By then, Vanraj already knew all the Indian ragas and had a strong foundation in Indian classical music. ‘If you send him to learn music, he will have to sell channa at the Chowpatty in Mumbai when he comes back’ – his uncle warned his father. The popular film press never gave him the space he deserved. He walked his own path, chose his own style and delivered great enduring musical experience to his listeners. One of the finest composers of our times, Vanraj Bhatia studied Western classical music in depth and successfully mixed that knowledge with an understanding of Hindustani classical music. Vanraj Bhatia stands the the tallest amongst them. Indian film music has seen very few of these real composers. From designing the melody, working with the singers, writing the notation and filling in with the preluedes and interludes with the instrumentals, they are the Music Composers. The rarest kind, though, are those who see through every element of the song from its inception to the final recording. The second lot who fill in with the preludes, interludes, instrumentals and give a body and structure to the song are the Music Arrangers. They design the melody and mostly work on the singing part of the song.
The ones who are celebrated the most are the Music Directors.
Listening to an old episode of the popular podcast Haal Chaal Theek Thaak Hai, I learnt of three kinds of music makers in Bollywood. A small tribute to India’s less celebrated musical genius
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