Incredible "connectors" of Ilayaraja

Go down

Incredible "connectors" of Ilayaraja

Post  app_engine on Fri Mar 23, 2018 6:12 pm

First, definition of "connector".

This comes from the telecom systems that I used to work with Embarassed Using that analogy, parts of a song (prelude, pallavi, interlude, saraNam) are considered as individual units / modules & the "interconnecting" mechanism is called "connector".

By interconnecting, I mean the last few syllables / percussion beats / sangathi / instrumental phrase that seamlessly leads to the next part (prelude to pallavi, interlude to saraNam, saraNam back to pallavi etc).

This will be a free-wheeling thread (much like the "latest song that touched" thingy) with no structure / list / project format etc Smile

As and when some connector hits me, I'll post something here!

Strongly encourage others to do the same.

app_engine

Posts : 8071
Reputation : 22
Join date : 2012-10-23
Location : MI

View user profile

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  app_engine on Fri Mar 23, 2018 6:24 pm

#MaestrosApp had the "bommukkutty ammAvukku" song as SOTD and was listening to it this AM on the way to work.

First thing that hit me was that "ஆராரோ ஆராரோ ஆரோ ஆரோ ஆராரோ"  - oh what a lovely voice KJY had at that time, melting! I tried to sing along but could not, as my voice was either choking or cracking with emotion. Keeping the song in repeat and every try resulted the same Smile

Led me to tweet thus:
https://twitter.com/r_inba/status/977186937118347265

ஏசுதாசு கல்நெஞ்சன்!

எப்படித் தொண்டை அடைக்காமல் / குரல் உடையாமல் அந்த "ஆராரோ ஆராரோ ஆரோ ஆரோ ஆராரோ" பாட முடிகிறது?

என்னால மிடில - சரக்கு உள்ள எறக்கி வேணா முயற்சி பண்ணலாம்!

https://www.youtube.com/watch?v=ERgis9fP7GI

The next sensation of that song is the connector from second interlude to saraNam.  Of course, the interlude itself is awesome!

Listen to the interlude by clicking this timed youtube link : https://www.youtube.com/watch?v=ERgis9fP7GI&t=140s

Starting with lovely guitar piece, it progresses to strings in an awesome way and one would like that to go on and on forever! Unfortunately, IR has this time restriction (imposed by the overall timing of a film song) and the interlude cannot go forever.

So, he has to somehow end the interlude and start the saraNam at some point of time - however cruel it may be to instrumental music lovers.  The way in which he concludes it, with a superb string phrase - that kind of goes "up" (higher notes) and then builds the tension - at 2:50 - enabling KJY to smoothly start "பெற்ற தாய் படும் பாடு பிள்ளை தானறியாது"!

applause

Definition of an incredible connector!

app_engine

Posts : 8071
Reputation : 22
Join date : 2012-10-23
Location : MI

View user profile

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  ravinat on Fri Mar 23, 2018 7:05 pm

app_engine wrote:First, definition of "connector".

This comes from the telecom systems that I used to work with Embarassed  Using that analogy,  parts of a song (prelude, pallavi, interlude, saraNam) are considered as individual units / modules & the "interconnecting" mechanism is called "connector".

By interconnecting, I mean the last few syllables / percussion beats / sangathi / instrumental phrase that seamlessly leads to the next part (prelude to pallavi, interlude to saraNam, saraNam back to pallavi etc).

This will be a free-wheeling thread (much like the "latest song that touched" thingy) with no structure / list / project format etc Smile

As and when some connector hits me, I'll post something here!

Strongly encourage others to do the same.


App,

 This is the trouble with crazy stuff Raja does with his compositions :-)

I call it as 'transition management'. You call it as connectors. I suppose as in electronics you want to bring the golden connectors to everybody's attention.

I did some research in this area and have documented some of his work as part of my other areas of Raja's instrument work:

http://geniusraja.blogspot.ca/search?q=transition+management

As a simple example, take the song 'Malaiyoram Veesum Kaatru' and observe the transition between the charanam and the pallavi - this is done using 4 beats on the conga drum - a typical technique of RD. The difference is that RD used it in very happy situations only.  Raja uses it for every possible emotion. An example of happy usage is 'Siru Kootile Ulla Kuyilukku' - that's a song with a rhythm arrangement fully following the melody and the transition is done the RD style.

