Raaga Based Song of the Day #4

Raaga Based Song of the day: Laage na mora jiya, Sajna nahin aaye.
Raag Shivaranjani, Tal Dadra.

Fourth day of a new series on this blog. The first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.

The second post was titled ‘Raaga Based Song Of The Day #2’ and the song was a Mohammad Rafi song from the 1971 Sushil Majumdar movie Laal Patthar: Unake khayal aaye to aate chale gaye. It is in Raag Gara, Tal Kaherava.

Similarly, the third post was titled ‘Raaga Based Song Of The Day #3’ and the song was, once again, a Mohammad Rafi song from the 1956 GP Sippy movie Chandrakanta: Maine chand aur sitaaron ki tamanna ki thi. It is in Raag Bhimpalasi, Tal Dadra.

This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: ‘The Best Raaga Based Songs in Hindi Movies – Raag Bhimpalasi – Part -I’.

Wherever I am, I am not too far from my favourite lyricist Shakeel Badayuni. His association with Music Director Ravi got him the first two of his hat-trick of Filmfare Awards.

The 1960 Ramanand Sagar movie Ghunghat was released the same year his first Filmfare Award movie was released (indeed before Chaudhvin Ka Chand). The movie started Bharat Bhushan, Bina Rai, Asha Parekh and Pradeep Kumar. The movie had another great Lata number: Meri chham chham baaje payaliya besides a number by Mohammad Rafi that has outstanding lyrics and rendition: Haay re insaan ki majburiyan.

Raag Shivaranjani is another Raag that belongs to Kafi Thaat. The mood of the raag is Karuna Rasa (pathos) that suited both Shakeel and Ravi very well. However, the MDs who had this as their favourite (both of them as opposed to Bhairavi that was favourite of Jaikishan only) were Shankar Jaikishan. Some of their popular numbers in this Raag are: Awaaz deke hamen tum bulao, Baharon phool barsao, Dil ke jharokhe mein tujhako bithakar, Jaane kahan gaye woh din, and O mere sanam.

Some of the popular numbers of other composers are: Banake kyun bigada re, Dhak dhak karne laga, Kahin deep jale kahin dil, Mere naina sawan bhaadon, Mujhe kuchh kehna hai, Rimjhim ke geet sawan gaaye, Sawan aaye sawan jaaye, Tere mere beech mein, and Yaad teri aayegi.

As far as Tal Dadra is concerned I have given you enough already.

What about learning for today? Yesterday we learnt the various characteristics of Raagas though some of you may have missed them since these were on this blog only and not on WhatsApp.

Today, we simply learn the full forms of Swar used in the Sargam  (solfege). By the way the word Sargam is taken from first four Swars: Sa, Re, Ga, Ma. There should be no shyness in admitting that most of us use only abbreviated Sa, Re, Ga, Ma, Pa, Dha, Ni and don’t know that these stand for Sadja, Rishabha, Gandhara, Madhyama, Panchama,  Dhaivata, and Nishada.

Please enjoy Lata sing in Raag Shivaranjani Tal Dadra: Lage na mora jiya sajna nahin aaye..
(If this reminds you of another one of Shakeel-Ravi-Lata number (in pathos) Lo aa gayi unaki yaad woh nahin aaye that is in Raag Asavari, Tal Kaherava.)

laage na moraa jiyaa, sajanaa nahii.n aaye, haay
laage na moraa jiyaa …

dekh liye piyA tere irAde, jhUTh nikale jA tere vAde
ta.Dapat-ta.Dapat yAd me.n terI, nain nIr bhar Ae, hAy
laage na moraa jiyaa …

tUne merI sudh bisarAI, bedardI tohe lAj na AI
bhUl gae kyA o harajAI, jAke des parAe, hAy
laage na moraa jiyaa …

We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. Today, lets take stock of our collective learning:

  1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
  2. On the second day we learnt about Tal or Taal.
  3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
  4. On the fourth day, that is, today we learnt about Sargam.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day #3

Raaga Based Song of the day: Maine chand aur sitaron ki tamanna ki thi.
Raag Bhimpalasi, Tal Dadra.

Third day of a new series on this blog. The first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.

The second post was titled ‘Raaga Based Song Of The Day #2’ and the song was a Mohammad Rafi song from the 1971 Sushil Majumdar movie Laal Patthar: Unake khayal aaye to aate chale gaye. It is in Raag Gara, Tal Kaherava.

This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: ‘The Best Raaga Based Songs in Hindi Movies – Raag Darbari Kanada – Part -I’.

Today we shall take up a song in Raag Bhimpalasi, Tal Dadra.

This means that we have third consecutive day of Mohammad Rafi songs. And why not? He was the greatest.

Raag Bhimpalasi also belongs to Kafi Thaat just like Raag Pilu (of whose song Dhadakte dil ki tamanna ho I had given earlier).

