Intricate harmonies in obscure films/songs � part 9/18

Our journey on uncovering intricate harmonies from obscurity continues�

Saami Kitta Solli Vachu � (Aavaarampoo - Tamil - 1992)

Let me first write a few obvious lines about this song. A beautiful flowing melody
sang by SPB and Janaki with some parts using the Kaapi ragam. Raja has perhaps done
a few hundred such tunes.

Now let�s see how this traditional Indian melody meets western harmony � another
walk in the park. There are some parts, I felt Raja has done the impossible in this
song, only a genius can think of.

Harmony passage 1 (1:00 to 1:09 ) : This starts off as a full harmony between the
violins, flute and the bass guitar. You have to observe the bass lines descending
when the violins ascend. Within this passage, there is also the flute responding to
the initial violin/flute harmony. This is usual Raja harmony.

Harmony passage 2 (1:10 to 1:24 ) : This is one of those crazy harmonies written
with a synthesizer, pizzicato violins playing a high note (to take care of the S
and A) and the flute to take care of the Tenor. The whole melody is repeated twice.

Between passage 1 and passage 2, you have come a long way away from the traditional
Indian melody. I can bet $1000 that any other composer would have withdrawn this
great idea and gone back to something that works easily. What he does after is what
separates Raja, the genius from the boys.

Harmony passage 3 (1:24 to 1:29 ) : This is the bridge harmony that only he can
think of. All done with violins. How on earth can he think of such a connection to
the charanam? Take a bow, Raja!

Harmony passage 4 (2:46 to 3:10 ) : This passage is even more tricky than passage
2. He starts off with pizzicato strings alone and as I have always come to expect,
does not leave that to bore the listener. He now adds the solo violin to play
counter to it. As though that is not enough adds violins to take care of the third
part in the harmony with the cellos and bass talking care of the fourth part. This
part can go on forever. 24 seconds of harmony with counter melodies and no bragging
about this beautiful arrangement. This is where any composer can get trapped in his
own creation. How to get out of this to the Indian melody in the second charanam ?

I consider this akin to your golf ball getting deeper into the sand. It is harder
than the first one as it just hit the sand. The skill with which Raja pulls the
ball off the sand into the green and lands on the hole is amazing!

Harmony passage 5 (2:46 to 3:10 ) : This is the second bridge harmony and it is
different from passage 3. Raja not only knows how to get out of his passage 4 but
do it in style. He could have easily repeated harmony passage 3 and no one will
notice. He arranges a violin harmony and uses bells (synthesizer) in a call and
response mode to the violins to transition into the 2nd charanam smoothly and
effortlessly.

We live in times, when simple innovation in music is screamed at you in TV shows as

though this is the best thing since slice bread. Here is a composer who silently
innovates and does not even talk about it. I have heard this song several times and
my mind kept going to the melody and not to the beautiful harmony that he has
weaved. I heard this song 8 times today after my mind latched on to his pizzicato
strings and that�s when I realized, what a beautiful piece of harmony he has weaved
to a song that is not so obscure. So sad, that we really live in times, where the
�fine� aspect in art is missing.

The only 'fine' art in film music lies with this composer in songs that we have
just scratched the surface. The harmony arrangement in this song and its transition
from and to the Indian melody is worth teaching in music schools.