Friday, May 29, 2009

A cappella!

A composition without instrumental/orchestra accompaniment is referred as "A cappella".

Raaja sir has performed this music genre either as a complete song or at a part of the song as follows:

Naan poranthu From Maayabazar 1995,
Polla vinayein from Thiruvasagam {Exactly the verse - Aakkam alavu},
Thenpandi cheymayile - Nayagan {Raaja sir's version},
Chembavala {kummi} part from Aracha Santhanam - Chinna thambi,
SalangaiSatham - Puthu nellu puthu naaththu,
Oh vennilave vaa from Aananda kummi,
Appothu nallathaga, Aduppai mezhuki and NerunjiPoo from Vaazhga valarga,
Overture of Vaanam thottu - Thevar magan does not have any orchestra until 40th sec, which was plaited with 5-6 part choir{?}, more alike a fugue {not technically, though},
Devan kovil - Naan paadum paadal: Prelude Alap of Janaki amma was accompained by choir alone to make mesmerizing harmonic zone unto 20 sec...et al.,

Naan poranthu From Maayabazar 1995:

Talking about the complex texture of voice in the song - Naan poranthu From Maayabazar 1995: Well, polyphonic voice {parallel motion, oragum} was originated by medieval era itself.

To my interpertation, Raaja sir has either composed the orchestra arrangement for this song and later implemented with voices or intend to utilize the voice through which HE would have made the chords or melodies of instruments. {Perplexing, eh?}

Here, I go…At the overture or prelude, 3 part vocal {2 females and a male} imitate the tremolo chord till first 08 seconds. Later part, 2 part vocal imitate violin lead; say female voice {Contralto} and male voice {Castrato} imitate treble and bass respectively. 20th second’s punch voice imitates Timpani/bass drum beat.

During pallavi, the backing scat singing – ram bam pap imitates cello/violin notes. At 29th and 30th seconds “Chinchigguchin” is embellishment, either of santoor or guitar strum…! One may ask why not scat singing imitates any percussion? Actually, of late I found in re-recording session of Naan kadavul, Raaja sir dictates the notes for cello as scat singing “Tha ram pam”…! At 40th sec, the vocal backing imitates the violin movement {andante, eh?} and at 43rd and 44th sec are alike presto movement {quick movement} and next five seconds repeat the same pattern more alike strophic form. 49 – 58 seconds, running notes may be for guitar. Next 5 secs have call and response of “Beat measure”.

When Raaja sir sings ghost scaring mantra, backing vocal imitates Udukai sound (or anklet, eh?){01:09 – 01:17} and rhythm of Udukai from 01:18 – 01:25Backing vocal from 01:26 imitates piano chords and string orchestra joins at 01:31 to make pleasing harmonic structure.

Let me presume the backing vocal at saranam as percussion arrangement till 01:58 and percussion sounding continues, however, here syncopation had been attempted till 02:08From 02:09, two part vocal hums the melting melody, backing vocal imitates pizzicato through double bass {since it is male voice}. Finally, female voice more alike coda imitates snares and accomplish the 1st saranam.

When the 2nd interlude has rhythm succession, at 02: 53 trumpet sound was imitated, its call was responded by some reed instrument sounds decrescendo.

Eventually, giggle of males and females were call and response and overlap to make stretto structure…! {wink}

Performing the multi-layer vocal arrangement is not a big deal for Raaja sir.

* Re-recording of Olangal has 8 different choir compositions - one in Minor scale, one in Major scale and et al., which was supposed to be employed for the 1st time in indian cinema.

* 6 different voices overlapping/super imposing was also attempted by Raaja sir in the song - Vaa Vaa manjal malare from Raajathi raaja.

* Raaja raajathi raajan from Agni natchathiram has two different tones of Raaja sir {say bass and treble} overlap throughout the melody!

* 3 overlapping voices as vocal harmony in pallavi of Adi aathadi illam and vocal harmony in 1st interlude by Janaki amma for the song - Vikram Vikram.

* The song Vaanam thottu ponna from "Thevar Magan" is something alike Requiem version of Pottri paadadi ponne. It is kind of fugue format; successive progression of five or six choir parts sing the same melody with different tones.

* Ilavattam from My dear maarthandan has counter-tenor vocal harmony replicates {pseudo} the lead song's melody with pseudo-interval and does not make canonical subject...!

Wut not?

Ruler of Vocal arrangement!

always

~~Raaja rules!

7 comments:

Anonymous said...

@ New Kenny on de block ;)

Very nice article about Capella....

Das Das Chinnappa das from Kadalora kavithaigal...
Is this song based on the multi layer vocal arrangement ?

New kenny on de block ;) said...

I am afraid that ya're right {smile}

I would need to listen to it and shall comment back again. Thanks!

Anonymous said...

Hey! Raaja sir always rocks. Nice post

latha said...

Kamal,
Amazing Analysis !!!!
The first minute of Aritharatha posi kolla Song from Avatharam does not have any instruments accompanying so can we call this a cappella???
Expecting you to write about this amazing album !!!!

New kenny on de block ;) said...

@ Anonymous said...

Yes, you are right! {smile}

It has two different voices, counter-tenor voice imitates the lead melody of lead voice. Thanks!

always

~~Raaja rules!

New kenny on de block ;) said...

@ tnagarkumar

Sir, welcome to my blog! Thanks!

always

~~Raaja rules!

New kenny on de block ;) said...

@ Latha madam,

Welcome to my blog!

Thanks! Yes, unto first 58 seconds, there in no music instrument accompainement. At the same, it has uncoventional rhythm/accompainment, which fit into "Skiffle" music genre. Good catch!

Thanks!

always

~~Raaja rules!