Some of the popular songs in Bhimpalasi are: Aa neele gagan tale, Ai ajnabee tu bhi kabhi, Aaj mere man mein sakhi, Dil ke tukade tukade, Eri main to prem diwani (Roshan’s and not Pt. Ravi Shankar’s), Khilate hain gul yahan, Kuchh dil ne kaha, Main garibon ka dil, Mere man ka bawra panchhi, Naghma O sher ki saugat, Nainon mein badra chhaye, O beqaraar dil, Samay O dheere chalo, Tere sadke balma, and Tum mile gul khile.

What is our learning about Raagas on this third day? I have already told you the basics of Raaga system, Thaats and Tal. Today we shall take up what makes up a Raag or the very basic elements of the Raag.

I have already told you that the word Raag literally means Colour or Tinge or Hue (Sanskrit word ‘Ranj’). Hence, a Raag does exactly what a colour does: it fills us with varied emotions.

  • It is easy to make out that a Raag must have notes. These are called Swar.
  • The number of notes used in a Raaga is called Jati.
  • Raagas have structural modes. These are called Thaats. In Bhatkhande system that is followed for Hindustani music (North India) there are a total of ten Thaats to which almost all the Raagas belong.
  • Raags have both ascending and descending structures. These are called Arohana and Avarohana respectively.
  • It is easy to visualise that the Raagas won’t have notes or Swar of equal importance. The important ones are called Vadi and Samavadi.
  • The characteristic movement of a Raag is caled its Pakad.

At this stage it is well to remember that Hindi films MDs were innovative and mixed and matched to get popular tunes. Hence, it is rarely that one can come across a pure Raaga based song.

Raaga mixing is not a simple and ad-hoc skill. One has to know the Raagas very well before attempting it. Raaga mixing has two elements: Teerobhav that translates into ‘conceal’ and Aavirbhav that means to ‘reveal’.

Hindi films MDs often mixed Raagas that would be looked down upon by the purists. However, such intermixing would create some very enchanting tunes. Indeed, some like SD Burman would create tunes that would appear to be Raaga based but are not; eg, Deewana mastana hua dil jaane kahan hoke bahaar aayi. As I said one has to know Raagas really well before attempting what MDs like SD Burman did.

Coming back to the Song of the Day, Bhimpalasi is a raag of the afternoon. Its mood is often an upbeat one (eg, Aaj mere man mein sakhi) before one gets into the sunset, evening and night raagas with their essential sadness.

Tal Dadra derives its name from Dadra style of singing prevalent in Dadra. It is a six or three beat Tal:
Clap, 2, 3, Wave, 2, 3; that is two vibhags of three matras each. The theka is:
Dhaa Dhin Naa Dhaa Tin Naa
I have already given you a song in this Tal and Raag Pahadi: Aaj ki raat piya dil na todo. Aaj mere man mein sakhi has similar tal or rhythm.

Today’s song is from 1956 movie Chandrakanta starring Bharat Bhushan and Bina Roy. Sahir Ludhianvi penned the song and N Dutta or Datta Naik (who did as many movies with Sahir as SD Burman did) composed it.

Please enjoy in Raag Bhimpalasi Tal Dadra: Maine chand aur sitaaron ki tamanna ki thi……

Maine chand aur sitaro ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
mujhko rato ki siyahi ke siva kuch na mila
maine chand aur sitaro ki tamanna ki thi

mai vo nagma hu jise pyar ki mahafil na mili
mai vo nagma hu jise pyar ki mahafil na mili
vo musafir hu jise koi bhi manzil na mili
vo musafir hu jise koi bhi manzil na mili
zakhm paye hai baharo ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi

kisi gesu kisi aanchal ka sahara bhi nahi
kisi gesu kisi aanchal ka sahara bhi nahi
raste me koi dhundhla sa sitara bhi nahi
raste me koi dhundhla sa sitara bhi nahi
meri nazro ne nazaro ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
mujhko rato ki siyahi ke siva kuch na mila
maine chand aur sitaro ki tamanna ki thi

meri raaho se juda ho gai raahe unki
meri raaho se juda ho gai raahe unki
aaj badli nazar aati hai nigahe unki
aaj badli nazar aati hai nigahe unki
jisse is dil ne saharo ki tamanna ki thi
maine chand aur sitaro ki tamana ki thi

pyar manga to sisakte huye araman mile
pyar manga to sisakte huye araman mile
chain chaha to umadate huye tufan mile
chain chaha to umadate huye tufan mile
dubte dil ne kinaro ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
mujhko rato ki syahi ke siva kuch na mila
maine chand aur sitaro ki tamanna ki thi

I hope by this time you are as hooked as I am on to learning about Raagas whilst being entertained with raaga based songs. We shall collectively enjoy and learn. I can assure you that the journey would become even more interesting.

Please stay tuned!

