Celtic

Celtic music was originated from Greek & Roman and later, it was considered to be music of Indo-European region & reportedly, their folk music.

Normally, these compositions should have their native instruments alike Accordion/Concertina, Irish Flute, Bagpipes/Uilleann pipes, Banjo, Tin whistle & et al.,

* Raaja sir started its music cult from the Oorampo - Ponnu Oorukku Pudhusu days itself...

* 2nd interlude of Athadi kathadi from Meendum Oru Kathal Kathai has typical of Celtic melody

* 2nd interlude of Poongaththu athu from Nilavae mugam kattu has Celtic fusion with tribal rhythm texture

* Vanampadi from Thalayanai manthiram & Thamaraikodi tharaiyil from Aananda Kummi have tinge of Celtic elements say in the prelude itself...

* Karutha machan from Puthu nellu puthu naathu:

Well, it's prelude has southindian folk instrument called Urumi, resonance of two violins have Celtic nuances and this lude ends with popping of bass guitar and harmonica melody was replicated through synth

* Kaathal thiruda from Pickpocket is “A Polka” song with Celtic 2nd Interlude

* Iniya naal from Manasellam - 1st part has rich children's choir, 2nd movement has 3-part choir with vocal harmonies & Celtic fillers

* Oru naal oru kanavu from Kannukkul nilavu is a Celtic-folk song

* 2nd interlude of Thalattu from Paatukku Naan Adimai

* The trill on flute Konjam thira from Oru naal oru kanavu has tone of Celtic-Pop Capercaillie's "When You Return"

* Interludes of Adaganide cheppedi ela or Kaise kahan from Shiva 2006 or Solvatharukku sol from Udhayam...

* Prelude & 1st interlude of Dheemi dheemi or Manasa adagava from Shiva 2006 or Oru naal maalaiyil from Udhayam - 2006

* Kaattu vazhi - Adhu Oru Kanaa Kaalam & Meri paa from Paa are Celtic-folk numbers.

These compositions have intense melody of Celtic, which was well played with violin & so does the song - Pandathe naattinpuram from Ponmudi Puzhayorathu

* Prelude & 1st interlude of Andala Lokam from Gaayam 2

* Rangu Rangu from Prem Kahani is a typical of Celtic-pop & so does the Swalpa Soundu from Suryakaanthi (Kannada) & so on...!

A big thanks to Ravi Natarajan sir who has kindled me to showcase the nuances of Celtic in His musical gems...

always

~~Raaja rules ♪

Nadaibetham - Raajanadai II (நடைபேதம் - ராஜநடை II)

Yelamala Malai from Nadodi Thendral:

This song is based on 3/4 time signature. At 03:26 a rhythm punch stops the song & after 3 count {1,2,3}, 2nd interlude starts with change of rhythm pattern & tempo; still it sustains in the same 3/4 time signature.

Oorellam un pattu from Oorellam Un Pattu:

In Raaja sir's version, there will be a thala jathi change at middle of the charanam --Aalam vizhuthukal polae TO Unatharul thedi-- Still, song will be in the same time signature of 3/4 only. There are a few 100 songs of Raaja sir has this sorta change in jathi.

Change in Thala jathi or syncopation is a common factor in Raaja sir's compositions. Especially, it occurs at the Saranangal {Stanzas}.

Aagaya vennilave tharai meethu from Arangetra Velai:

Although Raaja sir has composed the song in 4/4 common time, the ace lyricist - Vaali has penned the song with consideration of melody as 3/4 time signature. So, its vocal melody is based on ¾ and the rhythm accompaniment is based on 4/4. However, both of them would concord at 12th count.

This is an unique composition with poly-time signature.

However, there are some Raaja sir's songs wherein change of time signature {mixed} or Nadai {beat cycle}.

Nadai-betham:

Nadai-betham is a process of changing a particular beat cycle to another & may regain the original beat cycle. Just for example, 4/4 time to ¾ time signature & again back to 4/4 common time.

