Even in some heavy Carnatic compositions of Raja such as Poon Kadhave Thazh thiravai from Nizhalgal (1980), the interludes are composed as a dialog between CCM and WCM. This is a light classical composition and if you observe the first interlude, for few seconds, the Western violins start off a dialog with the Indian style violin composition. Two examples that are worth mentioning: Nadham Ezhunthathadi from Gopura Vaasalile(1991). Hear this grand piece of orchestration.ДЄbsolutely. Another example of Carnatic counterpoint is the song Aavesemantha aalapanene from the film Aalapana (Telugu), where Raja has recorded SPB singing two swaras in counterpoint - what a melody! Hear this wonderful Indian melodies in counterpoint - only a genius can think of this.ДЄnother example of Raja using two unusual Western techniques in counterpoint mode is having a grand violin section playing a counter melody to a choir as heard in kottum kuzhal vizhi from Kalapani (1997). As I mentioned before, Metti Oli from Metti (1982) uses typical Carnatic swara singing between Raja and Janaki in counterpoint mode. Raja has used counterpoint techniques on several non-western type compositions. Why should WCM concepts such as counterpoint be used only with the Western orchestration? The first pallavi and charanam is orchestrated the western way and the second charanam is done the Indian way only to return to the final pallavi in the western fashion. 3) Another example of this technique is the song Then Mozhi from Solla Thudikuthu Manasu (1988). The transitions are perfect in both these examples and this can be done only by someone who has mastery over both these idioms вЂ“ Indian and Western. The orchestration completely and seamlessly switches to Western drums and violins from the second interlude and the second charanam is also orchestrated in a western style. The initial pallavi, the first interlude and the first charanam are all in Indian format вЂ“ complete with mridangam, tabla and the works. 2) Oh Vasantha Raaja from Neengal Kettavai (1985) вЂ“ this takes the experiment up by one notch. The middle charanam and the second interlude is composed in a Western style and the rest of the song is in Indian format. 1) Siriya Paravai Siragai Virikka from Antha Oru Nimidam (1985) is a song that has three charanams. Let me list three such experiments from a long list.

Most music composers stick to one style of orchestration as it gets easy to compose the ludes and synchronize the main melody. Why should a single film song have an Indian or Western style orchestration only? For example, the song Naan Onru Ketpen Tharuvaya from Ilaya Ragam (1995) uses no percussion and is fully supported by the synth and guitar throughout the first pallavi, first charanam and he introduces percussion only from the second interlude onwards. While Raja sticks to the Indian film music structure for the most part, he does a lot of experimentation within the structure. Raja, being creative and fully aware of the unwritten rules, experiments by breaking them occasionally. In the вЂfilm music basicsвЂ™ section, we saw how film music is structured for the most part. Why should all film songs follow the same structure? I plan to write more on this as I uncover more. However, RajaвЂ™s music experiments are very varied and in this section, I would like to share some of the experiments that I am aware of. These are popular examples of his experimentation. His Kalaivaniye song which was created as an arohanam only. Similarly, he used the heart beat as the rhythm for the song Om Namaha from Idhayathai Thirudathe. He created a lot of hype with the Keladi Kanmani song where he got SPB to sing the entire charanam in one breath. Raja, who has been the leading film musician for more than 3 decades, did a few gimmicks to get public attention вЂ“ it was more aimed at demonstrating that he is different.

Am raja song