 I will definitely contribute to this topic as there are several occasions where I have wondered how he manages this and I find other composers screwing this up bi g time.

ravinat

Posts : 545
Reputation : 33
Join date : 2013-05-14
Location : Canada

View user profile http://geniusraja.blogspot.com

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  app_engine on Fri Mar 23, 2018 11:14 pm

ravinat wrote:

 I will definitely contribute to this topic as there are several occasions where I have wondered how he manages this and I find other composers screwing this up big time.

Looking forward to your posts sir!

Today I got a chance to listen to this piano version by Vicky of the azhagAga siriththadhu indha nilavu song:

https://www.youtube.com/watch?v=inONkk-E9vc


The song's "prelude to pallavi" drums connector is always a big favorite with me! It's quite interesting to see Vicky sir "simulating" that drums connector with a few left hand piano notes at around 0:45 Smile

For those not familiar with the song, here is the original (link has the "connector" marked) :
https://www.youtube.com/watch?v=XYPllqyAF08&t=35s


app_engine

Posts : 8071
Reputation : 22
Join date : 2012-10-23
Location : MI

View user profile

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  ravinat on Sat Mar 24, 2018 4:25 am

Let me start with a platinum connector, not just gold. Deva Sangeetham from Guru (Malayalam 1997)



Connector #1: Prelude to the pallavi - The symphonic thunder with kettle drums, violins, cellos gives way easily to a simple set of violins for Yesudas to begin (Observe at :43 secs). Please show me such a quality connector in Indian movies.

Connector #2 : Interlude 1 to the 1st charanam - There is a very detailed connector that Raja works with violins, a synthesizer and a flute to give way to the charanam. (Observe between 2:24 to 2:36). This is a small harmony passage designed as a connector to an Indian melody. Only Raja possible!

Connector #3: Charanam 1 to 2nd pallavi - Raja arranges this as a kettle drum/violins arrangement. (Observe between 3:24 and 3:27). This is it. You can never ever get this connector in Indian film music. This is like a mini Allegra embellished with kettle drums. This connector is something that only somebody who understands symphony composition can create.

The clip does not have the full song. However, it is good audio and demonstrates how Western platinum connectors have been etched into Indian melody.

ravinat

Posts : 545
Reputation : 33
Join date : 2013-05-14
Location : Canada

View user profile http://geniusraja.blogspot.com

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  app_engine on Mon Mar 26, 2018 4:19 pm

ravinat wrote: This is like a mini Allegra embellished with kettle drums. This connector is something that only somebody who understands symphony composition can create.

One of my all-time favorites!

app_engine

Posts : 8071
Reputation : 22
Join date : 2012-10-23
Location : MI

View user profile

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  ravinat on Fri Mar 30, 2018 3:43 am

Khajuraho Kanavilor - Oru Naal Oru Kanavu (2005 - Tamil)

This song has two great connectors that is quintessential Raja.



Sorry for this stupid video. I couldn't find one with only the song. The song's video sucks.

Connector#1 : Between 2:19 and 2:29 - Raja uses the thaLam of the song using human voices as the connector between the interlude and the charanam .
Connector#2: Listen to the last lines of the charanam. Kaatrodu Kaatraaga Andharanga Vazhi Midhakkalaam - The last three words alone jumps almost an octave to connect back to the pallavi. Only Raja possible. 

There are similar connectors for charanam 2 as well as the melodic structure of both the charanams are exactly the same.

ravinat

Posts : 545
Reputation : 33
Join date : 2013-05-14
Location : Canada

View user profile http://geniusraja.blogspot.com

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  app_engine on Fri Apr 06, 2018 8:03 pm

This morning "வருவாய் அன்பே" played in the vaNdi I'm reminded of this different type of connector that was enjoyed many times by me Smile

That is bass guitar "twists" that connect pallavi BACK TO pallavi Smile

Well, IR's bass guitar connectors are legendary and one can spot any number of them, especially in 70's and early 80's numbers when this was a major weapon for him! Unfortunately, the key board bass somewhat watered it down over the years (at times it comes back with a vengeance too, as in kaiyeththA kombaththu kind of songs).