Jinjinnaara from Rajasthan is a fine example for the aforementioned account.

Basically, this song is an "Electro-mix" rhythm oriented song Or simply an "Electro-pop" song. It is based on common time of 4/4 common time.

However, the rhythm cycle changes to ¾ time signature at the timing of “02:06 - 02:22” {From Naan pidichathellam to Un aththa ponna sonnapadi kattikullappa by Arunmozhi} & again "04:10 - 04:26" {From Kathalikka beach yethukku by S.N. Surendar to Onne onnuthanae irukku by Arunmozhi} at each Saranam {Stanza}, wherein syncopated folk beats where made through rhythm pad. Syncopated beats are something alike Nadaiya vittu vaasikirathu. And the remaining song is based on 4/4 common time.

Malai karukkaiyile from Enga ooru kaavalkaaran:

Well, the prelude starts with 6/8 time signature & changes to 3/4 (2/4 + 4/4) gives lead for pallavi. Again, 1st interlude starts with 6/8 & keys run help to change the time signature into 3/4 without any fuss...!

Aagaya Thamarai - Nadodi Pattukaran:

Prelude is in the 6/8 time signature & song is based on 4/4 common time.

Ooru vittu ooru vandhu from Karagattakaran:

The western rhythm starts with 4/4 {count goes alike 12 12} common time & the folk rhythm at the prelude itself goes in 6/8 time signature.

Sooriyana kandavudan - Paarvathi Ennai Paaradi:

Its prelude has Hindustani accent tabla with lovely flute piece & bass work. Although, this prelude is based on 4/4 time, bass guitar played in 3/4 time signature & the song is also based on 3/4 time signature.

Thoondamani vizhakku from Vazhga Valarga:

This song is based on 3/4 time signature, however, after the "A capella" kummi, {01:07-01:17} the folk rhythm was played in 6/8 time, again 1st saranam is based on 3/4 time signature.

Raakkumuthu raakku from Ejaman & Chola vazha naadu from Uliyin oosai end with 6/8 time signature, although these songs are based on 4/4 & 3/4 time signature respectively...!

Karava Maadu Moonu - Magalir Mattum:

http://www.youtube.com/watch?v=S61N5anF3CI

Well, it is a special & an experimental composition in many aspects. This song has different genres say,

* Prelude has resonance of Latino,
* Pallavi is in electro-pop pattern,
* 1st interlude & saranam is in western classical movement,
* 2nd interlude & saranam is in classical format & rhythm was through electronic rhythm kit,
* 3rd interlude & saranam is in folk & again rhythm was through electronic rhythm kit...

* Then, Janaki amma has rendered this song in 3 different slangs...

* 4 different pallavigal...

And talking about the time signature -

* Pallavi is in 4/4,
* 1st interlude & saranam in 2/4,
* 2nd interlude & saranam in 4/4,
* 3rd interlude & saranam in 3/4 &
* Again pallavi ends with 6/8 time signature...!

Finally, these are just executions of Nadai-betham in few of His compositions sorry, experimentations. (wink)

always

~Raaja rules ♪

Raajanadai - Raaja of Rhythm

The above video is rehearsal of re-recording for the movie - Mayilu. It is an interesting video wherein Raaja sir instructs the drummer to play 5/8 beat cycle {Taka Takita or 12 123 - without any quarter notes}. He is so keen on rhythm cycle & points out an error that drummer has played 6/8 {Takita Takita} instead of 5/8 beat cycle...!

So, no compromise even with a single beat {wink}

Courtesy for Video: Akbarraaja

always

~~Raaja rules ♪

Pickpocket

Of-late, I happened to listen to the songs from the movie - Pickpocket after a long time & was moved by the orchestration, which was so trendy & peppily.

The movie - Pickpocket, I believe it was directed by GM Kumar who is now a character artist in many Tamil movies.