 

IDENTIFICATION OF FRIEND OR FOE IN INDIAN MARITIME SCENARIO

Whenever I talk to civilians and indeed non-navy men, one of the biggest chasms that I have to cross is the minds-gap between us. It doesn’t easily sink in with people that seas are open in access, they have no visible boundaries, and hence there are gigantic problems of identification at sea especially when it comes to small fishing craft, the kind that ten terrorists from Karachi travelled in from Karachi to launch an attack on Mumbai on 26 Nov 2008 (26/11). With every inch of land owned by either governments or people and some having more than two competing claims, another thing that doesn’t easily soak in is that seas are largely unowned and anyone can be anywhere.

Most of the fishing in our waters is unregulated despite all efforts to bring in regulation post 26/11. Post 26/11 it was decided that all boats more than 20 m in length would be fitted with Automatic Identification System (AIS) and all boats would be registered and would have colour coding system to enable quick identification. Additionally, and all crews would have identification cards. Sounds great? Well, the closest analogy that comes to mind is that of a careful and safe Indian driver: he drives carefully and safely for about ten kilometres after witnessing an accident.

Somewhere in the vicinity of Jakhau (on the Northern side of Gulf of Kachchh in Gujarat), when the Indian minesweeper on which I was serving in 1976, used to come closer to fishing vessels and enquire about their identity, some of the vessels would first hoist a Pakistani flag and then when our identity would be revealed to them through our talk on the loud-hailer, they would quickly replace it with an Indian flag. The scenario continued without much variation for decades. After regular patrols started from both sides, many a fishermen (number in hundreds) on both sides of the IMBL (International Maritime Boundary Line) found themselves in prisons of the opposite side. Again, it is extremely difficult for non-navy people to realise that a line drawn on the map doesn’t actually manifest itself at sea and in the absence of familiar features that you find on the land (such as fence, wall, rock, pillars and sign-boards), it is difficult for the fishermen to even realise that they have crossed this invisible line of IMBL.

Early this month I was talking to research scholars of Punjab University studying to obtain Master of Philosophy degree; most of them being from Army background. When I told them that the Indian Navy wrongly got blamed for having allowed Kasab & co. to traverse the sea-route from Karachi to Mumbai which resulted in Mumbai attacks known as 26/11 attacks, most of them were up in arms against me. They said that it was an attack on the nation by foreign armed terrorists using the sea-route and hence the failure to detect and stop them should be pinned on the Navy. I brought out to them that in the like manner, the failure to prevent the attack on Indian parliament (the very seat of the Indian democracy), on 13th Dec 2001, perpetrated by terrorists of LeT and JeM, should have been pinned on the Indian Army since it was a land-based attack. Similarly, following the same reasoning, the failure to detect and prevent bicycle-bomb attacks in Jaipur, on 13th May 2008, should be pinned on the Mechanised Infantry, bicycle being a mechanised vehicle.

Firstly, a knee jerk reaction of the government post 26/11 made the Indian Navy the only leading navy in the world stuck with the responsibility of coastal security. Secondly, with both the target boats and the investigators constantly moving at sea, the only real identification would be whilst leaving and entering harbours. Post 26/11, in two joint exercises carried out in April and June 2009, by the Indian Navy, Coast Guard, Police and Customs, they were able to check the identities of only 300 and 1000 boats respectively. On land too, you don’t check the identities of vehicles by chasing them on highways, roads, streets, fields et al; you do so at choke points such as Toll Plazas, Barriers, Check-Points and the like.

What about Automatic Identification System transponders for the fishing boats so as to help provide quick identification at sea (in almost the same manner as IFF (Identification Friend or Foe) does it for aircraft? Well, two news items would be indicative of the progress made. First is a news item in the Times of India (ToI) on 12 Jul 2009 by Vishwa Mohan: ‘AIS transponders now made must for all fishing vessels’. And seven years later, here is a news item in the Indian Express on 09 Jun 2016: ‘Centre plans to install tracking devices on fishing vessels’; “With Home Minister Rajnath Singh set to chair a meeting on coastal security with CMs of nine coastal states and four Union Territories in Mumbai on June 16, government sources said modalities of implementing a crucial project to install automatic identification system transponders in all small fishing vessels could be finalised at the meeting.” In short, eight years after the Mumbai attacks, modalities to install AIS transponders were still to be finalised.

First of all, 100% installation of AIS on all craft is still to be implemented. Secondly, no technical means can provide warning of an intent in advance. One has to remember that one is looking for just one boat in thousands and lakhs that would have turned rogue from innocuous and innocent fishing boats earlier. To illustrate this point, lets look into MV Kuber, a vessel hijacked by Kasab and co. off Porbandar in international waters. Now, lets say this scenario was to replicate in future after 100 percent fitment of AIS. This innocuous and innocent fishing vessel having turned rogue would still give an AIS signal of a friendly and no-threat vessel.

Whilst on this subject, one curious fact that escaped most people’s attention was the news item that the master of Kuber, Amarsinh Solanki, was in a Pakistani prison just six months prior to his vessel having been hijacked by Kasab and co. Was it, therefore, just a coincidence that his vessel was the one that was hijacked at the appointed hour? Doesn’t that make identification of such a rogue craft and its intent even more confused? Isn’t that a pointer towards keeping an eye on the fishing community on the whole, an exercise beyond the scope of a maritime agency like the Indian Navy? Would Fishermen’s I-Cards and registration of all boats under the Merchant Shipping Act (MS Act) help? Yes, these would, if one remembers that such I-Cards and Registration cannot be checked at sea. Also, that most fishing boats use migrant labour who keeps changing frequently.

