Voice(s) unusual conversations

We have covered the topic of Raja’s choir/chorus work in detail. We will be careful not to repeat any
choir based C&R in this section. The work we will try and analyze deeper will be humming, that is very
common with Indian film music and the way a humming itself is used as an instrument in a C&R
arrangement. In his long career, Raja has used humming to be part of a C&R arrangement, much
similar to the way he would use an instrument.

We will investigate the way he has used voice and guitar in a C&R mode; voice and flute in a C&R
mode,; voice and violins in a C&R mode; voice and synthesizer in a C&R mode; even voice and voice
in a C&R mode. No Indian composer has exploited the human voice as an instrument, the way Raja
has.

Let’s first explore how Raja has used the flute in a C&R mode with voice(s). As you can expect, the
clip in this illustration is a sample of the variety and imagination of the composer. Even within this
narrow set of constraints, Raja shows how he can demonstrate his mastery in this technique.

1. The first segment is from the song ‘Atho Megha Oorvalam’ from
'Eeramana Rojave' (Tamil 1991). The call is from the female voice and the response is from
the flute. Set to the Carnatic ragam Vasanthi (courtesy: Vel Ramanan), the melody of the
arrangement is a treat for the ears
2. The second segment is from the prelude of the song ‘Poongatre
Theendathe’ from 'Kunguma Chimizh' (Tamil 1985). The call is from the female chorus and
the response is a short one from the flute. Set to Brindavana saranga ragam (courtesy: Vel
Ramanan), the Carnatic arrangement of such C&R is a staple weapon in Raja’s arsenal
3. The third segment is from the song ‘Maniye Manikuyile’ from ‘Nadodi Thendral’ (Tamil
1992). The call is a long one from the female voice and the response from the flute is a lead
to the next phrase. The second time around, Raja arranges the flute response as an imitation
of the human voice. This is a light arrangement, where he casually transports this
arrangement to a fantastic handoff to the violins, where he gets the voices and flute to play
together. It takes a lot to have such an arrangement conceived and executed!
4. The last segment is from the song ‘Thendral Vandhu Ennai Thodum’ from ‘Thendrale
Ennai Thodu’ (Tamil 1985). This time, Raja uses the flute to lead the conversation and uses a
male/female combo to respond using scat

On the surface it looks as though such arrangements would be repetitive, till you take them apart and
hear them. Two in Carnatic, one in light and the last one in scat – all in a narrow topic of flute and
voice C&R arrangement!

Let’s hear the sample of Raja’s unusual Flute-voice conversations

Let’s next explore how Raja has used voices with guitar in a C&R arrangement. The clip has 5
segments from various songs composed by Raja. As usual, you can expect variety even with this
narrow selection.

1. The first segment is from the song ‘Isai Medaiyil’ from ‘Ilamai Kalangal’ (Tamil 1983).
Raja uses a female voice to begin the call for which the electric guitar responds imitating the
voice. This is followed by a small variation of this melody by the male voice which again is
imitated by the electric guitar
2. The second segment is from the song ‘Kaadhal Mayakkam’ from ‘Pudhumai
Penn' (Tamil 1983). This song is one of the examples where Raja has used C&R on many
occasions throughout the interludes. This is another variation to the first segment. The call is
from the guitar and the response is divided between the female chorus voices and a lone
male voice
 3. The third segment is from the song ‘Kodai Kala
Kaatre’ from 'Panneer Pushpangal' (Tamil 1981). The call is from the female chorus and the
response is from the electric guitar. This is a staple Raja technique in this area and he has
used this in several other songs
4. The fourth segment is from the song ‘Poomalai Oru Paavai’ from
'Thanga Magan' (Tamil 1983). A quintessential disco song, Raja manages to introduce an
Indian part into it with a C&R arrangement and finally switches back to disco arrangement.
The call is by the female voice for which the response is an exact imitation by the electric
guitar. There are three phrases, each of which varies from the previous phrase
5. The fifth segment is from the song ‘Vaa Vennila’ from ‘Mella Thirandhadhu
Kadhavu’ (Tamil 1986). The call is by the female voice for which the response is an exact
imitation by the electric guitar. This is another example of segment 4’s technique

Let’s hear the sample of Raja’s unusual Guitar-voice conversations

Let’s next explore how Raja has used voices with synthesizer in a C&R arrangement. The clip has 3
segments from various songs composed by Raja. Some of the arrangements with a synthesizer are of
the highest level of sophistication by an Indian composer.

