Then Poove Poove Vaa from Anbulla Rajinikanth (1984) вЂ“ pay attention to the second interlude and see the guitar play with the keyboard in counterpoint mode. If you notice closely, the lead guitar plays three roles: 1) plays along with the melody at times 2) plays a different melody at times (counterpoint) and 3) plays a coversation with the other instruments (also called call and response technique).

I chose this track first as this demonstrates the mastery Raja has over the Western idiom. Pay attention to the following segments on counterpoint technique: a) 0:01 to 0:15 secs - guitar in counterpoint with sax b) 0:16 to 0:33 secs - guitar in counterpoint at times with another guitar and also with a flute c) 1:20 to 1:35 secs - brilliant guitar-guitar counterpoint. I will start with Manadhil Enna Ninaivugalo from Poonthalir (1979) вЂ“ please hear the prelude, first and the second interludes and see the play of guitar (electric, rhythm, bass), flutes and saxaphone in counterpoint/call and response mode вЂ“ vintage Raja. I do not think anyone in Indian cinema has used the regular acoustic, electric and bass guitar the way Raja has used it. The unique feature of Raja's guitar work is its simplicity. No prizes for guessing who has done some of the best guitar work in Indian cinema вЂ“ he got his music qualification in Western Classical guitar. Raja was a guitarist and an organ player before he became a composer.

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