Point Blank!!

Sometime ago, fellow Raaja affinicado Harikrishna sent me his video of Nenjathai Killathe's Title score. It was the dialog between lead guitar and the bass from the original score which he had played flamboyantly in his keyboard and sent me.

The title track has everything that Ilaiyaraaja stands for.

Every time you listen to Raaja, you will end up discovering something new. For a long time I have looked closely to see if there are any 'Sankeernam' like applications (i.e., 9/8 time signature) from Raaja but to no avail. When I went back to hearing this score, I was treated with a sweet surprise. It's first 4 bars are set to a 9/8 time signature. Even though its occurrence is short, the deliberate placing of Church bells that fall at the first count of all the first 4 beat cycles, conform to a "1234 12 123" rhythm cycle (there by conforming to a Sankeerna Eka meter).

The full length rhythm of this title score is conceived with the idea of a natural jogging rhythm. The initial 9 count oddity augurs well with a feel of uneven rhythm a jogger may follow. As we all know, Raaja chose this idea to signify the romance between the hero and the heroine which develops during their early morning jogs. The song "Paruvame" remains as one of the most adorable song in Tamil and Telugu Cinema to date. But not many are aware that this score already paves the way for it.

A classical humming evoking the fresh feel of dawn... What starts as a Sankeerna meter, becomes a regular 6/8 from the 5th bar... This jogging rhythm of "12 12 12" forms the base for a complimenting swing waltz played in an acoustic brush kit... With those days' 80s technology, you hear harmonic recorder embellishments and a bamboo flute played in Indian style responding to it in short but a powerful manner... Controlled strumming of a guitar together with a solid Bass track forms the backbone through out... And both of them break free with a chit chat of their own which is the further focus of this blog post... A complete string ensemble that concludes the affair in a grand style. The whole score is incredibly well structured. No inexplicable wandering of the melody... No waste notes... Its by no means a simple piece. But it sounds simple!

Lets now look a bit closely at that dual between both the guitars...

What is a counterpoint is a question nagging many of us. I view this bit as a good uncomplicated example of a basic counterpoint . I base my view on the following qualities: You can see two independent melody line that are in harmony but follow different rhythmic structure. They overlap each other and yet co-exist beautifully in the end.

Please refer the sheet music to feel this:

Please note the crucial areas where both the tracks overlap and the occurrences of dotted notations that differentiate each track's timing being different. (You can also download the sheet music here. Comments and reviews of the sheet music are welcome.)

(Headphones recommended!)

Imagine composing all these are for a time when we are fervently searching for our seats in the dark much to the chagrin of the voice behind: "சாவுகிராக்கி ..!! சீக்ரமா குந்துப்பா!!" ("You irritant.. ! don't hide me and get settled fast!!")

With Love

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