Take the incident of 31st Dec 2015 when a Pak boat carrying explosives blew itself up when challenged by a vessel of the Indian Coast Guard off the coast of Gujarat.

(Picture released by the ICG post the incident of 31 Dec 15/01 Jan 16)

The coast guard had received a specific intelligence alert on December 31 that a fishing boat from Keti Bunder near Karachi was planning some kind of an operation in the Arabian Sea.

“Based on the input, a Dornier aircraft undertook a sea-air coordinated search and located the fishing boat. The ship patrolling in the area was diverted and intercepted the unlit boat around midnight of December 31,” the spokesperson said.

Imagine the effort required to intercept just one boat at sea.

“Parrikar had added that the Centre would ensure “99.99%” protection against 26/11-type incidents by timely detection. “How do you pull the needle out of the haystack? Zero tolerance to error is the most important in this project.””

The ironical point here is that even a preventive success story brought out the gigantic difficulties involved in identification and interception and that the answer lies in national will pertaining to zero tolerance to error” is the only answer to pulling “the needle out of the haystack?”

We must also remember the fact that Coast Guard DIG B K Loshali was sacked for making the following remark on 16 Feb 2016 whilst addressing a gathering of Coast Guard officers and Larsen & Toubro officials during the launch of an interceptor boat (the remark was video taped and reported by the Indian Express: “Let me tell you. I hope you remember 31st December night. I was there at Gandhinagar and I told at night, blow the boat off. We don’t want to serve them biryani.”

Identification of Friend or Foe in Indian Maritime scenario and preventing repeat of 26/11 attacks are, therefore, mammoth tasks that require not just technical means but enormous coordination between many different agencies and, more than anything else, a national will to handle the aftermath of preventive efforts in international waters.

 

Raaga Based Song of the Day #2

Raaga Based Song of the Day: Unake khayal aaye to aate chale gaye…
Raag Gara, Tal Kaherava.

Yesterday we started with a new series on this blog. The first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.

This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: ‘The Best Raaga Based Songs in Hindi Movies – Raag Bhairavi – Part -I’.

Today we shall take up a song in Raag Gara, Tal Kaherava.

At this juncture, now that I have already told you the basics of Raagas and Thaats, permit me to tell you about Tal or Taal. Tal has been derived from the word Tali or Clap, and is the Indian system of rhythm. Not surprisingly, Tal, Rhythm, Clap existed many centuries before the word Raag came into existence. And that shows the importance of rhythm in Indian music system.

If you recall four days ago I gave you the song: Zara sun haseena ai naazneen in Raag Pahadi, Tal Rupaktal in which I mentioned that the first beat (Sam) is khali (represented by wave of hand). Now, you can connect with basic concepts of Tal, which are Tali (or bhari), khali, vibhag (ang), matra, bol, theka, lay, sam and avartan.

Tali has since been replaced by tabla nowadays but the term is still used as Clap.

Tali is the pattern of clapping, khali is wave of hands, vibhag is the measure of number of beats, matra is the beat, bol is the syllabic stroke of the drum, theka is the pattern of bols and vibhag, laya is the tempo that may be slow (vilambit), medium (madhya) or fast (drut), sam is the beginning of the cycle and avartan is the basic cycle.

Kaherava (also written as Kherwa, Kherawa and Kaherawa) is the most popular 8 beat Tal in Hindustani music, with two vibhags of four matra each, first vibhag being clap, second being wave (khali), which makes it:

Clap, 2, 3, 4, wave, 2, 3, 4.

Theka is:

Dhaa Ge Naa Tee Naa Ka Dhin Naa.

Raag Gara belongs to Kafi Thaat. It is traditionally sung in second half of morning although Bhatkhande didn’t specify any time of the day for this Raaga. Gara is one of the family of Raagas derived from folk melodies and entered classical music in concert with Thumri. The closest resemblance of the raag is to Jaijaivanti, a raag devised by Shri Tegh Bahadur, the 9th Guru of the Sikhs.

Some of the popular Hindi film songs in Raag Gara are: Aise to na dekho, Deewana keh ke aaj mujhe phir pukariye, Hamsafar saath apna chhod chale, Jeevan mein piya tera saath rahe, Kabhi khud pe kabhi halaat pe rona aaya, Mohe panghat pe (as Gara additive), Raghupati Raghav Raja Ram, Tere mere sapne ab ek rang hain, and this one that I am giving you.

This is from the 1971 movie Laal Patthar having the only negative role of Hema Malini. Laal Patthar was remake of a Bengali film of 1964 of the same name. The negative role played by Hema Malini was that she was the mistress of a zamindaar played by Raaj Kumar who goads him to doubt the character of his young wife played by Rakhee on the basis of her having a childhood lover Vinod Mehra.

