Use of Bhajan format for the chorus - Black Tulips

This could be set in North or South Indian style. This normally has both male and female voices though on occasions, only one of the gender is used. This comes pretty easy for Raja who is very spiritual in his lifestyle.

Raja has done quite a few compositions as he is spiritual as well. First, let’s take the North Indian style. The track  Maa Ganga from Naan KadavuL (Tamil 2009) is a brilliant bhajan chorus backed track. Kunal’s voice is nicely backed by the male chorus singing in the North Indian bhajan style complete with the laid back tabla rhythm that is steady and also has the jalra.

Let's hear Maa Ganga...

Tharai Varamal from the film Chandralekha (Tamil 2000) is actually a redo of the song Arumbum Thalire from the same film, which is orchestrated with all the techno sounds you can imagine for a duet. Raja re-composes the same track with a different arrangement – bhajan arrangement with Unni Krishnan singing Tharai Varamal with the male/female chorus backing him in typical South Indian bhajan style that reminds you of the annual thiruvaiyaru festival. That’s the handiwork of a genius!

Let's hear Tharai Varamal...

Guru Charanam from Guru (Malayalam 1997). This song is performed mostly by the mixed chorus singers.  The pallavi is done in an innovative way – partly by the female chorus and the rest my the male chorus. The charanam1 and charanam2 has the female leading with the male chorus backing the female chorus. The interlude 2 has some parts for the female chorus. The male voices are used at times to create a surrealistic atmosphere. Though the arrangement is very different from a typical South Indian bhajan, Raja uses several elements of it. The slow pace, the male choir creating the background tone.

Let's hear the mesmerizing Guru Charanam...




I am sure there are few other tracks from Raja's devotional albums. Readers may list them.

Female western choir singing - Pink and purple tulips

Raja has used them extensively in his compositions. The definition of what constitutes western choir is a bit loose. All that can be said is that they sing notes without any microtones (gamakams). This must not be confused with harmony singing. We will cover harmony singing on a separate section.

Given his WCM training, this is very common in his work. He has used female voices to sing in the western way on many tracks starting from the 70s.

Aatrirambile from Kaala Pani (Malayalam 1996). The song starts off with conventional female chorus. Observe the choir arrangement along with the flute in the first interlude. Kaala Pani was Raja’s first collaboration with HSO. The second interlude switches completely to WCM.

Aatama Paatama from Nadigan (Tamil 1990). The song has some cool scat singing by SPB to start. The second interlude has some neat female western choir arrangement.

Alai Meedu from Kadhal Kavidhai (Tamil 1998). Being a conventional Indian melody, this track is very misleading from a western choir perspective. Observe the first interlude where the violins and the female choir are almost indistinguishable. The charanams have conventional female choir backing the singer.

Let's hear the outstanding choir arrangement in Alai Meedu...



 Chinna Poove Mella Pesu from Poovizhi Vaasalile (Tamil 1987). The prelude of the song has some neat female choir parts. The first interlude has some very nice female choir parts along with violins.

En Iniya Pon Nilave from Moodu pani (Tamil 1980). This is almost a reference track for Western choir with female voices in the 80s in Raja’s music. The first interlude has some brilliant parts and the charanams are backed by the same female choir parts. Simply brilliant.


Enulle Enulle from Valli (Tamil 1993). Some may argue that this is conventional choir arrangement, but on close observation, it will become clear that this is a western choir arrangement handshaking with Indian. Some parts have Swarna’s voice in phase shift, which should not be confused with the female choir. In the first interlude, at the end of the interlude, there are two sets of female choir voices, one that sings conventional Indian melody and the other singing exactly at the same pitch, western choir. In the second interlude the technique is repeated with the same set of voices but with different musical phrases. The last pallavi has some outstanding female choir backing the two Swarna voices in phase shift. Stunning arrangement.


Let's hear the mesmerizing Enulle Enulle...



Kadhal Oviyam from Alaigal Oiyvathillai (Tamil 1981). This track is also covered with the category (?) that covers Sanskrit chant. The prelude has some neat female choir along with the Sanskrit chants. The first prelude has come conventional Indian female choir. The pallavis in the track have some Indian choir backing. The second interlude has some great female western choir along with some neat violin work.


Let's hear Kadhal Oviyam...




Kalalo Choosinadi from Shambu (innovative mix with flutes) (Telugu 2002). The first interlude has a short bit that is truly mindblowing arrangement. A synthesizer, flute and the female western choir – just makes me wonder – how does such a combo occur to somebody? The second interlude has some nice Western female choir with the flutes alone. In all, a very innovative use of voices and instrumentation.

