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 ♪
