Harmony in Dissonance

The BGM of Aboorva Sagotharargal is an example of what an out of the box thinker Raaja is.

Especially the strings ensemble section is heights of imagination. Its a 4 part harmony section. Each subsequent chord used keeps two notes as common from the previous triad and just adds a new note to arrive at the new chord. Hence even if the new note is a dissonant note that doesn't belong in the key signature, it sounds very integral.

Let me explain!

First bar = Ab (Which is the relative major of the Flute theme set in Fm)

Second bar = Bbm (minor second, which is still a good fit)

Third bar = Gb (From here the entry of alien notes starts. From Bbm if you delete F and add Gb you get Gb major)

Fourth bar = Ebm (From Gb you delete Db and add Eb, you get Ebm)

Fifth bar = B | C7th (From Ebm you delete Bb and add B you get B major); The transition of B to C7th is heavenly with two chromatic (B to C as well as Eb to E)

Sixth bar = Ab | Ab7th

Seventh bar = Db | Bbm (If you see the progression Ab -> Ab7th -> Db is a classic which is not heard now a days. Its the regular progression of Root + Rooth 7th to Major 4th which sounds so beautiful)

Eighth bar = Eb7th | Ab

Ninth bar = Eb.

Then the flute theme continues in solo violin.

I tried explaining this in:

With Love