Let's hear the modern arrangement with Kalalo Choosinadi...




Kottum Kuzhalvizhi from Kaala Paani (parts have traditional male choir too) (Malayalam 1996). This is one of the top choir arrangements of Raja. Being his first collaboration with BSO, he has used the talent of both the overseas as well as local artists brilliantly. Observe the first pallavi closely – there is no use of any choir techniques anywhere. However, Raja uses a placeholder synthesizer bell note which will be used later on with a brilliant replacement in the later pallavis. Towards the end of the pallavi, the Western female choir and the rushing violins raise the song to a crescendo that is typical of WCM. Control is truned over to the male choir who have lyrics to sing. The first interlude has one of the finest choir in Indian film music with some outstanding violin work only that can come from Raja. In the charanam, Raja uses the conventional male chorus backing Chitra and the female chorus backing Sree. The second pallavi again is worked with placeholder synth work instead of the chorus. The second interlude is a great match for the first one for the Western female choir – only Raja can beat the Raja! The final pallavi is another masterpiece – he replaces all those placeholders with Chitra singing in an opera style 4 notes. The single note is replaced with 4 notes, with the 3 additional notes overlapping with Sree.  I cannot think of any song that can be compared with this in Indian film music.


Let's first hear Kottum Kuzhavizhi...



Let’s break this down, one more time. Please use some quality headphones to follow along:

• The clip contains Pallavi1, interlude 1, interlude 2 and Pallavi 3
• Observe closely Pallavi 1. At 0:07 seconds, you will hear the placeholder synth tone 1. At 0:10 seconds, you will hear placeholder synth tone 2. At 0:13 seconds, you will hear placeholder synth tone 3. At 0:16 seconds, you will hear placeholder synth tone 4. At 0:19 seconds, you will hear placeholder synth tone 5. At 0:23 seconds, you will hear placeholder synth tone 6. At 0:26 seconds, you will hear placeholder synth tone 7. At 0:29 seconds, you will hear placeholder synth tone 8
• Between 0:30 and 0:38 seconds, you will hear a fantastic female Western choir
• Between 0:51 to 1:02 seconds, you will hear Sree repeat the pallavi with 4 placeholder tomes, exactly placed as we saw when he sang it the first time
• These 12 placeholders are replaced in Pallavi 3 by Chitra singing at an Alto tone like an opera singer
• Between 1:03 and 1:36, Raja arranges one of the best violin and female choir passages I have heard in Indian film music
• Between 2:05 and 2:20, Raja arranges the second interlude a bit differently with sweeping violins and flutes. This time, the female choir has a few notes overlapping with male choir, if you observe closely
•  From 2:22, the third pallavi starts and you can see the eight placeholders set in the first pallavi being replaced by four notes sang by Chitra as Sree leaves her with the exact room! Talk about musical precision! All this happens between 2:22 and 2:44. In Pallavi 1, the 8 placeholders were covered in 22 seconds and in the final pallavi, with the Chitra 4 notes replacing the placeholders, it is still navigated in 22 seconds
• Between 2:55 and 3:20, Chitra repeats her 4 notes 8 times over as the initial lines of the pallavi are repeated twice

Maasi Maadam from Dharmadurai (2^nd interlude and prelude) (Tamil 1991) The prelude has some conventional Indian female choir nicely sculpted by the violins. The second interlude has some neat female western choir that has a whole bunch of very discrete notes

Marugo Marugo from Vetri Vizha (Tamil 1987) Prelude – 2^nd interlude is traditional female choir. The song starts off like ‘Kadhal Oviyam’ with Sanskrit slokams overlapped with female western choir. The second interlude has some folkish female chorus.

Minnaminumgam from My Dear Kuttichathan (children) (Malayalam 1984). This song is executed with children backing Yesudas. The song starts off with some neat children Western choir. In the charanam, the children sing conventional Indian choir in between phrases. Some of the charanam’s mid bars are backed ( 5,6) by children singing in a scat mode. The final transition between the charanam and the pallavi is executed with Das in scat. The second charanam is executed very similar to the first one.

