Ilaiyaraaja's Bach-Level Genius: Unpacking Fugues and Chalanaatta Ragam in "Aala Asathum"

Imagine a single, four-minute film song that combines the grand complexity of a Johann Sebastian Bach symphony with the intricate beauty of a Carnatic raga. Sounds impossible? Not for our Maestro, Ilaiyaraaja! In the 1985 film Kanni Rasi, he delivered just such a masterpiece: the energetic duet, "Aala Asathum Malliye Malliye."

This isn't just a catchy dance number; it's a profound musical lesson. Join us as we dissect "Aala Asathum" and reveal the genius within its Western and Carnatic layers.

The Western Wizardry: Understanding Fugue

At first listen, "Aala Asathum" might seem like a simple, enjoyable dance track. But a closer listen reveals astonishing musical nuances, particularly in its Western-inspired instrumentation. Ilaiyaraaja masterfully employed a complex compositional technique called Fugue.

For those unfamiliar, Fugue is a specialized form of Counterpoint, where multiple melodic lines run parallel, often intertwining and responding to each other. Think of it like a rapid-fire question-and-answer session between different musical instruments or voices. One melody starts, and before it finishes, another instrument takes it up, perhaps at a different pitch or speed. This creates a tight, seamless energy and layered sound.

A classic example of Ilaiyaraaja's pure Fugue is seen in his "Mad, Mod, Mood Fugue" from the How to Name It album. In "Aala Asathum," this technique is woven throughout:

• Opening: The very beginning features a Fugue arrangement with SPB and Vani Jairam's humming, each voice playfully responding to the other.

• Instrumental Sections: Trumpets, strings, guitars, and flutes engage in intricate Fugue patterns, especially during the interludes.

• Charanam: Even in the verses, you'll notice a vocal Fugue where one singer delivers the lyrics while the other hums, then they switch roles, creating a dynamic interplay.

This innovative use of Fugue is a key reason for the song's incredibly fast pace and pulsating energy. Once you know what to listen for, you'll start spotting Fugue in many of Raja Sir's interludes!

The Carnatic Core of Aala Asathum: The Chalanaatta Ragam

On the other side of this musical coin is the Carnatic raga that forms the song's melodic backbone: Chalanaatta. This is the 36th Melakarta raga, a complete (Sampoorna) raga with all seven notes in both its ascending and descending scales.

While Chalanaatta itself isn't one of the most popular ragas in Carnatic music (its janya raga, Naattai, is more frequently heard), Ilaiyaraaja has brilliantly adapted it for Western fusion in at least three film songs: "Aala Asathum," "Pani Vizhum Malarvanam" (from Nizhalgal), and "Oooo Kaalai Kuyilgale" (from Unnai Vaazhthi Paaduiren).

A unique characteristic of Chalanaatta is the presence of two sets of chromatic notes (R3 and G3, D3 and N3). Chromatic notes can sometimes introduce a touch of dissonance, making a melody sound slightly 'off' to an untrained ear. However, in "Aala Asathum," Raja Sir handles these chromatic notes subtly, using them sparingly, mainly in glides. This contributes to the song's joyful and less brooding mood, especially when compared to "Pani Vizhum Malarvanam," where the chromatic combinations are more pronounced and create a different kind of emotional intrigue.

The vibrant pulse of "Aala Asathum" truly comes alive in the segment "Ennamo Pannudhe Ennaiye... En Manam Suthudhu Unnaiye," where the combination of swaras and a joyous drum roll creates an infectious, exhilarating feeling – often where the famous hook steps are!

Ilaiyaraaja's mastery lies in his ability to use ragas according to the song's mood, not strictly adhering to Carnatic rules. He adapts them, sometimes using the full scale, sometimes sampling parts, always transforming them to serve his vision.

A Fusion to Savor

"Aala Asathum" stands as a testament to Ilaiyaraaja's genius in seamlessly blending complex Western techniques with rich Carnatic traditions. He created a wonderful fusion, giving us both a Western experiment and a Carnatic raga trick in one brilliant package. We've enjoyed this song for decades without realizing the intricate layers beneath its surface. Now, we can listen to it with a newfound appreciation and truly savor its brilliance.

What are your thoughts on this musical deconstruction? Have you noticed other songs where Raja Sir used the Fugue technique? Share your insights in the comments below!