Veena unusual conversations

Raja’s use of Veena in his compositions is legendary. No composer who came after him have used the instrument so well and few who came before him can compete in this regard.  This is a vast subject as he has used veena in combination with several other instruments. He has also used the guitar in a veena mode (it deserves a separate post later). Raja’s specialty with the use of veena in the C&R mode is his boldness to use it with another similar instrument and still drive the distinction between both these instruments very clearly. Use of the veena and guitar, or veena and synthesizer is a bit risky, but Raja seems to love such risks. We will cover this topic with several clips.

First let’s start listening to some songs where Raja has used the veena in C&R mode with flute. The clip below has several segments:

1. The first segment (16 seconds) is from the song ‘Ponnil Vaanam’ from Villu Paatukaaran (Tamil 1992). The call is a long one from the flute and the veena responds is not as long. Set to khamas (courtesy: Vel Ramanan), this is one of the finest from Raja in this arrangement category
2. The second segment (about 15 seconds) is from the song ‘Oru Ragam Padalodu’ from Ananda Ragam (Tamil 1982). The call from the flute is responded by the veena is almost same time
3. The third segment is from the song ‘Poomalai Vaangi Vandhaan’ from Sindhu Bhairavi (Tamil 1986). The call is a long one from the flute and the veena responds is not as long. Set to Kanada (courtesy: Vel Ramanan), this song uses a lot of hidden western harmony in its interludes though it gives an external appearance of a very CCM laden song!
4. The fourth segment is from the song ‘Ravivarman Ezhudhaatha’ from Thaikku Oru Thaalaatu (Tamil 1986). The call here is a long one from the veena and it gets a short flute response
5. The fifth segment is a short one from the song ‘Nee Paadhi Naan Paadhi’ from the film Keladi Kanmani (Tamil 1990). The call is from the flute and the response is from the veena – bewitching melody!
6. The sixth segment is from the apt song ‘Veene Veene’ from the film Aalolam (Malayalam 1982). The call is a long one from the veena and it gets a short response from the flute

Let’s hear the sample of Raja’s unusual veena-flute conversations …

 

Let’s next shift out focus to a Raja specialty – veena and guitar conversations. The clip below has several segments:

1. The first segment is from the song ‘Kamalam Paada’ from the film Mogha MuLL (Tamil 1994). The call is from the veena and the guitar responds beautifully. Set to Ramapriya (courtesy: Vel Ramanan), this is one of Raja’s finest in this combination of veena and guitar
2. The second segment is from the song ‘Nanna Jeeva Nenu’ from the film Geetha (Kannada 1980). The call is from the veena and the guitar responds beautifully. This is a Raja regular 80s arrangement and it gives a fantastic melody
3. The third segment is from the traditional song ‘Alai Payuthe’ orchestrated by Raja in its traditional kanada ragam. Raja however, adds interludes to this song makes it even more attractive than traditional Carnatic renderings.  The song is from the film ‘Ethanai Konam Ethanai Paarvai’ (Tamil 1983). This is another top veena-guitar C&R arrangement of Raja
4. The fourth segment is from the prelude of the song ‘Kaalai Thendral’ from Uyarntha ULLam (Tamil 1985). The call is by the veena and the response is by the guitar. However, the bass guitar keeps playing in the background and you can also hear a synthesizer being used in bells mode.
5. The fifth segment is a rare song – ‘Kaalai Netra Kaatre’ from the film Bhagavathipuram Railway Gate (Tamil 1983). The call is a detailed one from the guitar and is met with a short veena response
6. The last segment is from the song ‘Velli Nilave’ from the film Nanadavana Theru (Tamil 1995). The call is a short one from the veena and the response is a sober one from the guitar. This is my all-time favorite in this category of veena-guitar C&;R arrangement. To this date, I have not heard such a sweet arrangement between these two instruments

Let’s hear the sample of Raja’s unusual veena-guitar conversations …

 

Let’s next shift out focus to a veena and violin conversations.  There are many examples from Raja’s work over the past 5 decades. The clip below has several segments:

1. The first segment is from the song ‘Poovai Vinrinjnu’ from the film Adharvam (Malayalam 1989). The call is from the veena and the detailed response is from the violins. Set to keeravani ragam, this is another bewitching melody of Raja in Malayalam in the late 80s
2. The second segment is from the song ‘Sangathamizh Kaviye’ from the film Manadhil Urudhi Vendum (Tamil 1987). The call is from the veena for which the violins respond. There are two back to back melodies in this segment and two C&R arrangements sandwiched brilliantly by the composer
3. The third segment is from the song ‘Tham Thananam’ from the film Pudhiya Vaarpugal (Tamil 1979). The call is from the violins for which the veena responds
4. The fourth segment is from the song ‘Naadha Vinodhangal’ from the film Salangai Oli (Tamil/Telugu 1983). The call is from the violins for which the veena responds
5. The fifth segment is from the song ‘Pallaviye Charanam’ from the film Oruvar Vaazhum Aalaiyam (Tamil 1988). The call is from the violins at a rapid pace and the veena responds with equally same temp but in short phrases
6. The fifth segment is from the song ‘Vaidehi Raman’ from the film Pagal Nilavu (Tamil 1985). The call is a detailed one from the violins for which the response is from the veena

Let’s hear the sample of Raja’s unusual veena-violin conversations …

Raja’s work with veena is unmatched by any composer when it comes to the C&R arrangement with this instrument. He uses a blend of Carnatic and western traditions in his conversations. While he claims that he does not do fusion, in this aspect of arrangement, we can easily say that he makes at times both these systems converse with ease!

Synthesizer unusual conversations

Raja has done a lot of C&R arrangements with the synthesizer throughout his career. Among the unusual conversations, this is perhaps the most elaborate. We will see several clips with several segments within them. The level of experimentation with this technique is both deep and broad. The list a long one and to keep the interest high, I will only include some examples from each category, though my initial research had too many entries in this category.

Let’s start with analyzing Raja’s unusual synth-flute conversations. This clip has seven segments:

1. The first segment is from the song ‘Ilancholai Poothatha’ from Unakkaagave Kaathiru (Tamil 1986). The call is from the flute and the response is from the synthesizer. Even the interludes are set to a classical mode with the mirudhangam taking care of the percussion
2. The second segment is from the song 'Nee Medha Naaku' from the film Rashasudu (Telugu 1986). This is a very unusual arrangement as both the call and the response are exactly the same melody. The call is by the synthesizer and the responding flute plays exactly the same melody. This is very uncommon in Raja’s work. This song is set on a very western arrangement
3. The third segment is from the famous song ‘Ooru Sanam’ from Mella thirandadhu kadhavu (Tamil 1986). The call is by the flute and the response from the synthesizer is a complex one. This is repeated twice in the interlude
4. The fourth segment is from the song ‘Ponnaana Meni’ from Meendum Kokila (Tamil 1981). The call is by the synthesizer and the response is a short from the flute
5. The fifth segment is from the song ‘Thaimaavin Thanalil’ from Oru Yatra Mozhi (Malayalam 1997). The call from the flute is a short one and the response is a beautiful synth roll.
6. The sixth segment is from the song ‘Unnaiyum Ennaiyum’ from the film Aala Pirandhavan (Tamil 1987). The long call from the flute is responded equally by the synthesizer
7. The seventh segment is from the prelude of the song ‘Vaa Vennila’ from Mella thirandadhu kadhavu (Tamil 1986). The call from the synthesizer (one can argue this to be bells too) is a single tone for which the flute responds at length

Let’s hear the sample of Raja’s unusual synth-flute conversations

Let’s next move on to analyzing Raja’s unusual synth-guitar conversations.

