SJ – Orchestral vocal instrument - PolyCaRe (1990s)

 PolyCaRe is a Raja specialty, and we covered this in a number of posts a few years ago. This is basically a Call and Response arrangement within a polyphonic arrangement. In other words, it has a background melody and a foreground melody like every polyphonic composition, but the foreground itself has two or more melodies operating in a C&R format. 

You can see more on the definition and the exploration of PolyCaRe here…

PolyCaRe Introduction

Though I did cover SJ being used in a PolyCaRe orchestration by Raja on a few occasion in this analysis 

1. Pagalile Oru Nilavinai (Ninaive Sangeetham)

2. Ennathial Edho Jillendradhu (Kallukkul Eeram)

3. Maniye Manikuyile (Nadodi Thendral)

However, one composition that is reserved for a beautifully orchestrated PolyCaRe with SJ’s voice in the 90s is what we will analyze in this post. 

The track is from the song  ‘Mannavane Mannavane’ from ‘Thandhu Vittaen Ennai’ (1991 Tamil). This 32 second clip is a gem that has no parallel in Indian film music. It begins with a simple melody with a santoor. This continues throughout the 32 seconds as the background melody – no change at all. Now, we need to focus on the foreground arrangement. The foreground is a bewitching melody arrangement where the call is made by SJ and the response is from the flute followed by the violins.  The santoor continues its background melody. SJ sings her second melody and the flute and violins respond one after the other to complete the masterpiece. You can clearly see that SJ is used as an instrument in this sophisticated PolyCaRe arrangement and the major role here is for the santoor, flute and the violins. Such arrangements were never attempted before and after this song. It is easy to think of an orchestral arrangement such as harmony. However, to think of a polyphonic arrangement is much harder. The next level of sophistication is to think of a PolyCaRe arrangement as you must have an endless supply of melodies that fit in. The ultimate sophistication in my view for a composer is to create such compositions, where he can think outside the box – within a PolyCare arrangement, why can’t I replace one of the instrumental piece with a human voice? That’s Raja!

Let’s hear Mannavane Mannavane, PolyCaRe with SJ’s orchestral vocal instrument…

SJ – Orchestral vocal instrument - Counterpoints (1990s)

The use of SJ in Raja’s counterpoint compositions continued into the 1990s also. 

The first track is the prelude from the song, ‘Ponnil Vaanam Poothadhu’  from ‘Villu Paatukaaraen’ (1992 Tamil). The track begins with a simple melody played on a synthesizer – this is typical way of Raja preparing the listener that ‘more sophistication is on the way’. This melody is played twice. The parallel counterpoint , which is the central part of this composition is beautifully packaged with two melodies. Let’s call this the top cover melody. The next thing that Raja has designed is to introduce a three foreground melodies. Yes, there are three parts to this foreground melody. SJ, the bass guitar and the flute do their melody parts while the synthesizer plays a simple but different melody in the background. I consider this as one of the most soothing counterpoints written by him! I have also included the last part played by the sitar which is nothing but the same melody that the synthesizer played in the beginning. This is the bottom cover melody. It is also designed beautifully and plays exactly twice like its synthesizer counterpart. Now, this is how the most beautiful pearls are created by nature. The two melodies (like shells) beautifully cover the beautiful counterpoint inside it. Genius!

Let’s hear, ‘Ponnil Vaanam Poothadhu’, counterpoint with SJ’s orchestral vocal instrument… 

The next track is from the song, ‘Raasaave Unnai Vida’ from ‘Aranmanai Kili’ (1993 Tamil). The track begins with a simple C&R between SJ and the synthesizer (it has bass parts too). The synthesizer part is designed to be the background melody for the following counterpoint. Following this brief C&R, both SJ and the synthesizer launch a parallel counterpoint with the synthesizer given the job of the anchor – constant background melody. There are several variations to SJ’s melody parts but the synthesizer stays put. I have also included the following counterpoint after SJ’s part – this is where SJ becomes a part of the Raja orchestral composition. The foreground melody now is played by a flute with the exact same synthesizer melody in the background. Another back to back CP within a minute – typical Raja. 

Let’s hear, ‘Raasaave Unnai vida’, counterpoint with SJ’s orchestral vocal instrument…

SJ – Orchestral vocal instrument - Counterpoints (1980s)

Readers regularly reading this blog will be familiar with counterpoints and their usage by Raja. There were several posts dedicated to Raja’s counterpoints from 2008 onwards. Here is some basic information on musical counterpoints.

 In these posts, we will explore how Raja used SJ as one of the counterpoint instrument. This obviously requires two melodies that need to be playing simultaneously. Sometimes, there are several melodies in Raja’s work and SJ is one of the melodies. Let’s begin our analysis with the tunes of the 1980s. 

Let’s begin with the prelude of the song, ‘Ennathail Edho’ from ‘Kallukkul Eeram’ (1980 Tamil). The track begins with a synthesizer playing at a constant rhythm being the background melody throughout this part. SJ’s humming is composed as a counterpoint along with the bass guitar. This is actually a PolyCaRe composition, as the SJ/bass guitar parts are answered by the flute with its own melody when the background synthesizer keeps playing its repeating melody. The SJ/Bass and the flute parts are different for each phrase. The whole composition is engineered with the lead singer playing an orchestral part for the prelude. It is arranged as a staggered counterpoint by the composer.

