What sets A R Rahman apart?

The question though intriguing to some has some straight forward answers according to me. We all have been a witness to his music over the past decade and a half. Music that brings the feel from the depths of your heart coupled with technical brilliance characterise his compositions. The feel is a matter of subjective opinion whereas his demonstration of the finest technical aspects along with the technological wizardry is something everybody would agree with. Being an ardent music lover and with some fundamental knowledge of Carnatic music, I can't help but heap praises on the man who has changed the complexion of film music ever since Mani Rathnam introduced him in Roja. His music is typically for the urban and semi-urban music loving audience. With emphasis mainly on the tune and the rhythm of the song more than the singers and the lyrics - a criticism that he often draws from his detractors, he excels in exploiting the technicalities of the ragam that he chooses to compose in. The variety in his music just speaks for his greatness. To enjoy a Rahman song superficially is one thing but getting into the depths of his compositions is truly a rewarding musical experience. You can do that using a pair of good earphones or speakers supplemented with a woofer. In doing so, you get to hear and appreciate what you can call his various 'layers of sounds'. Rahman’s compositions are a homogeneous blend of many such layers. Each layer employs a few instruments. They are prioritised according to the mood of the song. The more instruments you use, more complex the task of composing becomes because they need to be toned and set accordingly without sounding cacophonic. The sound layers have to be set in unison. Rahman is a true genius in this aspect. His expertise in manipulating the sounds of the instruments accordingly is a true manifestation of his genius. And this is a scoring point for him over his contemporaries.

The mood and feel that Rahman generates in his melodies is unparalleled. 'Ennuyir Thozhiye' from the movie 'Kangalal Kaidhu Sei’ is one of the classy compositions of his. I have been humming this song for quite sometime of late. I was wonderstruck on hearing the song for the first time. In fact, the complete album is a masterpiece from Rahman. This song is a composition in the ragam Arabhi, a Shankarabharanam janyam. In the song, Rahman begins with a prelude on the piano running close to a minute. The song starts of with Unni Menon singing the pallavi . At the end of the pallavi, Chinmayi does a humming, again accompanied by the piano – an Arabhi delight. If you notice carefully, throughout the pallavi, there is a looping ‘S M1 S P’ chord in the background, which more than anything else enhances the pleasure of hearing. The interlude after Charanam 1 is awesome. The song is backed throughout with chords from the violin - a wonderful example of choosing the proper instrument for backing the vocals. The ending in both the charanams, ".....thool thool thool anathunmai" and ".....po po en aasai theernthathu” - well thought of and executed, showcases the beauty of the ragam. The song ends with Unni Menon humming ‘M1 P D2 P , M1 , G3 R2 , , D2 S ,’ again establishing the fact that it’s the strong Carnatic flavour that beautifies the song. The other song in this ragam that strikes me is “Yeri karayin mele poravale….”- a very old number. I don’t recollect any other film song in this ragam.

Rahman’s melodies exemplify freshness in his approach. They represent a convergence of classical and film music. The percentage of ‘good songs’ among all his compositions is comparatively high than other music composers. Rahman stands apart for this reason too. I only wish this figure of his keeps moving higher.