This clip has five segments:

1. The first segment is the famous prelude of the song ‘Mounamana Neram’ from Salangai Oli/Sagara Sangamam (Tamil/Telugu 1983). The call is from the synthesizer for which the response from the guitar is a beautiful melody. This is one of Raja’s finest synth guitar arrangements
2. The second segment is from the song ‘Raathiriyil Poothirukkum’ from Thanga Magan (Tamil 1983). The call is from the guitar for which the response is another melody from the synthesizer.
3. The third segment is the most unusual among all the segments in this clip. This is from the song ‘Poovadai Kaatru’ from Gopurangal Saivathillai (Tamil 1982). The long call from the guitar (almost simulates a piano roll) is responded beautifully by the synthesizer taking equal time. This is a fantastic arrangement and I have not heard a similar arrangement by Raja
4. The fourth clip is from the song ‘Raghavane Ramana’ from the film Ilamai Kalangal (Tamil 1983). This is a Raja specialty, as he uses two western instruments in a Carnatic classical composition, effortlessly. The call is by the guitar and the response is short from the synthesizer
5. The fifth clip is from the famous song ‘Rum Bum Bum’ from Michael Madana Kamarajan (Tamil 1991). The long call from the guitar is responded by the synthesizer

Let’s hear the sample of Raja’s unusual synth-guitar conversations

Let’s hear next, Raja’s unusual synth-synth conversations….

The clip below has 6 segments.

1. The first segment is from the song ‘Kogile Kooguva’ from Prem Kahani (Kannada 2009). The call is from the synthesizer and the response is from a synthesized flute. The song is centered on flute tones and this part is executed with synthesizers melodiously
2. The second segment is from the famous song ‘Sindhiya Venmani’ from Poonthota Kavalkaran (Tamil 1988). The call is a detailed one from one synthesizer and the response is an equal one from another. Set to a very rare ragam (Strothiswani) this song has some excellent parts all over the place from an orchestral sense too
3. The third segment is from the song ‘Vaigai Nadhikarai’ from the film Nilave Mugam Kaatu (Tamil 1999). The call is a short one from a synthesizer and the detailed response is from another
4. The fourth segment is from the prelude of the song ‘Nannanne Noduvanu’ from the film Bhagyadha Belagara (Kannada 2009). You have to pay a bit more attention to this arrangement as the call and response tones are very close to each other. The call is from one synthesizer and the response is from another (could be played on the same machine in two racks by the same player)
5. The fifth segment is from the song ‘Siru Ponmani’ from the film Kallukkul Eeram (Tamil 1980). The call and the response have a gap and both the melodies are played at a very relaxed pace. After the initial two bars, the response from the synthesizer is a different one
6. The sixth segment is from the song ‘Thamara Kili Padunna’ from Moonam Pakkam (Malayalam 1988). There are 4 bars in this clip. All the responses from the second synthesizer is exactly the same. The calls are different between the first and the last two bars

Let’s hear the sample of Raja’s unusual synth-synth conversations

Let’s next hear something very special to Raja – conversations between a synthesizer and a veena. This is a Raja specialty and you do not get to hear as much from other composers…

1. The first segment is from the song ‘Oru Ragam Padalodu’ from ‘Ananda Ragam (Tamil 1982).  The call is from the veena and the response is from the synthesizer. It is delightful to hear such combinations as the tonal variance adds to the beauty of the melody
2. The second segment is from the song ‘Mouna Ragam’ from the film Kolangal (Tamil 1995).  The call is a detailed one from synthesizer and the response is from the veena. Note that the response from the veena varies between bar1 and bar 2. Typical Raja!

Let’s hear the sample of Raja’s unusual synth-veena conversations

 

Let’s next move on to some of Raja’s unusual conversations between the synthesizer and the violins. This does not include any solo violin.

The clip below has 6 segments.