Let’s hear, ‘Ennathil Edho’, counterpoint with SJ’s orchestral vocal instrument… 

The next track is from the song ‘Isai Medaiyil’ from ‘Ilamai Kaalangal’ (1983 Tamil). There are several melodies in this part and the two main parts are melodies sung by the female choir and SJ’s parts. You will notice that the female choir is given the simple melody that keeps repeating throughout this part. The SJ part has nuances to its melodies as it changes every time. The counterpoint has two distinct arrangements placed back to back. I have included some instrument parts following the SJ part. Observe that the female choir continues even after SJ’s part is over. The SJ part is replaced by the synthesizer playing a new melody and even the background female choir has its melody changed. Brilliant! When composers brag about writing counterpoints, Raja has written several such gems, where he alters both the foreground and the background melody and nobody notices, as the listener is transported to a different world by the sheer strength of the melody!

Let’s hear, ‘Isai Medaiyil’, counterpoint with SJ’s orchestral vocal instrument… 

Even within these posts, you can see how Raja used SJ in instrument parts that are dominated by flute in the first and the choir/ synthesizer in the second. I am sure there are a few others I may have overlooked. Feel free to include them in your comments…

SJ – Orchestral vocal instrument - Harmony (1990s)

 The technique was not used by Raja is a big way in the 90s with SJ’s voice. However, I found one example of him continuing this in the 90s too.

The track we will hear is from the song,’ ‘Thanneer Kudam’ from the film ‘Sarkarai Devan’ (1993 Tamil). The harmony is buried inside the charanam and it is used in both the charanams in the same format. The harmony is between the synthesizer, flute, bass guitar and SJ and it is a three part harmony.  Focus on the parts that SJ hums along with these instruments.

Let’s hear, ‘thanneer kudam’, harmony with SJ’s orchestral vocal instrument…

SJ – Orchestral vocal instrument - Harmony (1980s)

 In the 80s, Raja expanded the use of SJ in several of his harmonies. There are several dozens of examples and I have chosen a few to analyze how he integrated her into his harmonies in this decade. 

The first track we will hear is ‘Azhagu Aayiram’ from ‘Ullasa Paravaigal’ (1980 Tamil). This is such a beautiful use of her voice inside a harmony that it requires elaboration a little before and after her harmony parts. The first few seconds is a harmony that is arranged between the synthesizer, flute and the bass guitar. This follows a long harmony part between the electric guitar, SJ, bass guitar, synthesizer and another guitar with a wah wah pedal. Absolutely staggering piece of orchestration. Following this are harmony parts with the violin, synthesizer and flute serving as a bridge to the charanam.  Such harmonies are impossible to hear with today’s music. Worth every second in gold!

Let’s hear ‘Azhagu Aayiram’, harmony with SJ’s orchestral vocal instrument…

The next track is from the song ‘Raja Magal’ from the film, ‘Pillai Nila’ (1985 Tamil). This track can easily be argued as a C&R track as it has two back to back C&R between SJ and the recorder. However, I chose to categorize it as a harmony to illustrate the final harmony that follows these two C&R arrangements, where SJ is just one part of an otherwise violin harmony. A simple synthesizer bridge connects these parts back to the charanam (this is the part almost every composer today struggles, but Raja has a few thousand ideas that today’s composers fail to study).

Let’s hear ‘Raaja Magal’, harmony with SJ’s orchestral vocal instrument…

The next track is from the song, ‘Rojavai thaalaattum thendral’ from ‘Ninaivellam Nitya’ (1983 Tamil). This is a nice violin harmony that SJ is a part of.

Let’s hear ‘Rojavai thaalaatum’, harmony with SJ’s orchestral vocal instrument…

The next track is from the song, ‘Vaa Vennila’ from the film ‘Mella thirandhadhu Kadhavu’ (1986 Tamil). This is a dense 4 part harmony between the violins(T), flute(S), bells(S), bass guitar (B), and SJ(A), each taking the respective parts and delivering a beautiful hearing experience. 

Let’s hear ‘Vaa Vennila’, harmony with SJ’s orchestral vocal instrument…

The next track is from the prelude of the iconic song, ‘Vaan Engum Thanga Vinmeengal’ from the film 'Moondram Pirai’ (1981 Tamil). SJ shares her part with a female choir in turn. The harmony has the lead guitar, bass guitar, piano, flute, SJ/choir playing their parts.

Let’s hear, ‘Vaan Engum’, harmony with SJ’s orchestral vocal instrument…

I am sure there are a few more examples of SJ being used as part of a C&R arrangement in the 1980s. Feel free to include your picks in the comments…

SJ – Orchestral vocal instrument - Harmony (1970s)

 Harmony is an integral part of Raja’s work from the get go in 1976. It continues to this date on every possible genre he touches. It somehow is a non-issue for him to bring it into any type of music he composes. While the technical definition of harmony is multiple voices sounding simultaneously, we are going to see how a ‘human voice (SJ)’ did become part of a Raja composed harmony in the next three posts, one per decade.