The way in which the bass guitar's "twists" or "swing" gets the connection from end of pallavi back to beginning of pallavi is awesome in this song.

There is a similar bass guitar connector from prelude to pallavi too - keyboard plays தகதிமி தகஜுனு as the lead melody, not connecting that nicely - but bass guitar does some twists to get to the superb beginning of pallavi. Unfortunately, it wasn't recorded well (or played strong enough) to be easily noticeable.

Enjoy the superb bass score in this "audio-only" youtube:
https://www.youtube.com/watch?v=HWfM31KRCto


app_engine

Posts : 8071
Reputation : 22
Join date : 2012-10-23
Location : MI

View user profile

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  fring151 on Sat Apr 07, 2018 10:23 am

Nice thread. The connection or the bridge is what separates the men from the boys. Some of the present day songs often have interesting starting points, but lose their way in between because the bridge between stanzas is weak, especially when the composition is "unstructured". Anyway one song that me sit up and take notice recently is "Megam karukkuthu".

Notice how beautifully the transition to the charanam is set up through the brief flute interlude between 2:20 and 2:25. It is a subtle change of note pattern and pacing that foreshadows what is to follow. This sort of foreshadowing and reinforcement are what lend a quality of smoothness and an organic feel to a composition (or also a good piece of writing for that matter), differentiating it from something that has been stitched together from disconnected bits. It is a natural and at the same time unpredictable flow of ideas. Utterly delectable.
https://www.youtube.com/watch?v=p_aILQ4d_DU

fring151

Posts : 1091
Reputation : 7
Join date : 2013-04-22

View user profile

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  ravinat on Sat Apr 07, 2018 6:32 pm

One of my Malayalam favorites of Raja is the song 'Pon Veyilile' from 'Oru Yaatra Mozhi' (1997).

This track has some true gold connectors. 



Gold Connector #1: Listen to the first interlude - 1:07 to 1:26 - the instrumentation is fully into western territory and has deviated so much away from the Indian melody. How do you now get the song back to the pallavi? It's like the golf ball now in deep sand. Raja uses a simple combo of chorus and violins and returns back to the pallavi with aplomb. The connector is between 1:26 and 1:31. Brilliant!

In the second interlude, its all percussion and synthesized music but the connector is exactly the same connector back to the pallavi.

Gold connector #2: Both the charanams go into very high notes with the sweeping violins pushing both Chitra and Sree into high notes. But the pallavi requires a huge decent. No issues at all there. As an example, in charanam 2, listen to 4:06 to 4:11 - the violins keep pushing Chitra from behind and she finally makes a simple descend between 4:11 and 4:13 and you have a brilliant composition.

ravinat

Posts : 545
Reputation : 33
Join date : 2013-05-14
Location : Canada

View user profile http://geniusraja.blogspot.com

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  ravinat on Sat Apr 07, 2018 6:40 pm

One more gold connector from Oru Yatra Mozhi - Thai Maavin Thanalil. (1997)

This gold connector requires some narration. You can create some great harmonies and completely fall flat with the Indian melody by not connecting it properly. However, here is a case where Raja does something that is absolutely unusual and instead of complaining I am amazed by such creativity. The interlude 2 of this song is something I think is a JW salute by Raja. The arrangement is very close. It is a all violins in harmony. Listen to this part:2:41 to 2:48. 



Here comes the creativity. Raja leaves the harmony at a high note and does not bother to provide any artificial connectors at all. A normal composer would think that leaving it as is will be a blunt connector. A momentary silence is all that comes between the violins and Chitra. Bravo Raja!

ravinat

Posts : 545
Reputation : 33
Join date : 2013-05-14
Location : Canada

View user profile http://geniusraja.blogspot.com

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  ravinat on Sat Apr 07, 2018 7:09 pm

Chitukku  chella chitukku (Nallavanukku Nallavan - Tamil 1984)

I love this song for its orchestration. Raja does his magic with the main tune reflecting the helplessness of aging parents and their frustration with their kids and also stirs up the situation with his orchestration. The grip he has over the orchestration is what makes him the master.