Hema Malini as Raaj Kumar’s mistress in Lal Patthar.

How captivated Raaj Kumar was, in the movie, by Hema Malini can be made out from this song.

The song was penned by Hasrat Jaipuri and composed by my favourite music duo Shankar Jaikishan. Its rendition by Mohammad Rafi is representative of him being the best in all genres of music.

Please enjoy in Raag Gara, Tal Kaherava: Unake khayal aaye to aate chale gaye…..

un ke Kayaal aae to aate chale gae
diivaanaa zi.ndagii ko banaate chale gae

jo saa.ns aa rahii hai usii kaa payaam hai
betaabiyo.n ko aur ba.Dhaate chale gae

is dil se aa rahii hai kisii yaar kii sadaa
viiraan meraa dil thaa basaate chale gae

hosh-o-havaas pe mere bijalii sii gir pa.Dii
mastii bharii nazar se pilaa ke chale gae

There is much more in store for all of us in our collective learning of Raaga Based Songs and we shall take it slow and easy and enjoy our journey as much as we can.

Please stay tuned!

Raaga Based Song of the Day #1

Raaga Based Song of the Day: Tum mujhe youn bhula na paoge…
Raag Jhinjhoti, Tal Kaherava

This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: ‘The Best Raaga Based Songs in Hindi Movies – Raag Jaijaivanti’.

Whilst sharing Raaga based Hindi films songs with you, it occurred to me that ancient Indians were very innovative people in various fields including music, literature, science, maths, and astronomy. It is just that we were poor in documenting our achievements and that’s where the West scored over us.
I was fortunate to have become member of a group engaged in Vedic research and I was delighted to see the origin of all complex mathematical equations in the world as Vedic maths (not the group’s finding but that of a research team commissioned by the Government of India about two decades back).

The renewed interest in Raagas based music in our younger generation is a healthy trend to take us away from our ingrained cynicism about India (Please read: ‘The Greatness Of India And Its Decline’) and bring us closer to the ancient greatness of our country.

I shall give you regular inputs about Raaga based songs by discussing with you one song a day.

A recent visitor to our house in Shimla Hills called Whispering Winds (Please read: ‘Home Is Where The Heart Is – Kandaghat In Shimla Hills’) mentioned that Pandit Bhimsen Joshi once said that he had about 5 percent knowledge of Raagas! In quick proportionate calculations I have about 0.00001 percent (I am a former Navy officer with no institutionalised training on music)! But, I am learning and so will you.

Stay tuned!

We have to be thankful to Pandit Vishnu Narayan Bhatkhande (early 20th century) who devised the modern system of Raagas for Hindustani Classical Music (based on Thaats), which is much more easily understood than the one prevalent before that (passed only through word of mouth) based on Raagas (male), Ragini (female) and Putra (children). The earlier system has been mentioned in the holy book of the Sikhs: Sri Guru Granth Sahib on pages 1429 and 1430 (last pages). Sikhs traditionally used the Raagas in singing hymns and had bedis who went from place to place singing the Raagas.

Raag Jhinjhoti is a raag named after an apsara. Jhinjhoti is a Raag in Khamaj Thaat. In the modern Thaat system that was created by Vishnu Narayan Bhatkhande (1860–1936), a Thaat is a mode in Hindustani classical music and is a basis for classifying Raagas. Bhatkhande visited a number of gharanas (ad-hoc schools that followed guru-shishya sytem (teacher-pupil system) for passing knowledge down the generations. Interestingly, these gharanas were not open to all and sundry and most often than not a shishya had to prove that he was worthy of being taken as a shishya) (You must listen to Baiju Bawra’s ‘Man tadpat Hari darsan ko aaj‘ (Raag Malkauns, Tal Tintal) to know how a shishya had to prove his single-minded deication).

Surprisingly, the word Raaga doesn’t mean music but colour or dye or shade. But if you think of colours signifying moods, Raagas in music do exactly that. For example, if the colour yellow is the colour of love and red of passion, each one of the raagas is based on mood, time of the day and even season. An easy anology is the Hindi saying: सावन के अंधे को हरा ही हरा दिखाई देता है I You will instantly know that Sawan (Monsoon) is being used as a season, colour and mood.

According to Pandit Bhatkhande, each one of the raagas is based on one thaat (mode) or the other. Although his research with gharanas made him short-list 32 thaats, he finally pruned the list to just ten thaats on which most raagas are based. These are: Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi. And that’s why I mentioned that Jhinjhoti belongs to Khamaj Thaat.

Almost all songs in Hindi movies based on this raag have an element of self-pity in them, eg, Ghungru ki tarah bajta hi raha hoon main, Koi hamdam na raha, Mere mehboob tujhe, Mose chhal kiye jaaye, and my second most favourite Lata song: Jaa jaa re jaa balamwa from Basant Bahar.

