1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.

25. 26. 27.

pothi vecha malligaimottu from mann vaasanai Pani vizhum iravu (Mouna Raagam) Ist interlude beginning Sangeetha Megam (Udaya geetham) II interlude beginning Poongatru Pudhiraanadhu (THE SONG :)) from Moonram Pirai Manram Vandha thendralukku (Moonram Pirai) Ninnukori Varnam (Agni Natchatram) Poove sempoove from solla thudikudhu manasu 'munnam seidha thavam' (vanaja girija "Vaanile thennila aadudhey paaduthey" OOrellam un pattu than" Then madurai Vahai nadi from Darmathin thalaivan Devan koil deepam onru maalai soodum velai Oru poongaavanam Kannan Vandhu Paaduginran - Rettai Vaal Kuruvi Anjali, Anjali - Anjali Ilamayenum Poongatru - Iravil Oru Pagal or whatever Sangeetha Megham - Udhaya Geetham Chinna Chinna Vanna Kuyil - Mouna Raagam Enna Satham Indha Neram - Punnagai Mannan Andha Nilava thaan naan - Mudhal Mariyadhai Pon Maane Theuduthe - Oh Maane Maane Vegam, Vegam form Anjali Pon Vaanam Panneer Thoovudhu: Indru Nee Naalai Naan "Paadavaa un paadalai" is from naan paadum paadal Pudiya poovithu poothathu Nilavu Thoongum Neram from Kunkuma Chimizh (1985). Observe the bass guitar play a different melody with the harmonica

28. 'Vaanengum Thanga Venmeengal' from Moondram Pirai 29. Bhoopalam Azhaikkum is from Thooral Ninnu Pochu

Bas(s)ically Raja
Tabla is a standard percussion instrument that has been used in Indian film music for decades very successfully. However, Rajas percussion always sounded very different from all his predecessors I used to wonder what made him different. He always has a bass line (remember B in SATB) for every song of his and that made him so different from the others. Most film music used the bass guitar as an optional accompaniment till Raja arrived. Armed with his WCM knowledge, one of the key changes he brought into the music business is never to have a composition without a bass line. He made the bass guitar pronounced in different ways in his compositions . Some of his bass lines are so melodious that it can become a melody line by itself! Singing bass thats Raja style. While a vast majority of Rajas compositions have the bass guitar supporting the melody, he has done several compositions where the bass guitar almost has its own rhythm pattern, but will still go along with the main songs rhythm. There are some songs where Rajas bass guitar almost becomes a counterpoint to the main instrument. If you start taking a counterpoint view of the bass guitar pattern and the main lead instrument (viz. flute, guitar, violin, synthesizer), it will become hard to figure out a Raja song which does not have a counterpoint. He has this god given ability to manage multiple patterns simultaneously that a bass guitar composition does not appear like a big deal to him. Other MDs do try some of these techniques, but Raja is so experimental in his approach that it deserves special mention. Lets take some examples: Listen to the harmonica (called mouth organ in Indian circles) play in Nilavu Thoongum Neram from Kunkuma Chimizh (1985). Observe the bass guitar play a different melody with the harmonica very uncommon technique in those days. Hear the harmonica playing with the singing bass guitar... Nilavu Thoongum Neram - Harmonica Listen to the entire song Alli Thantha Bhoomi from Nandu (1981) the bass guitar play is very pronounced and you cannot imagine this song without it. Or listen to some of his 90s music - Mazhai Varuthu Kudai Konduvaa from Raja Kaiya Vachha (1991) the bass guitar is so pronounced in this track and the total effect on this song is simply outstanding. Kodiyile Maligapoo from Kadalora kavidhaikal (1986) is a great example of the importance that Raja gives for the bass guitar. If you observe the song Chinna Chinna from Mouna Ragam (1989), it is a duet. I am sure you will disagree. The main singer is Janaki, but the other singer is the bass guitar. The bass guitar has a completely different pattern but still goes perfectly with the main singer vintage Raja. Listen to the singing bass guitar in all the prelude and interludes... Chinna Chinna Listen to Vaan Meedhile from Ragangal Maruvadhillai the bass guitar in this fast paced song again competes with Janaki for its part very similar to the Chinna Chinna song. If you observe the prelude of Poonthalir Aada from Paneer Pushpangal (1981), the bass guitar pattern is completely different from the main guitar that is playing the melody, but goes on to sing its own melody! Pon Vaanam Paneer Thoovuthu from Indru Nee Naalai Naan (1983) is another great tune of Raja where the bass guitar sings along with the main singer, Janaki. This is another greatly orchestrated song the synthesizer and the bass guitar creates a fantastic pattern that Raja has exploited in several songs. Pay attention to some of Rajas dance numbers he creates a swing effect using the bass guitar. Example, Vaan Megam Poo Poovai Thoovum from Punnagai Mannan (1986), Athadi Ammadi Thenmotu Thaan from Ithayathai Thirudaathe (1989), Anjali anjali from Anjali (1990), Vaanile Thenila from Kaaki Chattai (1985).

