Zimmer Meets Hindustani Classical

Years ago, Sujaan (my younger brother) and I directed a school play – a dramatization of Haroun and the Sea of Stories by Salman Rushdie.

Towards the end of the play, we had a dance sequence in the court of the arch-villain, Khattam-Shud. The scene was meant to be dark, scary and chaotic, and for background music, we chose Hans Zimmer's Why So Serious? (Joker's Theme) from The Dark Knight OST.

At the same time, we wanted an Indian or pan-Asian (as opposed to purely western) sound, so Sujaan had the idea of layering classical vocals and tabla over the Zimmer composition.

Among our high-school cast, we had a girl named Titas who was a precociously talented, classically trained singer. We played the Zimmer track for her and asked her to come up with a taan (which in a Hindustani classical music term for vocal improvisation of rapid melodic passages).

Usually for such a recording, the singer would be wearing headphones and listening to the backing track while improvising into a mic. But that day, it turned out that we had some problem with our barebones audio equipment – we could either play music or record it, but not both at once.

Sujaan and I assumed it was a no-go; we would just have to try another day after fixing the technical issue. But Titas, in her unassuming way, said "Let me try, maybe I can sing it without playback."

"Uh, okay. Do you want to listen to the track again?"

"I think I got it."

Sujaan and I were still skeptical. If she improvised with headphone playback as planned, we were pretty sure she would do a good job. But without it, maybe her key or tempo would be off. Or maybe her taan just wouldn't fit with the track.

Still, we figured there was no harm in letting her try.

We need not have worried. Titas recorded two takes, improvising to music she could hear only in her memory. Both takes were spot on.

I still remember going home and importing the tracks in our mixing software, and the moment we realised we had a perfect fit.

Shown below are the waveforms for the isolated vocals track, takes 1 and 2. You can see how well they line up – just for take 2, she cut it slightly shorter.

Here are takes 1 and 2:

And here's the final track, slightly shortened for this blogpost – an excerpt from the Zimmer composition, with tabla and vocals (take 1) layered on top.