(Poster courtesy: Cinema Chaat)

The 1970 movie Pagla Kahin Ka was the most challenging job taken up by Shammi Kapoor. He was a mentally deranged person but as the movie progressed, one was left wondering at the sick mentality of those ostensibly sound in body and mind.

Of course the song Tum mujhe yun bhula na paoge is one of the best of Mohammad Rafi.

But today, first, I am going to do something different. I am going to give you the female version to savour its exquisite lyrics penned by Hasrat Jaipuri and its most beautiful composition in this Raag and Tal Kaherava by Shankar Jaikishan.

Please enjoy Lata Mangeshkar sing for Asha Parekh: Tum mujhe youn bhula na paoge…

jab kabhi bhi sunoge geet mere
sang sang tum bhi gungunaoge
tum mujhe yu bhula na paoge
ha tum mujhe yu bhula na paoge
jab kabhi bhi sunoge geet mere
sang sang tum bhi gungunaoge
ha tum mujhe yu bhula na paoge
ho tum mujhe yu

biti baato ka kuch khyaal karo
kuch to bolo kuch hamse baat karo
biti baato ka kuch khyaal karo
kuch to bolo kuch hamse baat karo
raaz-e-dil mai tumhe bata dungi
mai tumhari hu maan jaoge
ha tum mujhe yu bhula na paoge
ha tum mujhe yu

meri khamosiyo ko samjho tum
jindagi yaad me gujari hai
meri khamosiyo ko samjho tum
jindagi yaad me gujari hai
mai miti hu tumhari chahat me
or kitna mujhe mitaoge
ha tum mujhe yu bhula na paoge
ha tum mujhe yu

dil hi dil me tum hi se pyar kiya
apne jiwan ko bhi nisar kiya
dil hi dil me tum hi se pyar kiya
apne jiwan ko bhi nisar kiya
kaun tadpa tumhari raaho me
jab ye sochoge jaan jaoge
ha tum mujhe yu bhula na paoge
jab kabhi bhi sunoge geet mere
sang sang tum bhi gungunaoge
ha tum mujhe yu bhula na paoge
ha tum mujhe yu

Lets now listen to Mohammad Rafi version:

Tum mujhe yU.N bhulaa naa paaoge
haa.N tum mujhe yU.N bhulaa naa paaoge
jab kabhii bhii sunoge giit mere
sa.ng sa.ng tum bhii gunagunAoge
haa.N tum mujhe yU.N bhulaa naa paaoge
ho tum mujhe yU.N …

(vo bahaare.n vo chaa.ndanii raate.n
hamane kii thii jo pyAr kii baate.n ) – 2
un nazaaro.n kii yaad aaegii
jab khayaalo.n me.n mujhako laaoge
haa.N tum mujhe yU.N bhulaa naa paaoge
ho tum mujhe yU.N …

(mere haatho.n me.n teraa cheharaa thaa
jaise koI gulaab hotaa hai ) – 2
aur sahaaraa liyaa thaa baaho.n kaa
vo shaam kis tarah bhulaaoge
haa.N tum mujhe yU.N bhulaa naa paaoge
ho tum mujhe yU.N …

(mujhako dekhe binaa qaraar naa thaa
ek aisaa bhii daur guzaraa hai ) – 2
jhUTh maanU.N to pUchhalo dil se
mai.n kahU.ngaa to rUTh jaaoge
haa.N tum mujhe yU.n bhulaa naa paaoge

jab kabhii bhii …

Normally, it is a done thing to start learning about Raagas with Raag Yaman or Kalyan, the first of the Raagas that most students of classical music learn. Hence, if my starting with Raag Jhinjhoti has left you wondering, let me explain:

  1. Jhinjhoti is the Raag of my most favourite song: Mere mehboob tujhe meri mohabbat ki kasam (Raag Jhinjhoti, Tal Dadra) put together by Shakeel Badayuni (Lyricist), Naushad (Composer) and Mohammad Rafi (Singer). I am partial to it as much as anyone in love.
  2. Shankar Jaikishan are my most favourite music duo.
  3. Chand and/or Chandini Raatein is my most favourite songs theme.

Anyway, our learning together is going to be an everyday affair and it doesn’t matter where we start from.

I hope I have whetted your appetite to learn more about Raagas, Thaats, Tals, Swar and the like.

As I said: Stay tuned!

 

ALVIDA!

वक़्त की आंधी में क्या क्या हुआ बर्बाद,
सुहाने प्यार की फ़क़त रह गयी है याद I

उनकी मायूसी को मैं खुशग्वार करता गया,
रफ्ता रफ्ता मेरी ही ज़िन्दगी बन गयी नाशाद I

मेरी वफाओं ने आखिर मान ली हार अपनी,
उनकी जफ़ाएं रहीं बुलंद और ज़िंदाबाद I

मैंने सोचा था उनकी खुदी आजज़ी में बदल जायेगी,
मेरे होते न सही, कम अज़ कम मेरे जाने के बाद I

अलविदा मेरे हसीन हमसफ़र ओ हमनवाज़,
जहाँ भी रहो, रहो खुशदिल और मवाद I

रुख़सत के वक़्त यह दुआ उनके साथ रहे, रवि,
हर ग़म, हर उदासी, हर बेकसी से वह रहें आज़ाद I

(Photo courtesy: dogeninstitute.wordpress.com)

Waqt ki aandhi mein kyaa kyaa hua barbaad,
Suhaane pyaar ki faqat reh gayi hai yaad.