Songs in this movie are in different genres:

Kaathal thiruda periya kaathal thiruda is “A Polka” song with Celtic 2nd Interlude. It is based on 2/4 time signature. At 1st interlude, western choir sings the “Mangalyam Tantunamena Mamajeevana”.

Manja kuruvi manja kuruvi konja paakkuthadi is a Latino number with Brazilian brass arrangement & stunning male choir at 2nd interlude.

Soodu romba soodu intha paalu sempu paalu is an erotica folk number with folk oriented western poly-rhythm. The prelude starts with bubble tones & raw funky wah-wah effect of electric lead guitar.

Velai velai ellorukkum undu starts with snooze, Raaja sir originates with morning raaga. If someone complaints that this song sounds more of Vishwanathan velai vendum then answer is yes. To my perception, Raaja sir is intend to compose this song with tinge of Vishwanathan velai vendum as both are same situational song. It is a Rock & roll song with boogie woogie piano fingering. 2nd interlude has different rhythms, for me lapping on Rhythm pad sounds like Namma ooru oththa adi {wink} & rock & roll elements of whistling, boogie woogie fingering & brass arrangement, however, with folk oriented rhythm.

always

~~Raaja rules!

Nothing But Ilaiyaraaja - A musical delight!

Venue: The Music Academy - Chennai,

Date: June 5, 2010

Time: 7 PM – 10 PM

The music evening has been dedicated to Maestro.Ilayaraaja on His birthday occasion. It has been a new attempt of concert at this Chennai music hall. Certainly, it should be a new experience for all the musicians who have performed in this program. The 3 hours birthday musical tribute for Raaja sir should be one of the unforgettable moments not only for Him, but also for all His enthusiastic fans. In the 3 hours, almost 1-1/2 hours, audiences have witnessed the greatness of Orchestration for Raaja sir's non-film album - "Nothing But Wind" & a hand full of His Film songs.

In that particular 1-1/2 hours, the aforementioned south-indian music hall was filled with array of String orchestra with different parts of tremolo, melodies, accompaniments. Strokes on Double-bass, mind blowing melodies blown out from C flutes {sharp & bass}, D flute, Key-flute & et al., More of three-beat cycle drumming on acoustic drum kit with dense bass effect, fingering on major & minor keys with regularity, sportive chord progressions, chord punches, sudden key changes & high standard of some required melodies on both the Keyboards, chords played on Electric guitar with high electric effect & funky wah-wah through sustain Pedal, running bass chords in bassline & slaps not only through fingers, but also through elbow of the bass guitarist, which converted the show to a mere Rock concert at some places & last but not least vocal harmonies of 2 part choir.

After a few seconds of 7 o'clock, show has been started with His popular cine devotional song - Janani Janani, which was rendered by Bhavatharini. Raaja sir, Lyricist Vaali & north indian composer Uttam singh have lighted the Kuthuvilakku. After the brief narration all about the album "Nothing But Wind" by actress Rohini & accompaniment of Bhasky, the live concert was started.

Singing Self:

Following the four counts by the orchestra conductor & ace-violinist - Prabhakar, string orchestra started playing their notes with high perfection & after 45th sec with a mere silence, music conductor of this show - Prabhakar itself played the articulation part of solo violin, which is uncommon in any orchestra. Subsequent to the heavy strike on bass drum {originally on Timpani} Naveen's breathe on the flute, which came out as original melody of this piece with excellence. Nearly at 7th minute, the fusion of rock elements of high energetic drumming with dense bass by Geo, fingering of veteran Alaap Raju were well received among audience with huge applause. Raaja sir’s high excellence of this composition has influence of Vivaldi & Mozart’s melodic line.

Song of Soul:

Navneeth Sundar {ranjith} who himself an upcoming composer was on one of the keyboards, played uniquely on tip of his fingers {His un-usual style of playing}. Youngest musician of this troop, Leon played running chords other keyboard. Free fingering of Donnan on lead guitar brought the retro ambiance. Besides the skilled outcome of melody by Naveen, Alaap Raju’s bassline chord progression & arpeggios dominated rather than the Geo’s soft drumming of triple beat cycle. Haricharan’s replication of the lead melody was adding ice to the cake.

