Incredible "connectors" of Ilayaraja

First, definition of "connector".

This comes from the telecom systems that I used to work with 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

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

Strongly encourage others to do the same.

#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

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"!



Definition of an incredible connector!

app_engine wrote:First, definition of "connector".

This comes from the telecom systems that I used to work with  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

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 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

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

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 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!

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.

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

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

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

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

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.

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!

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.

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.

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 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 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

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:

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

#MaestrosMusic App presented two songs today that have very similar connectors

These are actually like "cable assemblies" or harnesses that connect two independent modules

It's pretty obvious that IR sets his own standards for interfaces inside his musical works and that have got to be rich and sophisticated. IMG, at times he writes the saraNam melody in such a speed and the directors-lyricists happily grab it, complete the lines & agree for recording.

Possibly then IR feels something is not right - "இந்த இடத்தை ஏதாவது கொண்டு நிரப்பினால் தான் ("ஒரு கேபிள் கொண்டு இணைத்தால் தான்") பொருந்தும்." And then, on the fly (i.e. on the recording session) adds a piece to get the superb connectivity.

I'm not sure if it was intentional by the app fellows to host both together today or it was a chance happening.

First song is the SOTD of the app - udhayam varukinRadhu (SJ, kavikkuyil)
Second song is from the AOTD of the app - pAsamuLLa pANdiyaru (KSC-Mano, captain prabhAkaran)

Both songs have this "extra harness based connection" from the saraNam ending to pallavi

In the kavikkuyil song, it's a superb instrumental phrase that does an interesting but logical conclusion to the saraNam melody and connects to pallavi. OTOH, in the pANdiyaru-pAvalaru song the singer does a fantastic "ara-rararara / hoy hoy hoyyA" thingy to get back to pallavi.

Both are fantastic!

udhayam varukinRadhE saraNam endings, it's a harmonious piece with terrific bass, don't miss:
https://www.youtube.com/watch?v=QpkScBknqyg&t=114s
https://www.youtube.com/watch?v=QpkScBknqyg&t=199s

pAsamuLLa pANdiyaru humming, energetic:
https://www.youtube.com/watch?v=IZkjkVH91PA&t=148s
https://www.youtube.com/watch?v=IZkjkVH91PA&t=275s

BTW, with both the singers available (and in decent form) and the drum thookkal audio setup of the Toronto stadium, 'pAsamuLLa pANdiyarE' could have been an IDEAL choice for the Raja show!

Had they chose that song and presented, I would have lost control, stood up and danced

It's a song that makes one's body uncontrollable - was dancing and driving this AM

app_engine wrote:

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 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

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:

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

Seriously, I wouldn't dare say it in front of MSV fans but I have questioned what is MSV about Ooru Janam, Kuzhaloodhum or even Vaa Vennila.  Dil Dil charanam has some trademark MSV phrases and Thedum Kanpaarvai def feels much more like his work (only the tune, nobody else could have orchestrated that tune so brilliantly as IR did!).  

My contribution to this thread, end of 2nd interlude of Adi Athadi.  Where did that come from!  One can go on and on because nobody else was so obsessed with connecting as IR.  Others composed some nice instrumental music to fit the mood of the song but there is a kind of mathematical connection between the pallavi, interludes and charanam in many if not all IR songs.  Therefore, he usually HAS to compose a connector of some sort.  A 'soulful' connector I recall - happened to listen to Haricharan's rendition in the Connecticut concert today with strange mokka electric guitar in the second interlude instead of original acoustic - is end of 2nd interlude of Kadhalin Deepam Ondru where a short but beautiful keyboard-guitar 'conversation' leads into the charanam. Just as IR's 2nd interludes often tend to be better than the 1st, the connectors too seem to be better in the 2nd interlude.  At least as I try to recall, I am getting more and more examples of 2nd interlude to charanam connectors.  Love the way he ends the 2nd interlude of En Vaanile with a synth reiteration that fades out as the vocals come in.

crimson king wrote:
Seriously, I wouldn't dare say it in front of MSV fans but I have questioned what is MSV about Ooru Janam, Kuzhaloodhum or even Vaa Vennila.  Dil Dil charanam has some trademark MSV phrases and Thedum Kanpaarvai def feels much more like his work (only the tune, nobody else could have orchestrated that tune so brilliantly as IR did!).  

