The last 5 seconds of the clip is arranged as a harmony of violins and Janaki’s voice bridging to the charanam from the interlude. The only two constant melodies are the santoor and the bass guitar. There is a total of 8 melodies arranged as Pol圜are by Raja in these 27 seconds, very Indian, but technically Western. The second call by Janaki and the responses from the flute and the violins are all different from the first. A call from Janaki is responded by the flute followed by the violins. A number of things happen in the foreground. The way this song is arranged is with the santoor and the bass guitar doing the background melody. This again in Pol圜are, Raja style!įrom 20 seconds to 47 seconds of this clip is from the song ‘ Mannavane mannavane’ from the film ‘ Thandhuvittaen Ennai’ (Tamil 1991) is a pure pot of gold in orchestral terms. Raja creates a counterpoint with Janaki’s humming with the santoor thoughout the clip The santoor is the background melody and the flute responds to Janaki’s call. The first 18 seconds of this clip is from the song, ‘ Maniye Manikuyile’ from the film, ‘ Nadodi Thendral’ (Tamil 1992). This is not just a unlikely neighbor, this is also unimaginable for almost all Indian composers. In this post, we will see how Raja uses Janaki again as his orchestral instrument alongside the santoor instrument. A beautiful sound, similar to harp in western symphony orchestras, Raja has exploited the instrument extensively. There are very few composers who have used the santoor in South Indian film music and today, this instrument is almost extinct in film music. Let’s hear these Nearest Neighbors – Female choir and flute … They should, as the master has shown the way. It is a treat to hear such beautiful work in an area that composers never go.
From 41 second to til end of the clip is a beautiful arrangement of female choir, flute and violins all playing their parts simultaneously, for about 40 seconds.
The flute plays for at least 10 seconds in the background with the female choir adds phrases in the foreground. However, towards the end (after 22 seconds), the experiment of merging these two melodies to play simultaneously clearly demonstrates, that they do sound great, when in the hands of the master.įrom 30 seconds onwards in the clip, the interlude of the song, ‘Enna Varam Vendum’ from ‘Nandavana Theru’ (Tamil 1995) plays. Initially, you will hear the flute and the choir separately playing their complementary melodies. The first 28 seconds of the clip are from the interlude of the song ‘ Halli Lavaniyalli’ from Namoora Mandara Hoove (Kannada 1997). This is tough business in orchestration that most composers stay away from. Why bother conducting a choir when you have the easy way of completing the phrases with flute? Raja has several compositions where he has used this combination next to each other with ease and mostly, his painstaking choir and the flute complement each other as the melodies they play are complementary. This favors the flute more than the female choir, as it is hard to conduct a choir than getting a flute player to play the notes. However, when the female choir is in a pitch that is very close to the flute, you are walking in dangerous territory as one of the two components tends to become redundant.
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