The prelude is absolutely unusual. Common sense in film music tells you that you don't use violin harmony is a grand way to introduce a song of this nature. But, that's Raja - he does it with little consideration for conventional wisdom.

Gold Connector#1 - Raja uses the sitar and the santoor as an easy connector between his harmony violin parts (0 to 25 secs) and his pallavi (26 to 33 seconds). 



Gold connector #2 - the first interlude is heavy on electric guitar and strumming. It almost appears as though all the sadness of the situation has dissipated. Bringing back from this to the charanam requires a master such as Raja and he does this beautifully with a violin harmony between 1:32 and 1:46. 

Gold connector #3 - the second interlude plays to the conventional wisdom of a somber song with flute and sitar to begin. He could have easily reused the connector from the first interlude.  He shows that he can play both ways - he uses the violin harmony (between 3:12 and 3:24) and connects back to the charanam with sitar (3:25 to 3:27).

If you want conventional cinema wisdom, go for connector 3, if you want Raja the rebel, go for connector 2.

ravinat

Posts : 545
Reputation : 33
Join date : 2013-05-14
Location : Canada

View user profile http://geniusraja.blogspot.com

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  ravinat on Sun Apr 08, 2018 12:56 am

Sri rama lera - Sri Rama Rajyam - Telugu 2011

The second interlude to charanam has a 'rebel' arrangement with a western connector that nobody complains. Look at the video - it is called a devotional song in the film by the record company. That's Raja's success as a composer. The second interlude is a fantastic piece of western harmony slid easily under the disguise of being devotional.



Listen to 3:16 to 3:17 and carefully see what is being used as a connector - a harpsichord (I am guessing this not to be a synthesizer as he had BSO for this) to manage the connection to the second charanam.

ravinat

Posts : 545
Reputation : 33
Join date : 2013-05-14
Location : Canada

View user profile http://geniusraja.blogspot.com

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  ravinat on Sun Apr 15, 2018 3:55 am

I have written about these two songs earlier. Unnai Naan Paarkaiyil from Kanukkoru Vannakili (Tamil 1988).

The KJY version:



The SPB-Asha version:



While I wrote about the difference in orchestration of these songs, this time, it is about what is common. Both the interlude to charanam (twice in each song) connector in both versions is a beautiful flute connector which plays the melody twice.

Between Interlude 1 and charanam 1: 1:28 to 1:33 in the KJY version, 1:45 to 1:51 in  the SPB-AB version
Between Interlude 2 and charanam 2: 3:01 to 3:06 in the KJY version, 3:058 to 3:14 in the SPB-AB version

ravinat

Posts : 545
Reputation : 33
Join date : 2013-05-14
Location : Canada

View user profile http://geniusraja.blogspot.com

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  app_engine on Mon Apr 16, 2018 5:12 pm

ravinat wrote:
Both the interlude to charanam (twice in each song) connector in both versions is a beautiful flute connector which plays the melody twice.

A pretty popular and well-known connector is a similar thing that happens in the super hit song "ooru sanam thoongiruchchu" (MTK) i.e. repeat in both interludes when connecting to the saraNam.

GA often keeps telling in TV programs / stage shows that this particular keyboard piece was played by ARR Wink While MSV was also in the picture (supposedly the one who made the tune, that looks like an agmark IR tune BTW), there is no question / dispute as to who "composed" that connector Smile

I had talked about how this impressive & brief piece resembles a similar "connector" IR did  few years before for 'pOttEnE poo vilangu' in a post in SJ thread:

http://ilayaraja.forumms.net/t94p75-first-among-the-equals-s-janaki-who-sang-the-best-in-rasa-music#25022

app_engine

Posts : 8071
Reputation : 22
Join date : 2012-10-23
Location : MI

View user profile

Back to top Go down

Re: Incredible "connectors" of Ilayaraja

Post  Sponsored content


Sponsored content


Back to top Go down

Back to top


 
Permissions in this forum:
You cannot reply to topics in this forum