Per direct interviews by MSV & IR themselves (and not GA / SPB kind of people who had in the past - at times- given incorrect information to the public), following are confirmed :

1. "vA veNNilA" tune was by MSV only & he did it as per IR's request to compose a melody similar to MSV's old song "vAn meedhilE" of saNdirANi.

2. "kuzhaloodhum kaNNanukku" tune was by IR (MSV said he "approved" it). This was further corroborated by the fact that IR reused it for cheeni kum.

app_engine wrote:

crimson king wrote:
Seriously, I wouldn't dare say it in front of MSV fans but I have questioned what is MSV about Ooru Janam, Kuzhaloodhum or even Vaa Vennila.  Dil Dil charanam has some trademark MSV phrases and Thedum Kanpaarvai def feels much more like his work (only the tune, nobody else could have orchestrated that tune so brilliantly as IR did!).  

Per direct interviews by MSV & IR themselves (and not GA / SPB kind of people who had in the past - at times- given incorrect information to the public), following are confirmed :

1. "vA veNNilA" tune was by MSV only & he did it as per IR's request to compose a melody similar to MSV's old song "vAn meedhilE" of saNdirANi.

2. "kuzhaloodhum kaNNanukku" tune was by IR (MSV said he "approved" it). This was further corroborated by the fact that IR reused it for cheeni kum.

I am aware of the vaan meedhile story which both IR and MSV have confirmed but there just isn't much of an MSV touch in the tune.  Maybe in trying to match the Vaan Meedhile meter, he went out of character.  

Yes, agreed that because IR used Kuzhaloodhum for Cheeni Kum, it doesn't seem plausible that MSV would have composed the tune.  

About Oorujanam, AVM has uploaded snippets from an old MSV interview and the interviewer asked him whether Oorujanam is composed by him and IR and MSV replied sharply, if jovially, that yes and there should be no doubt about it. So maybe he was trying to evade...Having said that, the way MSV sang the pallavi, I could imagine it being his tune.  IR's arrangements completely change the character of the songs.

Now this one has to be called the "mother of all connectors"

Of course, in the meaning that it is one superlative connector - something phenomenal even by IR-standards. However, there's another funny reference too in that "mother" word, going by electronics again. Most connectors are classified as male & female (plugs / receptacles, in simple technical terms but for whatever reasons the industry called them male / female connectors).

So, let me present a "female" connector (in the sense that it serves as a "receptacle" when the interlude ends, to sweetly welcome the singer who starts the saraNam).

BTW, I had to search in youtube and listen to this song this morning because of a "miss" by #MaestrosMusic app

I was listening to the "app jockey" presenting a "quiz combo" this morning. (To call it a quiz is dumb as IR fans are much smarter than this...all songs started with bird-chirping sounds, is it too difficult to catch?). Well, as the program progressed, I was expecting "idhu oru ponmAlaippozhudhu" which tops when it comes to any kind of series that it can be associated with. (Whether it is SPB songs, VM songs, BR songs, Nature songs, kEdhAram songs, bird-chirping songs etc etc). Unfortunately, the program missed this song and I had to search around and listen to it - to have "complete" feeling in my mind

Which made me do this post - as the "connector" in the second interlude of this song was one of the things that made me such a HCIRF when I was in my 12th std, listening to this song on Sunday 1 PM programs of Tiruchy AIR!

Listen to the song's second interlude (which is one of the best ever by any composer BTW) and how it ends!  That delectable transition from flute to solo violin itself puts one on ecstasy. IR goes beyond, topping it off with a group of strings playing an ascending note! WOW! And that opens out so beautifully the petals of the flower - for the SPB beetle to immerse and enjoy (with his saraNam)!