Mozart, I love You:

This music piece is considered to be Raaja sir’s experimentation of flute opus with waltz array of string orchestra & an Indian raga with different movements. It is not only treat for ears, but also the proficiency of string orchestra wherein musicians’ quick gesture of changing the score sheet & simultaneously glimpse on the conductor’s hand movements were more like treat for audience eyes.

Nothing But Wind:

The title track of this album has allotted less work for the Flutist who appears at the last 2 minutes only. Little Leon has taken care of the birds’ chirping, ducks quacks, frog ribbit, nature ambiance, sounds of train, flight & rocket under guidance of Navneeth who has played the lead melody, brass arrangement & an organ piece on his keyboard. Haricharan has sung the aalap & mystic vocal harmony. Naveen’s flute melody at the end of this piece was more like a cadenza. This piece comprises melodies, harmonies, sounds of nature & ends up with a solo flute piece refers that music is nothing but wind.

Composer's Breath:

It is considered to be an important music piece of this album, which was played for nearly 17 minutes. It contains heavy different movements & pattern of string orchestra with articulation through flute, running chords on keyboard, counter Pan-flute melody was made on keyboard by Navneeth while Naveen was kept on changing the C flutes {sharp & bass} to D flute & again back to the C flutes. Instead of triangle {in original piece}, Geo played cymbol & Aalap Raju’s bass guitar count was alike 1,2, 1, 2, 3, 4 makes 2/4 + 4/4, still shows the count of ¾ whereas melody goes in the measure of direct ¾ time. Interestingly, after 12th minute the fusion of Indian melody through flute & rock elements of slaps on bass guitar with soft drumming was well received among audience with heavy applause, which was a famous music piece used to play on Chennai fm {Priyavin priyamana neram} during ’93-94.

Ace violinist Prabhakar who has re-written the score of this album on listening to its cd, also conducted the orchestra with highly dignified manner. And musicians on the orchestra were par excellent who have made a highly profiled outcome of those valuable music pieces.

To be continued…!

always

~~Raaja rules!

Thiruvasagam in Oratoria - A Musical pilgrimage!

Again, today is a special day in Raaja sir’s music career. Yes, before 6 years today {June 6th} is the day on which Raaja sir has started off composing the melodies & its oriented orchestra annotation for the album “Thiruvasagam in Oratoria”.

He has accomplished the composing work on June 18th, which is actually saint Manickavasagar day! i.e., The music composing work of this project was well thought-out in the last 12 days of Saint Manickavasagar.

always

~~Raaja rules!

Transcription of Anjali Theme Music!

Ilayaraaja’s Music Carnival!

The video link of Maestro. Illayaraja’s 500th Film - Anjali's Theme BGM by the composer Prashan Jayatheepam. This is an Orchestration work done by him who is a Passionate fan of Raja Sir for his 67th Birthday. He has re-arranged the Raaja Sir's Orchestral Score of the Anjali Theme BGM.

During Baroque era, Johann Sebastian Bach was very much influenced by Antonio Vivaldi’s works & thus, transcriptions of Vivaldi’s works were performed/made it out by Bach.

In the contemporary Era, due to Mr.Prashan incredible love on music & Raaja sir’s melodies, “Transcription of Anjali Theme Music” has been made it out without descending the soul, liveliness & originality of this Theme Music.

From 00:50th sec, the multi-layer of melodic texture makes something like a contrapuntal pattern, which proves the huge impact of Bach within him. I got an opportunity to listen its audio on May 25th night, his lovely orchestration for the Raaja sir’s melody brings lot of serenity & peace within me & wiped off my fussy mood. I truly appreciate his effort & intention of this work. May the giver would shower all the blessings on him! My best wishes for his upcoming ventures!