Unaki maayusi ko main khushgawaar karta raha,
Rafta rafta meri hi zindagi ban gayi nashad.

Meri wafayon ne aakhir maan hi li haar apni,
Unaki jafayen rahin buland aur zindabad.

Maine socha tha unaki khudi aajazi mein badal jaayegi,
Mere hote na sahi, lam az kam mere jaane ke baad.

Alvida mere haseen hamsafar o hamnawaz,
Jahan bhi raho, raho khushdil aur mawaad.

Rukhsat ke waqt yeh dua unake saath rahe, Ravi,
Har gham, har udaasi, har beqasi se woh rahen aazad.

PRELUDE TO AANSU SONGS FEST ON YAAD KIYA DIL NE (YKDN) GROUP

There are many Song and Music groups on the Facebook; but, Yaad Kiya Dil Ne is different. Most other groups simply have members putting up urls of songs from YouTube and other sources and then members congratulate the choice of the one who has posted by such comments as “Wow”, “I love this too”, “Really nice” and so on.

Yaad Kiya Dil Ne is different and unique. It is a successor to my group Dil Ki Nazar Se, which I had to abandon when some of the members insisted on just putting up urls from YouTube with very little or no contribution of their own. Here is the description o Yaad Kiya Dil Ne:

“A group for serious music lovers who not just relish putting up and listening to songs but also identify these with Lyricists, Music Directors, Singers and Actors who brought the songs to us. The group pays tributes to these four classes of people on their birth and death anniversaries. The group is also interested in sharing knowledge about all aspects of songs including Raagas. The group also has thematic Music Fests at least once in a month. If you are a casual copy-paste music lover who can copy-paste ten songs (urls) from You Tube in ten minutes, this group is NOT recommended for you.

The name of the group has been derived from the title of a duet between Hemant Kumar and Lata Mangeshkar from the 1953 movie Patita starring Dev Anand and Usha Kiran.”

From its inception in Nov 2013, the group has come a long way off. Many of the members research everything about the song that they are going to put up, write descriptions that can compete with the best blogs, and everyone is on a learning curve of knowing more about songs and music.

Now who says Facebook is for dumbos only?

As far as thematic fests are concerned, from the days of DKNS we have had as many as 61 fests so far including a Live Fest on the Theme: Raat and/or Din in Kandaghat on the 22nd April 17.

The winning ‘Bahaar’ team at the end of Kandaghat Live Fest (KLF) on 22nd Apr 17

When I started the thematic Fests, in Dec 2012, I started off on my most favourite topic Chand. The next fest on Sat/Sun 13th/14th May 17 is important to me as Aansu is my second most favourite topic for Fest (If you read the last poem in this post, you will know why).

In no other Fest, I have built up to the Fest by Preludes like I have done for Aansu Fest. One of the reasons is because at a very early stage itself I took out the usual interpretations of the theme so as to somehow get one’s songs included. Taste this:

“The songs are to have the word Aansu or any of its synonyms either in the mukhada or the antara. (Rona may produce aansu or ashq but is not a synonym of Aansu. Similarly ‘Naina Barse’ is not a synonym of Aansu. Hint: Don’t use logic/reasoning later; there are enough songs with Aansu/Ashq in them)”.

क्या फर्क है आंसू और रोने में,
उम्र बीत गयी हमारी दामन धोने में,
उन्हें फिर भी रूल्स न समझ आये तो क्या,
तरस आता है अपने एडमिन होने पे!

And since the stubborn in the group were bemoaning the letting go of such songs, I started with a Prelude or Doubt Clearance #1:

Aansu Songs Fest
Doubt Clearance #1

Imagine this one put together by Raja Mehdi Ali Khan, Madan Mohan and Lata ji not qualifying for the Fest! Raag Bhimpalasi, Taal Kaherava at that.

How unfair the Admin can get!

https://www.youtube.com/watch?v=VXbJwAstSR4

I also brought out another one of the rejects. And see how closely it comes to Aansu. At this juncture I reminded everyone that I had personally checked at least 80 songs on the theme before announcing the Fest and now the list had crossed 100!

