ILAIYARAGAM

ILAIYARAGAM  Research Posts - 5

Break the Rules

Versatility – Thy Name is Raja!

There are umpteen songs of maestro ilaiyaraaja wherein he has broken the set nomenclature/pattern of “pallavi, anu pallavi, charanams, back to pallavi” routine. 

a)       In majority of Raja songs, 1st charanam ends in pallavi.. Only 2 lines of pallavi are sung before the second interlude starts.. The rest of the pallavi (Or shall we call is Anupallavi) is not sung... Eg: Poonthalir Aada, Then Madurai vaigai nadhi etc..This is the normal stereotype...

b)       A song in which, after the 1st charanam the Pallavi is fully song (With Anupallavi) and only the first 2 lines of Pallavi is sung again before the Second BGM starts... Eg: Illaiya Nila, Enna satham indha neram

c)       A song in which the Pallavi is fully sung (With anupallavi) at the end of First charanam and the 2 lines of pallavi is not repeated again. The interlude starts at the end of anupallavi itself.. Typically in such songs, the pallavi is composed in such a way that it accelerates the composition and provides a perfect launch pad for the start of the BGMs.... Eg: Maniyae Mani Kuilae, ....

d)       Songs that follow a mix of both patterns 2 & 3.. Eg: Santhana Kaatrae... (Ist Bgm starts at the end of Anupallavi.. second BGM starts at the end of pallavi + Anupallavi + Pallavi...

e)       There are songs where Raja introduces a brief prelude after the first two lines of pallavi is sung.. Preferably always a flute stroke.. Eg: Ooru sanam (As soon as the song starts..)

f)        Kanna unai thedugirane vaa is another special type as in that a violin sequence bridges Janaki and SP at the end of 1st charanam... 

Atleast 10 more types I can write now.. but some of you might be bored to read the obvious... In fact these types are so vast and truly symbolizes the abilities of a composer who can visualize the song, how its shot etc while he is composing.. Because most of the times when there is a small deviation in the style of composition, you can not fail to notice that, this portion of the song is picturized upon a emotional sequence between hero-heroine, Brother-sister, Mom - son etc...And not always Directors demand such a pattern of the song.. So its left to the indigenous nature of the composer... You may not fail to notice that many other composers have also efficiently handled such variations to suit a particular situation...

There are also totally different types of song where Raja composes totally different tunes for both the charanams.. Its a vast topic for discussion by itself... 

a)       Thenmozhi endhan Thenmozhi... (Real fusion between classical music with String ensemble backing and saxophones in interludes.. !!!!!)

b)       Pazhamudhir cholai (1st BGM is Classical type but the charanam is western... Second BGM is western but charanam is classical.. What to say...)

c)        Siriya paravai siragai virikka... (3 charanams... Second one suddenly takes a diversion and goes to classical Charukesi.. different tune from that of the first... But 3rd charanam again takes a U - turn and he re-uses the tune of 1st charanam.. !!!!!!!!)

d)        Oh ! Vasantha Raaja..- Both the charanams are of same tune.. But the first BGM + Charanam on classical type.. Second BGM + Charanam transforms to Disco... In 2nd charanam the tune is same but the beats are no more classical.. Disco instead...

Probably this is what every one means when they say Raaja is ‘Versatile’!! Or should we say Versatility means Raja??

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Article Courtesy - Vicky (Vignesh Subramanian - vignesh_s@mail.com), ilaiyaraaja yahoo groups.