Please do check his website & kindly leave your valued comments on the guest book @ www.prashanjayatheepam.com

Orchestrated & Produced by Prashan Jayatheepam

Mixed & Mastered by Saishiva & Deyo @ Saindeyo Productions.

Anjali BGM – Copyrights & License taken from Agi Music (www.agimusic.com)

always

~~Raaja rules ♪

Bassa nova rhythm texture

Influenced by West coast jazz, in the 1950s composer Antonio Carlos Jobim helped to form Bossa Nova, a new music that blended together gentle Brazilian rhythms & melodies with cool-toned improvising.

As far as Bossa nova is concerned, Rhythm does not play vital role in it, however, it would have unique way of rhythm pattern. Rim clicks or clave pattern or son clave pattern rhythm brings the color/identity of Bossa nova rhythm. Normally, it would be based on 4/4 time signature.

Although, the song Kathal oviyam from Alaigal oivathillai has not have a perfect Bossa nova rhythmic structure, it's rhythm is closer to Bossa nova rhythm texture.

Well, talking about Kathal oviyum paadum song, congos/drum kit has been replaced by Synth rhythm. I reckon Clave pattern has been produced through rhythm pad. It is based on 4/4 time.

Malare malare un vaasam from Un Kannil Neer Vazhinthal:

It has rhythm texture closure to Bossa nova rhythm pattern. I am afraid that it is based on 2/4 time signature.

Its poly-pulse rhythm pattern goes alike: At pallavi & saranam, 4 off-beat through Synth. And 3 beats of Clava rhythm overlap on 1st two off-beat of Synth & the syncopation of 2 synth off-beat complete one beat measure.

At end of the Saranams, when Janaki sings something like - "Thaduthugu Thakathugu Thakathugu tha", which is final korvai of Theermanam. However, it does not have any rhythm accompaniment rather strings accompany the vocal melody. {smile}

Sollividu vennilave from Amaidhi Padai:

It has programmed rhythm texture. Who knows Congos & Rim clicks were made through VST drum machine.

Its Rhythm cycle goes alike: 2 off-beats of Congo, 1 Rim click beat, 3 off-beats of Congo & 1 Rim click beat complete a common time of 4/4. Again, rhythm of this song was intended for Latino rhythm, which is very closer to Bossa nova rhythm texture. 02:53 - 03:00 has poly-melody of two classical guitars.

Not only Bassa nova, however, Raaja sir has used Lambada style of rhythm in his composition. Lambada is a Brazilian dance. It's style of rhythm is adopted from Samba, Cumbia, Mambo, Tango, Salsa & et al.,

One fine example of Lambada rhythm in His composition is "Chinna manikkaga" from Senthooram...The song - Chinna Poo Chinna Poo from Japanil kalyanaraman has tinge of Tango rhythm pattern.

The songs - Thai Ariyatha - Arangetra Velai, Maamukku maylapore than from Velaikaran, Aan Pillai Enraal from En Jeevan Paduthu and et al., have Latino pattern rhythm.

Similarly, the songs - Maamarathila oonjal from Karisakaattu poove & Iravu paagalai theda from Kannukkul Nilavu have programmed Latino pattern rhythm.

So does many more rhythm pattern were textured within the bound of Raajaish way out.

always

~~Raaja rules!

Overture or prelude, eh?

Overture:

An instrumental composition purposely as an induction to an extended work, such as an opera or oratorio. Rarely, in cine compositions we have such an introduction musical piece. However, the introduction music before any cine song is referred as 1st BGM or prelude. Below reference of 9 Genres from 10 preludes of Raaja sir's compositions that define his mathematical innate ability, making a huge impact as if an overture for the prelude of a mere ratio of time.