1. The first segment is from the song ‘Halli Lavaniyalli’ from the film Namoora Mandara Hoove (Kannada 1997). The call is from the rapid violins (also called as staccato) and the response from the synthesizer is not just equally rapid, but also of an equal matching tone. Brilliant arrangement
2. The second segment is from the famous song ‘Kaalai Nera’ from Amman Kovil Kizhakale (Tamil 1986). The call is a long one from the violins and the response is a short one from the synthesizers
3. The third segment is from the song ‘Unnai Naan Sernthirukka’ from the film Ilaya Ragam (Tamil 1995) and the C&R here is very unusual. The call is from the synthesizers and there is a bar where the synthesizer and the rhythm arrangement continues and the violins responds back to the call at equally relaxed pace
4. The fourth segment is from the prelude of a rare song ‘Naan Kadhalil’ from the film Mandhira Punnagai (Tamil 1986). The call is from the synthesizer (can be argued as bells too) and the response is a bit lengthy one from the violins.
5. The fifth segment is from the song ‘Padoo Sakhi Padoo’ from the film Chaitram (Malayalam 1989) . This is a brilliant arrangement where the notes descend in both the call (synthesizer)  and the response (violins). This is a flute centered song and this is a pivotal transition part of the lead over to the charanam
6. The sixth segment is  from the song ‘Ponana Meni’ from the film Meendum Kokila (Tamil 1979). The call is from the rapid synthesizers and the response is from violins arranged in staccato fashion. Though the segment is short, this is another example similar to segment 1, with a different melody

Let’s hear the sample of Raja’s unusual synth-violins conversations...

The synthesizer based C&R arrangements of Raja are too many to list. Readers can add their favorite pieces to the list that is hard to contain.

Trumpet unusual conversations

Raja has used trumpets extensively in his compositions and we have touched on some of these compositions in past posts. We will focus on the use of trumpets in a C&R mode in this post.

The clip below has five segments drawn from Raja’s work over the past 5 decades.

1. The first segment is from the song Oho Laila from the film Chaitanya (Telugu 1991). The call is a long one from the trumpet and the response is equally long from the guitar
2. The second segment is from the song Rum Bum Bum from the film Michael Madana Kamarajan (Tamil 1991). For the short trumpet calls, you get longer guitar responses. Very beautifully arranged work
3. The third segment is from the song Sevvaname Pon megahame from the film Nalladoru Kudumbam (Tamil 1979). The rapid drumming accompanied trumpet call is responded by the guitar with an equal rapid pace
4. The fourth segment is from the song Vaa Vaa Vaa Kanna Vaa from the film Velaikaran (Tamil 1987). The call is from the trumpet and the response is the exact same melody played by the guitar. This is very unusual in Raja’s orchestration
5. The fifth segment is from the song Siriya Paravai from the film Antha Oru Nimidam (Tamil 1985). The call is from the trumpet and the response is from the violins. The violins add to the grandeur of the composition

Let’s hear the sample of Raja’s unusual trumpet conversations...

Shehnai unusual conversations

We have covered in detail of Raja’s use of Shehnai in his music and the way he has used this instrument defying common mood expectations that most film music listeners have. C&R is no exception. Raja has several tracks where he has used Shehnai in a C&R mode. Let’s explore a few top of mind tracks.

Here is a single clip with multiple segments that cover Raja’s Shehnai C&R work:

1. The first segment is for about 23 seconds and is from the song, ‘Maalai Soodum Velai’ from the film ‘Naan Mahaan Alla’ (Tamil 1984). This is a conversation between the shehnai and the bells. The bell response is short for the long shehnai calls.
2. The second segment is for about 18 seconds and is from the song, ‘Kasturi Manae’ from the film Pudhumai Penn (Tamil 1983). This segment has two different C&R arrangements. The first two shehnai calls are responded by the guitar; the last two calls by the shehnai are responded by the synthesizer. A very pleasing arrangement
3. The third segment is from the song ‘Athadi Paavadai’ from the film Poovilangu (Tamil 1984). The call by the shehnai is responded by the flute. This is a very common Raja arrangement and he has used it in several songs.
4. The fourth segment is from the song, ‘Kasturi Manae’ from the film Pudhumai Penn (Tamil 1983). The call is from the the shehnai and the response is from the flute. Observe the segment 3 and segment 4 – the instruments are exactly the same, but the tempo is different and the percussion support is different and creates a completely different experience
5. The fifth segment is from the song ‘Athadi Paavadai’ from the film Poovilangu (Tamil 1984). The call by the shehnai is responded by the bells. I did not include two segments from the same song one after the other to ensure that the listener appreciates what the master does with one technique but different instruments, different rhythm arrangements. Both the Pudhumai Penn and Poovilangu songs have the same choice of instruments, but until you hear them all side by side, it is hard to realize what Raja does with his treatment!
6. The sixth segment is from the song ‘Kanmaniye Pesu’ from Kaaki Sattai (Tamil 1985). The call is from the shehnai and the response is a detailed one from the flute.