Oru Kiliyin thanimaiyile from Poovizhi Vaasalile (Tamil 1987) - Has children choir and some good traditional and western female choir. There are two versions to this song. From a choir perspective, both the versions are arranged the same way. The children sing some lines in the pallavi and the female choir backs him – all in the pallavi. The charanam has some neat female choir that is perfect western choir with Tamil words – nicely written by Vaali. It’s not easy to get such simple repetitive words that fit the notes so perfectly. Hats off to the combo. You will easy figure this out if you approach these phrases from a musical note perspective. The second interlude has some great innovative choir arrangement. Again discrete notes backed by the bass and lead guitar to give you the impression of a western choir, with perfect Indian ‘la la la’ phrases. It’s hard to match this composer’s one faculty – choir and arrangement!  The children’s choir is used as the transition between the charanam and the pallavi.  

Let's hear Oru Kiliyin...



Pillai Nila from (Yesudas version) from Neengal Kettavai (Tamil 1984). The prelude has some conventional Indian female choir. The pallavi has the female choir singing some inter-lyric lines. The first interlude has some neat female western choir.  The choir arrangement between the Janaki track and the Yesudas track are different.

Let's hear Pillai Nila...



Rangu Rangu from Prem Kahani (Kannada 2009). The prelude of this song is arranged with the synthesizer and female choir. The postlude after the charanam has some conventional male chorus. 

Unnai Naan Sernthirukka from Ilaya Ragam (Tamil 1995). The female choir has alternate lines with Chitra and scatting in the next lines.


Vandhal Vandhal Rajakumari from Oru Oorile Oru Rajakumari (Tamil 1995). We have discussed this song as part of the waltz discussions. This has a heavy choir component. The prelude has some fantastic female western choir arrangement. The first prelude continues with some nice western choir and also some scat singing by the female choir. The second interlude continues the work done on the first interlude.

Using chorus voices in a C&R arrangement – White and Purple Tulips

This requires two sets of voices. One set of voices sing a melody and the second set responds with another melody. This is not very common an arrangement with voices as it is with instruments. Sometimes, the call or the response is by the main voice and the second part is done by the chorus. Rarely, we have tracks where one set of chorus voices makes the call and another set responds.


Let’s start with tracks that have two sets of chorus voices in a C&R arrangement.


The song thamtha theemtha from Pagalil oru Iravu (1979) uses this technique very well. Raja uses two sets of female chorus voices and demonstrates how he can arrange it like he arranges instruments. This is a rare example of two sets of chorus voices used for a call and response arrangement. 


Let's hear Thamtha Theemtha...




The landmark song Eriyile Elantha Maram from Karayellam Shenbagapoo (Tamil 1981) has several choir innovations. Several parts of the choir in this song are arranged in a C&R fashion. Raja uses one set of voices for ‘Pee Pee Pee’ and another for ‘Dum Dum Dum’ in another pitch. More on this song in detail in another category.


Keladi Nemageega from Geetha (1980 Kannada) has the first interlude where the chorus arrangement is a C&R between the female and male voices in folk mode. Several parts of the second interlude are also arranged as a C&R between the male and female voices. At times, Raja uses one in Western and other gender in folk.


Megam Karukkaiyile from Vaidegi Kaathitunthaal (Tamil 1984) has the initial prelude arranged as a C&R between the male and female voices. 


Let’s now explore a few more tracks that have either the call or the response only by the chorus. The other part is arranged with instruments.


Kadhal Mayakkam from Pudhumai Penn (Tamil 1983). Brilliantly executed with chorus in the 80s. The second interlude is arranged very intelligently as a C&R between Jayachandran and the female chorus.


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


Let's hear Unarumee Gaanam...





Vandhadhe Kunkumum from Kizhakku Vaasal (Tamil 1990). Parts of the first interlude have some brilliant parts between the female chorus and the violins. The second interlude is a C&R arrangement between the female chorus and the flutes with violins backing both parts in full waltz.

Full chorus track - Red and yellow tulips

The track has no main singers (or, the majority of the track is sang by the chorus). Raja has done quite a few tracks. These type of tracks are getting rare in the 21st century. Even with Raja’s wide body of work, there is not one full chorus track that he has done in this century that bubbled up during the analysis.








Manamagale Manamagale from Devar Magan (Tamil 1993). Set to MMG ragam, this song is sang completely by the female chorus. Also, the shehnai is used in the conventional North Indian sense – auspicious usage.


Let's hear the enchanting Manamagale Manamagale...






Marangal Tharum from Dhruva Natchathiram (Tamil 1993). This song is sang by children. The orchestration of this song is truly mind boggling. Several initial bars have no orchestra at all. Following this, there is some percussion and some brief violin strokes. Following this is some 2 minutes of one of the grandest and finest violin and woodwind arrangements by Raja.