If you observe some of his semi-classical tunes, his use of bass guitar to support it is outstanding. The basic song is set on the basis of a CCM raga, but the bass guitar arrangement is done in such a beautiful way that its WCM based notes glide around the main CCM tune. Example, Pani vizhum malarvanam from Ninaivellam Nithya (1982) this song is set to the CCM raga Chaalanaatai. Notice the bass guitar pattern. Aagaya Vennilave from Arangetra Velai (1990) set in CCM raga Dharbhari Kanada observe the bass pattern. Isai Paadu Nee from Isai Paadum Thendral (1986) set to the CCM raga Jog the bass pattern in this song is so pronounced. Some more examples on his light music numbers Unnaiyum Ennaiyum from Aala Piranthavan (1987) observe the bass guitar play throughout the pallavi and charanams. Nila Kayuthu from Sakala Kala Vallavan (1982) and the famous Illamai Itho Itho from the same movie the bass guitar gives all the vibrancy to the song. There are several solo numbers of Janaki that can be easily recognized as Raja songs without much musical knowledge as you can identify a pattern that you cannot describe if you did not analyze it. I will provide you three of them which are very ably supported by fantastic bass guitar rhythm patterns Vandhadhu Vandhadhu from Kili Petchu Ketkava(1993), Pagalile Oru Nilavinai Kandaen from Ninaive Oru Sangeetham (1987) and Poongatre Theendathe from Kunguma Chimizh(1985). The tabla pattern in all these songs is enhanced by the bass guitar with its own rhythm.

Ilayaraja the Maestro

excerpts from an article in which Chennai - based Jazz and carnatic Guitarist Prasanna talks about the genius of his favourite music director .. none other than the Raaja himself .. Have you written invertible counterpoint up a tenth? Raaja (I am taking the liberty to call him affectionately as Raaja since he is after all, a Raaja in what he does!) has asked me this question a few times a question I dont encounter much, at least in India. In an age where most musicians (of course only in India!) spend their time reading the latest software manuals rather than reading books on harmony, counterpoint, orchestration or Carnatic ragas or whatever, Raaja is and has always been an anachronism. I have had several intellectually stimulating musical conversations with Raaja on principles of counterpoint, Bach, Tyagaraja, jazz harmony and much more. (Raaja has often asked me about jazz and I remember how excited Raaja was when I played him great jazz like Charlie Parker and John Coltranes Giant Steps). Raajas vast knowledge extends far beyond music. For instance, I have seen him quote passages from Tirukkural effortlessly in casual conversation. In every field of activity, there are a chosen few that transcend their idiom. Lets face it! Film music is not classical music. By itself, film music as a medium does not have the spiritual depth or artistic dimensions of say, a Tyagaraja pancharatna kriti or a Bach Musical Offering. Its a medium of popular entertainment just the same

way pop music is in the west. That DOES NOT however mean that it CANNOT be artistic. (I think readers will get this distinction that I am making), its just that its scope and purpose is a little different. Raaja has transcended the idiom and brought elements of higher art into it while still maintaining the immediate appeal that characterizes (and should characterize) a mass medium like film music. It is doubtful if any musician in the world dealing with a popular musical medium (like pop, rock, film music etc) has ever brought in such an immense and breathtaking array of musical vocabulary and has internalized and reflected it in so personal a way. (What can we call Raajas music? Tamil folk melodies meets Carnatic music meets Hindustani music meets 70s disco music meets Bach meets electronic music meets .) What is amazing is that finally it bears a patent/trademark of homegrown Raaja. (It is not Bach, it is not Earth, Wind and Fire, it is not Carnatic music, it is Ilayaraaja.) In my personal opinion, Steely Dan and the later albums of Sting come closest to standing rock solid on musical and artistic sophistication, while still being couched in a commercial medium. I grew up with Raajas music and I can clearly see how I can revisit his old songs and find such technical virtuosity in his writing his unmatched use of chormaticism in Indianish melodies, his extensive use of intricate counterpoint, his vast knowledge of Carnatic music, the correctness of every chord in his songs and above all the speed with which he composes clearly show that the man is secure, knows exactly what he wants and delivers. Raaja has raised the standards of us, South Indian listeners so much, that there are many of us who never bothered to listen to Hindi songs for e.g.. (we never needed to, right?). He has raised the standards of musicianship to such a high level among studio musicians in Chennai (I realized the huge gulf, when I worked with string players in Bombay for e.g.) that many times I wonder how the musicians even played some of the parts that are there in his music. I have never heard a guitar even remotely out of tune in Raajas songs for example (believe me, thats very rare in general). I have to make a special mention of Raajas use of the electric bass guitar. I have never heard such meticulous written bass parts (its clearly written carefully), as it is in Raajas - song after song after song. Mention also to some brilliant acoustic drum work (a lost and ancient art in India) on Raajas songs. I would like to end this article with what Raaja himself told me once (about the limitations of being in the film medium) Enakku innum niraya ideas irukku. Ithule ellam panna mudiyathu. Ithu Mint Streetille okkanthu Jabam panra mathiri! (translated as I have lot more ideas. I may not be able to do all of them in this. Its like sitting in the middle of Mint Street and meditating). I am sure well agree that he has meditated exceptionally well on Mint street!

- guitar Prasanna ( www.guitarprasanna.com )