Rangan on the Guzaarish soundtrack

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METRE IS TO MUSIC what iron bars are to a lioness in captivity – it calms us with the illusion that the untamable has been tamed. Without this rhythmic symmetry, we are no longer in charge. The music is in charge, the music controls us – much like how free verse mandates that we bend to its idiosyncratic will in ways that formally fashioned poetry doesn’t. When music is compacted into neat measures, we can afford to relegate it to the background as we cook and do the laundry and drive to work with the corner of an eye on the latest incoming text message. We can even hum along. Pop music – whose mission is to be contemporary and catchy – thrives on metrical precision, and because most Indian pop music is really film music, our songs are almost always constructed like pop songs, with short musical phrases, with intentional repeats at regular intervals, and with the metre exposed through pulsating percussion. One-two-three-FOUR, one-two-three-FOUR our internal metronome goes, and our feet pick up these subconscious signals and tap along in sweet submission.

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