Mottamaadi Mottamaadi from Anjali (Tamil 1990). This song is fully sang by a group of children.


Tham thananam from Puthiya Vaarpugal (Tamil 1979). Though the song has two main singers, the majority of the song is sang by the chorus as well. This can be considered as a chorus song for all practical purposes. Even the main lines have more than one voice in several places.


Let's hear tham thananam...






Tharai varamal from Chandralekha (Tamil 1995). Though Unnikrishnan is the main singer, the song is executed in a bhajan format with the chorus backing Unnikrishnan throughout the song.


Vanam Namakku Veedhi from Anjali (Tamil 1990) This song is fully sang by a group of children.



Kadalora Kavidhaiye from Chinnavar (Tamil 1992) is a full chorus track that has both male and female chorus parts.(courtesy Suresh)


I am sure, there are other tracks that readers can surface and report...

Male and female folk choir singing - Orange and purple tulips

This is not very common with Raja’s work. Like the male chorus, mixed chorus on folk format is not that common. This involves use of both male and female voices in folk format (at least one of them should be in folk format).


Megam Karukkaiyile from Vaidegi Kaathitunthaal (Tamil 1984). This is a masterpiece of sorts where Raja shows his mastery over choir arrangement. He uses both male and  female voices to create the impression of esapaatu, a traditional folk technique, where the singing between the groups alternates. However, he does something more clever. He makes the male voices sing Western, when the female voices sing folk and vice versa. The song starts off with the female voices singing ‘thana than thana’ which is traditional and the male voices go ‘aahaa oho aahaa oho’. Initially they alternate a few phrases and you can soon notice that they merge, both the groups singing the same and different phrases. When Raja sings the pallavi the male voices go single syllable ‘aaa’ and when Uma sings, the female voices so ‘aaa’. Notice the male voices in tenor and the female in alto. That’s a typical Raja curveball. Do you call this esapaatu or pure western choir? It depends on how you view it.


The pallavi have single syllable male and female chorus phrases between the respective gender’s lines. The second interlude has some great chorus arrangement where it is pure folk.  Both the male and female singers alternate between ‘hoy hoyya’ and ‘aaa’. The second charanam is arranged similar to the first. 


Let's hear Megam Karukkaiyile...




Enjodi Manja Kuruvi from Vikram (Tamil 1986). This is one of those Raja tracks that have a mix of so many things. We will focus only on the folk elements in this section. The prelude has some neat male western choir singing some crazy lines in some unknown language. The male/female chorus accompany SPB when he sings the pallavi. The second prelude has some male/female folk chorus.  


Naan Erikarai from Chinna Thayee (Tamil 1992). There is mixed choir accompanying Yesudas and not just the bass guitar! The pallavi has some female chorus repeating the female singers’ lines. Towards the end of the pallavi, there is male choir repeating some of the lines. The bass guitar is almost the third main voice in this track – very prominent and sings its own tune. While you hear so much bass these days, it still beats me on how Raja arranges these beautiful bass lines where a second tune other than the main one does not bother anyone! 


Let's hear Naan Erikarai...





Pillai Nila from (Janaki version) from Neengal Kettavai (Tamil 1984) – interludes have female and male choir in IL1 and IL2. The pallavi has children doing the ‘la la la’ chorus. The first interlude is arranged with two sets of female voices in full folk mode in the esapaatu format.  The second interlude is set to folk with male voices. 

Let's hear Pillai Nila..

Usage of choir in the dance jathi mode – White and Orange tulips

This technique involves use of the chorus singers singing the dance jathis and not the usual ‘thana thana’ or ‘aaaa’ as it is in pure carnatic based chorus work.


Raja has selectively used this technique in his compositions over the years. While it’s easy to identify several tracks that have jathis, it’s hard to find ones that have the chorus singing jathis.
I am sure, readers should be able to uncover a few more where the chorus sing dance jathis.


Shivagaruda from Kochu Kochu Sandhoshangal (Malayalam 2001). This song set to the situation of two dancers dancing on stage. In both the charanams, the female chorus backing chitra sing jathis in the background for some parts. In the beginning of the second interlude, the chorus sing jathis again.


Let's hear the chorus parts of Shivagaruda where jathis are employed...




Isaiyil thodanguthamma from Hey Ram (Tamil 2000). The prelude and the pallavi of this track has some parts sang by the male chorus in jathi mode. The first interlude begins with the male chorus singing jathis.