Let’s hear the sample of Raja’s unusual shehnai conversations of Raja set to a C&R arrangement...
 

Sitar unusual conversations

Sitar is rarely used in South Indian music. However, Raja has used it extensively in his compositions. He has used it in its traditional as well as his own non-traditional forms. C&R arrangements with Sitar is also another part of Raja’s orchestration in his long career. Let’s hear some top of mind examples of how Raja has used Sitar in C&R arrangements.
Here is a single clip with four segments showing how Raja has arranged Sitar in his unusual C&R arrangements:

1. The first segment is from the song Rangulalo Kalavu from Abhinandana (Telugu 1990). This is a brilliant violin and sitar C&R that has the Raja stamp all over it. The call is by the sitar and the response are a few strokes from the sitar
2. The second segment is from the song ‘Poo Pookum Masam’ from Varusham 16 (Tamil 1989). This is a beautiful call by the sitar and a nice classical response from the flute
3. The third segment is from the famous song, ‘Nilaave Vaa’ from Mouna Ragam (Tamil 1986).  This is part of the prelude of the song and the call is by the sitar and the response is by the guitar.
4. The fourth segment is again from the song Rangulalo Kalavu from Abhinandana (Telugu 1990). This is from the second interlude and this time, the call is by the synthesizer and the response is from the sitar.

Two close string instrument based arrangement seems to be a Raja favorite. The sitar-guitar, sitar-synthesizer arrangements are very good Raja innovations. I will also cover some of Raja’s Veena-guitar arrangements later, which are similar.

Let’s hear the sample of Raja’s unusual sitar conversations of Raja set to a C&R arrangement...

 

Tabla unusual conversations

While Raja has extensively used tabla in his rhythm arrangements, it is not so common to put the tabla in the C&R mode. We will present some top of mind examples of Raja’s C&R that involves the tabla.

1. The first segment is from the song ‘Muthumani Sudare Vaa’ from the film Anbulla Rajnikanth (Tamil 1984). The call is from the flute and the response is from the tabla
2. The second segment is from the song ‘Vanamella Shenbagapoo’ from the film Nadodi Paatukaran (Tamil 1992). There are 4 different calls from the flute and the tabla responds to the calls with rhythm. Nice arrangement.
3. The third segment is from the famous song ‘Thakita Thathimi’ from the film Salangai Oli (Tamil 1983 or Sagara Sangamam –Telugu). The call is from the synthesizer and the response is an equally rapid one from the tabla.

Let’s hear the sample of Raja’s unusual tabla  conversations...
 

Sax unusual conversations

Raja’s use of sax in his songs has been covered in a number of topics in this blog and C&R arrangements with Sax is not so common within Raja’s work. However, I will cover some top of mind examples of sax use by him in a C&R mode.

Here is a single clip with two segments that cover his sax C&R work:

1. The first segment is less than 15 seconds and is from the song ‘Ponmeni Uruguthe’ from Moondram Pirai (Tamil 1982). The long calls from the sax are answered in short by the guitar
2. The second segment is for about 15 seconds and is from the interlude of the song ‘Vaanile Thenila’ from Kaaki Sattai (Tamil 1985). The long call is by the violins and the short response this time is from the sax, the opposite of the previous segment

Let’s hear the sample of Raja’s unusual sax conversations of Raja set to a C&R arrangement ...

The Cheeni Kum background score had some very interesting sax arrangements.  Readers can contribute more to this topic from the long list of Raja compositions...