De-Composing
From my amateur perspective, "composition" is the melodic structure..the series of notes that make a tune, stripped of details like "what words will this be sung to" and "who will sing it" or "how many instruments will play this line". Since the composition is independent of these things, it can be recognised instantly by any one in any part of the world even if represented by different agents. This is how we recognise "Dil Mera Churaya Kyun" from the baton of RipMaster Anu Malik as a rip of "Last Christmas I Gave U My Heart..." by Wham!, even though the singer, language and instruments are all different. Capeesh ?
The arrangement then refers to the choice of instrument and effects that become the vehicle of the composition. Musical arrangement contributes a subtle but very profound effect because it is a complex gestalt - there are cultural shades, personal inflections, and the unique timbre of the instruments themselves that paint an emotional landscape. Rahman's compositions are therefore so evocative and unforgettable. His craft marries inspiring melodies with powerful musical arrangements.
Influences...
I'm a big fan of Joseph Campbell - specifically his "Power Of Myth" that airs on PBS regularly - his persuasive work has altered the way I think about Life, the Universe and Everything. Myths explain why we like what we like and dislike what we dislike. I mean "Myth" in a larger sense, not just classical myths, but rather the underlying principle of a *myth*.
Denouement
My thesis (finally) is that Rahman uses arrangements that evoke our "aural mythology". This ability raises the songs from being "pop" to exuding immense anthemic proportions. A caveat here is that the arrangements do not meet with resonance in all listeners. A certain well-roundedness is required to better appreciate what he is driving at, because he draws on aural myths from all cultures. Those who do not revel in this aspect however still benefit from the melodic beauty. I am also not implying that he's the first to do so, but he's the best and most effective.
Here are a few examples - feel free to post more.
- Yeh Jo Des Hai Tera: The other day I was listening to "Yeh Jo Des Hai Tera" for the umpteenth time on my train commute...drifting in and out of sleep induced by the seductive swaying of the train; a very potent state for subtle realisations, that. The percussive "line" (taal) of the song has a rowdy bunch yelling "Hoy!" at regular intervals, along with a vaguely evocative "shik shik" sound. If I had been wide awake and operating purely in analytical mode, I would have (correctly) said that the "shik shik"s are created by a bead-filled gourd, a common enough orchestra piece. In my semi-conscious state I had a subtler understanding of the sound - it reminded me of the old way in which the ladies at home winnowed the wheat from the chaff, using a handheld winnowing pan. When this realisation is subtle and "mythic" in nature it creates a nostagic longing that goes with the message of the song. The shehnai solo playing at the end also has immediate cultural resonance for indians...it conjures "auspicacity" - marriages, festivals, celebration and nostalgia. The same passage could have been played on a violin, but would not have this meaning Audio
- Dhakka Laga Bhukka: This song from "Yuva" is RICH in arrangement. The percussive bass-line, the sound of a reloading-gun-melded-with-smashing-glass, and the whistled interlude..those reek of energy, youth, cool and testosterone...ie. "yuva".. Audio
3 comments:
very interesting. but does ARR do it knowing fully well he's doing it or is it all in the subconscious?
i've noticed such 'hidden' sounds in Chinnamma Chilakamma too. beautifully uplifting. and probably not what you would expect from a rumbustious song like that.
while there is music that touches a chord in one's heart, for me, ARR's music is a regular rhythm guitar in full flow. the guy never ceases to amaze.
for a long time, i heard songs that i was sure required a little more here and a little more there. some touches, a flourish or two. with ARR i'm left wondering if he's just about read every mind and its musical longings.
he has to be a master of layering.
Does Rahman deliberately use these subliminal arrangements?...I think he does.
He also chooses the singing voices with great deliberation. I don't have too many ideas about how, except that he seems to try and match the voice to the mood and meaning of the song.
In "Yuhi Chala Chal" the eminent Hariharan sings a couple of bars - some falsetto beeps and two lines of lyric. What prompts ARR to employ the services of such a great singer for a cameo appearance - I have a suspicion his motive is the way it contributes to the song. He uses "cameo singers" with some regularity. Sukhwinder Sing singhs (oops!) just one line in "Mitwa" from Lagaan and the rest is handled by Udit Narayan.
AR Rahman also "casts" his compositions the way directors cast their movies -
There's a host of songs ARR created with some particular voice in mind. For these one-off pieces he stays away from the usual suspects - the Alkas, Udits and Hariharans of the world. Examples - Reena Bhardwaj singing "Ye Rishta Kya Kehlata Hai" and Kamaal Khan - Sujata Trivedi singing "Dil Ne jise Apna Kaha" and Remo Fernandes singing "Hamma Hamma". I think this is an attempt to "texture" the composition..he knows what he's doing.
His casting smarts also ENFORCES a certain keenness in the listener - the keenness caused by hearing an unfamiliar voice. You know - the way a director will use a Randeep Hooda to play Deshu instead of Ajay Devgan, to prevent the audiences' notions from soiling the performance.
great words love the way you analyze A.R.Rahman's composing analogy. it is indeed true that Rahman kindles music with his own style which I belive is the purest of its kind in Indian Cine Music Industry. Well expecting lots more from his way....thanks keep blogging
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