Putham puthu kaalai - Alaigal Oyvathillai:

It’s prelude originates with trill of Oboe; accent of bass guitar with maraca & later joins synth make Reggae structure. Novelty of dawn was pronounced by Janaki amma, which makes so iciness ambiance…especially for this season. {wink}

Oru murai kettale - Inime Naangathan:

Basically, it is an Alternative Rock number. Prelude of Oru murai kettale has live whamming on electric guitar through vibrato arm & heavy metal drumming. Simply Rocking prelude, which would raise the temperature at your end. {wink}

Vaanile thenila from Kaakhi Chattai:

This song has tinge of big band Jazz fusion. It is a lovely piece, which has something alike arpeggios on keys. It's dark lovely melody through reed & heavy string orchestra could make huge seduction on their musical texture.

Oru Kaaviyum from Aruvadai naal:

Its prelude has Ghazal accent rhythm through tabla with running Synth. Tabla plays Kavali, an 8 beat rhythmic structure. Song is based on 4/4 time. The emotional appeal in the Choir imitates the melody of Saranams' last line.

Madai Thirandhu from Nizhalgal:

Basically, this song is a Rhythm & blues number with heavy string orchestra arrangement! It has an avant-garde prelude with intermingle of different guitars sounding. Polyphonic guitar texture with distortion resonance through electric lead guitar overlapped on running bass guitar with snares accompaniment.

Vaanam thottu ponna from Thevar Magan:

The song Vaanam thottu ponna is 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.

Dhoori dhoori - Thendral Sudum:

It originates with lively string orchestra, lead electric guitar & swing rhythm on snares with ¾ time signature make candidly Waltz structures onto which a brass plays a floating melody.

Dingu dongurappo - Valli:

This song is based on Flamenco genre. The prelude wherein, technique of golpe is played on guitar.

Vaa vaa kanmani from Innisai Mazhai:

It is a heavy Rock prelude. Infact, it is a melancholic version of a sweet romantic duet. It's prelude originates with foot-tapping rhythm arrangement through live drum-kit & after 1st minute rolling on octobans is more like punch to stop its solo performance. Later, joins distortion effect through electric lead guitar with heavy drumming & programmed clapping of hands make a live Rock concert ambiance. It has been set in 4/4 beat.

Manitha Manitha from Kan sivanthal man sivakkum:

It is March genre song! It's prelude originates with something alike staccato through violin & its lead melody was imitated by heavy string orchestra; this shows the clear evidence of Raaja sir's mathematical innate ability as it is more like a mini violin concerto. Later, heavy brass arrangement with snares make french revolution music resonance! The timing of 0.39 - 0.41 reveals that Raaja sir is so diplomatic...as apparently, heavy string arrangement had nuances of beethoven's 5th symphony - 1st movement, however, he did not give room for nitpickers as it is just negligible inspiration for those seconds may be, it should be overture for marching movement composition.

So, there are n number of preludes set in different permutations and combination of orchestra & may follow a particular genre to some extent, which gives the hint for color of the song.

always

~~Raaja rules!

Garage UK - UKG

Well, there are two types of Garage music. One is UK Garage & other one is US Garage; both these genres are very much differed by each other as like the instruments - French horn & English horn.

Infact, UK Garage is a plastic genre & it's compositions have unique rhythm pattern produced from Sampler or Synth or Drum machine or Sequencer.

Well, contemporary Garage music is depending on loops {ahead of sampler} or discs.

Talking about this genre in Raaja sir's composition, infact, He did not employ this rhythm in His compositions as main rhythm or throughout a song. Instead, He has used Garage Rhythm for the Prelude of Thankakinappongal from Friends (malayalam) interludes of Oh baby baby {2nd interlude} - Kaathalukku mariyaathai & Naan thanga rojaa {2nd Interlude} - Time {through synth, eh?}.

Naan thanga rojaa {2nd Interlude}: This Garage Rhythm has been used with indian music elements like miruthangam {artificial sound produced through synth} & 2 classical violins overlap to form counter-melody.

Hichki Hichki from Paa & Saranam of Pachaimeni from Kanukkulle have UK-garage rhythm.

I am afraid that He should be the first composer from south-india to use Garage rhythm in cine-songs. Any other insight?

always

~~Raaja rules!