1. The first segment is from the song ‘Enna Varam Vendum’ from ‘Nandavana
Theru’ (Tamil 1995). The arrangement in this song is very sophisticated. The synthesizer is
used like an organ and plays beautifully along with the voices. Pay attention to the entire 20
seconds of this arrangement. The chorus first sing their part for which the organ responds.
This arrangement is carried out with variations in imitation by the instrument for 3 times.
Following this, the chorus voice morphs into a counter melody with the synthesized violins
and a solo violin taking over. The instrument parts are alternated between synthesized violins
and solo violins, with the voices continuing their melody. Brilliant!
2. The second segment is from the song ‘Sangeetha megam’ from ‘Udhaya
Geetham’ (Tamil 1985). The call is from a female voice for which the synthesizer responds in
an organ mode
3. The third segment is from the song ‘Thamarakkili Padunna’ from ‘Moonam
Pakkam’ (Malayalam 1988). This time around, the genre is folk. The call is by a male voice in
folk mode and the response is from a synthesized flute

Let’s hear the sample of Raja’s unusual Synthesizer-voice conversations

Let’s next explore how Raja has used voices with violins in a C&R arrangement. The clip has 4
segments from various songs composed by Raja.

1. The first segment is from the song ‘Naadham Ezhundhathadi’ from ‘Gopura
Vasalile’ (Tamil 1990). The song is set to the Sriranjani ragam (courtesy: Vel Ramanan) and
the call is from a female chorus for which the violins respond
2. The second segment is from the song ‘Putham Pudhu Kaalai’ from 'Alaigal
Oiyvathillai' (Tamil 1981). This is the prelude of the song , where the call is from the female
voice for which the violins respond
3. The third segment is from the song ‘Ponmaane Kovam Eno’ from 'Oru Kaidhiyin
Diary' (Tamil 1984). This time the arrangement is a Western one where the call is from the
female voices and the response is from the violins
4. The fourth segment is from the song ‘Poo Mudithu’ from ‘En Purushan Thaan Enakku
Mattum Thaan’ (Tamil 1989). Set to Hamsadhwani (courtesy: Vel Ramanan), the call is from a
female chorus for which the violins respond
Let’s hear the sample of Raja’s unusual Violins-voice conversations

Let’s next explore how Raja has used voices with voices in a C&R arrangement. The clip has 3
segments from various songs composed by Raja.

1. The first segment is from the song “Halli Lavaniyalli” from “Namoora Mandara Hoove”
(Kannada 1997). As we already analyzed this song, this is one of Raja’s masterpieces with
voices. The segment has two sets of female voices arranged along with flutes in a call &
response mode. Initially, the call and the response are both in Indian style, followed by one of
the voices sticking to the Indian format when the second set of voices switches to scat mode.
The flute supports the whole exchange beautifully. Master work!
2. The second segment is from the song ‘Oru Kili Urugudhu’ from ‘Ananda
Kummi’ (Tamil 1982). The call and response are both female voices which eventually merge
giving way to the flute to take the interlude to the charanam
3. The last segment is from the song ‘Pon Oviyam’ from the film ‘Kazhugu’ (Tamil 1981).
While there are several harmony parts to this composition, the segment focuses on the C&R
arrangement. Raja plays with the call, the first call from the male and the second one being a
mixed call from the male and female voice. The response is a discrete one from the chorus
for both the calls. Nice arrangement.

Let’s hear the sample of Raja’s unusual voice-voice conversations

There are no composers who have explored human voice like Raja in Indian films. He has not only
used them in harmony, but also very extensively as an instrument in his call and response
arrangements. Before him, very few composers ever had the imagination of using the human voice as
an instrument in such arrangements.