies do not have drumming in prominence. Notice that the charanams use drumming the conventional way (uses the hi-hat).


Oru Thottavadi from Pachakuthira (2006 Malayalam) is a nice rhythm mix where Raja shows his mastery over several genres. Jazz, Techno, traditional – you name it. The initial prelude is a great play on the synth pads and synthesizer and trumpets. The pallavi is backed by synthpads. The first interlude is set to the synthesized violins, trumpet and with the synthpad for the rhythm. He throws in scat singing into the mix. The second interlude is another nice play of trumpets and here Raja throws in the mix of tabla, claps and shehnai and scat singing. This is one of the busiest interlude I heave heard from Raja in recent times. The mix is different this time – earlier it was full of violins, cellos, flute, traditional chorus, you now know the new mix.


Let's hear Oru Thottavadi interludes  here...




Akki Thokki from Vinodha Yatra (2007 Malayalam) has several Techno elements adapted nicely for an Indian song. The prelude is played on the synth with the trademark bass lines. Observe that Raja uses flanging effects in the initial prelude that is supported fully by the synthpad. Between 32 and 34 seconds, another software effect is overdubbed on the track (can’t tell exactly what this is). Between 50 and 45 seconds, another another software effect is overdubbed on the track twice. The time signature is a traditional 4/4. Between 46 and 57 seconds, however, two synth tracks playing different melodies (traditional baroque) is in play as part of the second interlude.


Let's hear Akki Thokki interludes  here...




Ishtakaari from Sooryan (2007 Malayalam) – This track has a traditional Indian melody and you can never expect a Techno treatment for such a melody. Raja uses extensive techno transformers – fade in fade out. I will try to describe the track as much as I can as there are too many things happening. In the track below, here is my impression of the heavily bass laden 4/4 synthpad driven song. For the first 20 seconds of the track, you have a simple synth melody playing in the foreground. Observe the background software overdubbed techno work – you get the idea of the music getting louder and softer by the second, that’s the fading of the sound by a software transformer. Between 21 and 35 seconds, the foreground melody changes and so does the background techno sound. This time, it does not fade, but plays a complimentary melody (software driven I suppose). My guess is that the foreground melody is played by a keyboardist and the techno effects are then added at the AWS. Between 36 sec and 1:13, there is a different fore/background melody in play. Observe something very unique in this section – between 49 and 53 seconds, there are two synthesizers playing with precise timing that you can figure out. They move to the background from 53 seconds to 1:13 and there is a third foreground melody that is added from 54 seconds onwards. 1:14 to 1:19 is a beautiful changeover from the techno world to the Indian melody world into the charanam. This is one of my favorite techno work of Raja.


Let's hear Ishtakaari  interludes  here...




Hodadavene from Prem Kahani (2009 Kannada) – techno rhythm to the core.
In summary, Raja chooses his rhythm arrangement very carefully. He is conscious about complimenting his baroque and melody strengths. He uses tabla, shehnai and chorus very selectively. A lot more is riding on his melody than ever before. The ride has been pretty good though we have only reviewed some tracks from the last 4 years!