The first track we will hear is from the song, ‘Aagaaya Gangai’ from ‘Dharma Yudham’ (1979 Tamil). The way Raja structured the second interlude is nothing short of a harmony masterpiece. You will hear two sets of violins, cellos and double bass playing (foreground and background) initially. This is followed by the guitar and SJ along with the violins still continuing in the background. Absolutely mind blowing. The synthesizer joins the harmony as well. Fortunately, the tune was such a big hit that this interlude is quite popular.  A fantastic arrangement with more than 5 instrument parts (violins, cello, double bass, guitar, synthesizer) apart from SJ’s voice to create a harmony experience. At the time when the song came out, harmony was not something that was widely understood by the film music listener. Raja , definitely, raised the film music listener to the next level, with this work. Way ahead of its time.

Let’s hear, ‘Aagaaya Gangai’, harmony with SJ’s orchestral vocal instrument…

The next track is from the song, ‘Indha Minminikku’ from ‘Sigappu Rojakkal’ (1978 Tamil). I have included the harmony parts before and after the SJ harmony parts so that it is clear that her voice is another in the harmony. The initial harmony is arranged with a flute,  lead guitar and bass guitar, only to give way to SJ’s humming and it is supported by three  more voices – the lead and bass guitar , synthesizer. This is followed by a beautiful harmony passage of the violins that bridge the interlude to the charanam.

Let’s hear, ‘Indha Minminikku’, harmony with SJ’s orchestral vocal instrument…

The next track is from the song, ‘Kandaen Engum’ from ‘Kavi Kuyil’ (1978 Tamil). I have included some parts before and after the SJ parts to illustrate how her voice is used as part of a harmony. The initial part is a parallel counterpoint between the guitar and the flute. The SJ part is a beautiful harmony of the violins and her voice. What follows is a simple synthesizer bridge to the charanam.

Let’s hear ‘Kandaen Engum’, harmony with SJ’s orchestral vocal instrument…

The next track is from the song, ‘Kanmaniye Kaadhal Enbadhu’ from ‘Aarilirundhu Arubathu varaiyil’ (Tamil 1979). This track has three parts but all of them are vocal harmonies with SJ’s voice. The first part is SJ doing both the Alto and Tenor  as a humming as part of the interlude. The next two parts are from the charanam. One of the voices (Tenor) stays as a humming while the Alto parts are executed with words. Musically, the words don’t mean much as it is still a vocal harmony.  While I am not entirely sure, if this was his first vocal harmony experiment, he went on to do greater things with SJ’s voice with ‘Karaiyellam Shenbagapoo’, a couple of years later. While, SJ must have experienced this (most likely) technique for the first time, she was quick in executing it very nicely.

Let’s hear,’Kanmaniye Kaadhal’, harmony with SJ’s orchestral vocal instrument…

SJ – Orchestral vocal instrument - Call and Response (1990s)

 The C&R journey from the 90s continued into the 90s as well. However, the pace of SJ being used in this orchestral format came down significantly during this decade. We will see a few examples from the 1990s.

The first track is from the song, ‘Maniye Manikuyile’ from ‘Nadodi Thendral’ (1992 Tamil). This is a PolyCaRe clip with the santoor playing the background melody throughout the clip. The call by SJ is responded by the flute and while the flute responds, the santoor continues in the background with its simple melody.

Let’s hear, ‘Maniye manikuyile’, C&R with SJ’s orchestral vocal instrument…

The next track we will hear is from the song, ‘Oru kunguma sengamalam’ from ‘NaangaL’ (1992 Tamil). This is a complex C&R arrangement – it has two back to back C&R arrangement with proper guitar chords. This is not just one more humming as it happens quite often in Indian film music. The initial call is by SJ with the guitar chords and the response is from the tabla. The second call, a different melody, from SJ is responded to by the flute with its own response. You have to pay attention to the further synthesizer and violins, playing  a C&R, after the SJ C&R ends.  This is to illustrate, how deeply buried is SJ, the instrument inside the Raja orchestra. Such is the thinking of a musical genius. You will never find such an arrangement by any Indian composer.

Let’s hear, ‘Oru Kunguma Sengamalam’, C&R with SJ’s orchestral vocal instrument…

The next track is from the song, ‘Oru Raagam tharaadha veenai’ from ‘Unnai Vaazhthi Paadugiraen’ (1992 Tamil). This is a simple back to back C&R arrangement. The initial call and response is played together between SJ and the violins. The second C&R is a proper division of responsibility between SJ and the violins where SJ makes the call and the violins respond. The violins are used to bridge the C&R to the final charanam in typical Raja style.

Let’s hear, ‘ Oru ragam tharadha’ , C&R with SJ’s orchestral vocal instrument…

I am sure there are a few more examples of SJ being used as part of a C&R arrangement in the 1990s. Feel free to include your picks in the comments…