Nadavinodhangal from Salangai Oli (Tamil 1984). Again, based on a dance centric film, there are ample opportunities in this film for Raja. In this track, he uses female chorus to sing jathis for a few seconds.


Let's hear Nadavinodhangal...





Kavidhai Kelungal from Punnagai Mannan (Tamil 1986). The second interlude of this song starts off with a male voice (Jayachandran?) singing jathis to begin, followed by the male/female chorus singing jathis along with the synthesizer and drums.


Let's hear the Kavidhai Kelungal part where the chorus sing jathis...

Female folk choir singing - Orange tulips

This is very common with Raja’s work. He draws heavily out of kummi, esapattu and other folk techniques.

This is a staple Raja toolset and he has used it in several of his compositions. I will provide some samples from his 3 plus decades career. Mostly, it is the use of ‘than thanana’ type of singing, though there are situations where the folk chorus are given full lyrics.


Aasaiya Kaathula from Johny (Tamil 1979). Unusual tribal beats with extensive use of female chorus. The prelude uses the female chorus.  The 1st and 2nd interlude uses very unusual folk female chorus. 


Let's hear the tribal chorus of Aasaiya Kaathula...




Aayiram Thamarai Motukkale from Alaigal Oiyvathillai (Tamil 1981). This is the famous Raja track that uses the kummi tradition extensively. The prelude has the female chorus singing ‘than thanana’. The pallavi has the chorus repeating some lines after the main singer finishes her lines. During the second interlude, the chorus shifts to the subhapanthuvarali carnatic humming!


Kannoda Kannu from Palloti Valartha Kili (Tamil 1976). The song starts off with the female chorus singing traditional folk lines as its prelude. These are used in the pallavi too. 


Kaviyam Paadava from Idhayathai Thirudathe or Aamani Paadave from Geethanjali (Tamil/Telugu 1985). This song has no indication to the listener that a folk chorus will be used anywhere. It is a typical Raja solo melody. The first and the second interlude has the female chorus in full folk form.  The second interlude is executed as a full humming.


Let's hear the female chorus in Aamani Paaduve...





Kelade Nemagaaga from Geetha (Male western choir for parts) (Kannada 1980). This is one of Raja’s earliest choir masterpieces. He throws so many varieties into a single track. This song can qualify to be present in at least 3 categories. For now, we will focus on the female folk chorus parts. The first interlude has some good folk singing alternatively by the male and female chorus singers. Notice when in the final few seconds of the first interlude, when the female chorus sings folk, the male choir is singing western choir in a different register – perfect vocal harmony. We will cover this song in great detail under vocal harmony category.


Kothamalli Poove from Kallukkul Eeram (Tamil 1980). The first interlude has the female chorus in fully folk mode. The second interlude has the traditional ‘than thanana’ added before the charanam takes off. 


Meenkodi theril from Karumbu Vil (Tamil 1980).The prelude is a tribal female chorus. The first and second interlude also continues with the tribal chorus.  


Odai Kuyil Oru Paatu from Paatu Paadava (Tamil 1995) The prelude of the song is a folk style female choir. The interesting part is the shehnai accompanying the chorus parts. Now, does this become North Indian folk? The first interlude has some parts where the female folk choir continues. 


Let's hear the innovative female choir in Odai Kuyil...




Ponnaram Poovaram from Pagalile Oru Iravu (Tamil 1979). This is one of Raja’s early compositions in the film that got masked by the success of Ilamai Ennum track. The first and second interludes have some female folk chorus apart from the regular strings/flute.   
Pudhu Vannagal from Murattu Kaalai (Tamil 1980). The prelude has the female chorus repeating the Janaki humming.  


Raman Aandalum from Mullum Malarum (Tamil 1978). This is a track with some great tribal female  folk chorus work. The prelude starts off with the chorus. The prelude phrases for the chorus is repeated again in the track.


Rasave Unnai Naan from Thanikattu Raja (Tamil 1982). This is a great track with some pretty neat chorus work. The first interlude has some neat female folk chorus work that is is (tham tha tham) arranged as a set of discrete notes. Synchronizing the choir with the rhythm in the background is no ordinary work. I would rate this as very Westernized version of the Raja folk offering. Only, he can think of such phrases. Raja throws in some humming (melody) phrases too in the interlude. The second interlude has some very creative chorus arrangement. 

Let's hear the westernized folk of Rasave Unnai Naan...

I am sure there are others that I may have missed. Readers may comment on their favorite ones...