Evergreen song with eternal appeal!
https://www.youtube.com/watch?v=Ux0LERGc1cc

Thavikkudhu Thayaguthu - Nadhiyai Thedi Vandha Kadal - 198x


This is a crazy song from an orchestral PoV. The song has three charanams that does not make it crazy. The charanam and the pallavi are typical film music structure. What makes it crazy is, the three interludes are each different. You have a hit tune. Why on earth do you want to experiment with three different interlude styles? That makes the connectors extremely hard to build. I call  these three different interludes based on a golf example. The first one is a hit to the tree, the second one to the sand and the third one lands on water. The composer has to get the ball back to the fairway and get the charanam progressing to the hole. Raja navigates this musical golf game easily. I can say without doubt, that other composers either will not take it to three destinations int he first place or get stuck in the tree/sand/water.





Gold Connector #1: 00:58 to 1:04 - Raja takes the typical light interlude and connects it to the charanam using the strumming guitar

Gold Connector #2: 2:05 to 2:10 - This is a sax intense interlude and Raja uses slow strumming guitar to connect it to the charanam. This is different from Connector #1

Gold Connector #3: 3:19 to 3:25 - this is truly pulling the golf ball out of the water. This interlude is heavy on percussion and not the traditional interlude. The connector now is the electric guitar which seamlessly connects it to the charanam


This is the type of composition that shows his mastery over film music interludes. He is the emperor of the business.

Garage cleaning (after the long winter this season) made me locate a CD pouch in one of the boxes and it had that 'Red color CD by INRECO' that I got years back (It had ennuyir nee thAnE, germaniyin, ninaivO oru paRavai, O nenjamE idhu un rAgamE etc.)  

So, that was playing in the car and came this song "aimbadhilum Asai varum" - a song that instantly brings a smile on my face

Well, the song also brought some nostalgia of radio days - when I used to look forward to listening to the interludes, that had some new "sounds" for that time period (meaning hitherto unheard in IFM).

Such a sound - that 4XQwang-Qwang-Qwang thing - in the first interlude was a personal fav. in school days. Realized that it's such a lovely "connector" as well (from interlude to the saraNam beginning).

Listen to the connector in this instant of the youtube (starting from 63rd second):
https://www.youtube.com/watch?v=_l23hqoToK0&t=63s
(It's hilarious to see the NT actions for this weird sound )

The song also boasts of an incredible bass guitar connector from the 3rd interlude to saraNam!

Amused to see that the MIO site has the same movie in two names, rishimoolam 1979 & rishi moolam 1980 - with two pictures / mostly same songs with one extra song in the older instance :

http://mio.to/album/Rishi+Moolam+%281980%29

http://mio.to/album/Rishimoolam+%281979%29

I was playing one of those "app jockey" programs in MaestrosMusic App and it was a "quiz combo" (It was easy to guess - songs that show a recording theater in the movie setting).

One of my all-time-fav SJ numbers got included in that program and I played it a few times today while driving. What a song - it made my eyes wet each time I enjoy the interludes - phenomenal brass / strings work that are never boring, not even for a moment!

Whenever the second interlude is about to end, for some reason my mind will go awry and I will think that "somehow there's a mistake, a missed sequence, some improper count or timing issue" - this kind of mind-playing-nonsense had been happening to me with this song RIGHT FROM THE TIME OF ITS ARRIVAL with this fantastic second interlude.

And each time, I'll get RESET / my mind gets corrected and wonders "how do I miss the sequence / why can't I pay attention / why should I think it was somehow incorrect"

Such is that complex "drum connector" that crashes any thoughts that "something is missing"

Listen to the second interlude in this link and get confused toward the ending
https://www.youtube.com/watch?v=v3CNstSloR0&t=144s

It is interesting to see (Shankar) Ganesh acting for an IR song (at this point of time, they were among the top "competitors" for him).

BTW, one of those very few songs where I cannot make fun of ambi chEchi - she had done very good in this song!

EDIT:
As the hyperlinks no longer work for those who are not logged into the forum, placing the whole youtube here:

I was hearing the song 'Vilayaata Padagotti' from Dhoni (2013 - Tamil) and the tune is a good melody with some great lyrics by Na. Muthukumar.

More interesting is the short connector between the charanam and the pallavi using a simple flute. Simplicity is the true hallmark of a genius. Hear the connector in both the charanams - it is the same simple 1 second flute that only he can think of...



Listen to 2:32 to 2:33 and 3:57 to 3:58. Perhaps the smallest but most effective connector I have heard!