गाए जा गीत मिलन के, तू अपने लगन के
सजन घर जाना है

काहे छलके नैनों की गगरी काहे बरसे जल
तुम बिन सूनी साजन की नगरी परदेसिया घर चल
प्यासे हैं दीप नयन के, तेरे दर्शन के
सजन घर…

लुट न जाए जीवन का ढेरा मुझको है ये ग़म
हम अकेले, ये जग लुटेरा बिछड़ें न मिलके हम
बिगड़े नसीब न बनके ये दिन जीवन के
सजन घर…

डोले नयना प्रीतम के द्वारे मिलने की ये धुन
बालम तेरा तुझको पुकारे याद आनेवाले सुन
साथी मिलेंगे बचपन के खिलेंगे फूल मन के
सजन घर…

And, I continued with my own preludes in the form of either comical or serious poems:

Aansu Songs Fest
Prelude #2

आंसू गाने याद आये, होंठो पे आ गयी मुस्कान,
फेस्ट के लिये तैयार करूँगा छे हसीन पैगाम।

‘कर चले हम फ़िदा’ तो किसी तरह से फिट नहीं होता,
Unless: ‘मान न मान, मैं तेरा मेहमान’!

आहों और आँसुयों में फर्क न होता तो पूरे कर लेता,
‘आज पुरानी राहों से’ ही दिल के सारे अरमान।

रवि भाई को क्या सूझी है, मुझे कुछ अंदाज़ नहीं,
रोने और आँसुयों को अलग करके ले आये हैं तूफ़ान।

चलो सब लूट नहीं गया, ‘याद में तेरी जाग जाग कर’ तो है ही,
शकील ने तो आँसुयों की खोल रखी है दूकान!

मुझे तो अपना दोस्त याद है, सफ़ेद निक्कर में हम गाते थे,
गाड़ी बुला रही है और यह भूली दास्तान।

मैं तो कम controversial हूँ, मेरा एक दोस्त है विशवास,
उसके doubt clear करते करते, रवि को हो जाएगा जुकाम!

खैर आंसू और रोना अलग हैं, पर आँखें तो common हैं,
और आंसू बन ही जाते हैं आशिक़ के दिल की ज़ुबान।

भाई ने मोटीवेट किया है तो ऐसे गीत लायूँगा मैं फेस्ट में,
भाई भी कहेगा: “हम सब फ़क्त आदमी हैं, तुम्ही हो इन्सान”!

Aansu Songs Fest
Prelude #3

Those who know me well – and all of you in YKDN do – know that Aansu is my second most favourite Fest theme after Chand.

We have had discussion on Aansu before too. I cry easily and not only when I cook and cut onions! I hope I don’t offend my sisters here but, for the kind of sensitivity God has given me, I could very well have been a woman!

Last time when you contributed your views on Aansu, I recorded them. Please read what YOU penned about Aansu earlier (Please read: ‘Why Do We Sometimes Cry Listening To Old Songs?’). All of you, without exception, are the best that God could have gifted me and he did!

मेरी ख़ुशी में आपकी झलक, आँसुयों में है आपकी छवि,
दोस्तों आप के दम से ही जीता है आपका रवि।

खुदा ने गीत दिए, संगीत दिया, और दी प्यार की रौशनी,
और मुझ जैसा ज़ाहिल भी बन बैठा छोटा सा कवि।

अपने छोटे पन का एहसास मुझे सताता था हर दम,
आपकी ताक़त और इल्म से मैं भी जचता हूँ अनुभवी।

मिल के आंसू छलक जाएँ, ख़ुशी के हों या ग़म के,
पर दुबारा कभी भी हम ना होंगे अजनबी।

फेस्ट आयेंगे, फेस्ट चले जायेंगे मेरे साथियो,
अपने ‘भैया’ और ‘वीरजी’ से ना रूठना कभी।

आपके इशारे से ही चलती है दिल की धड़कन,
कल भी, आज भी और आने वाले कल में भी।

There are, of course, one or two members who invariably have doubts even after the Fest is over. This is a tribute to them:

Aansu Songs Fest
Prelude/Doubt Clearance #4

TRIBUTE TO YOU-KNOW-WHO!

What would Fests be without a doubt?
What would suave be without a lout?

Tears can be even in pants and shirts,
But we talk about only those in the eyes sprout.

Weeping like a willow is alright in a way,
But in the Fest we’d like to see drops about.

There are many songs on Aansu and synonyms,
But remember what is IN and what is OUT.

You will have to wait until the end of the Fest,
To beat your ‘bhaiyya’ with a stick that is stout!

I am hell-bent to give you negative marks,
If you continue to rules and norms flout.

And those of you who like to take up the cudgels,
Remember, it is just a Fest and not a boxing bout!
(Surprise! Surprise!)

Let me see you laugh and smile in Aansu Fest,
No long face, no grudge, no anger, no pout.

Aansu Songs Fest
Prelude/Doubt Clearance #5

RARE KI KHOJ

बीसियों गाने हैं आंसू और अश्क़ पर लेकिन,
हमें ढूंढना है कुछ हटके,
रवि भैया ने लंबी लिस्ट बनायीं होगी फेस्ट से पहले,
पर हम लगे रहेंगे डट के।

कल रात मैंने फिर से लिस्ट देखी, क्या अनोखे गीत हैं आँसुयों पे!
समझ नहीं आता क्यों हैं मेरे दोस्त, rare की खोज में सटके?

जब आंसू और अश्क़ पर ही हैं इतने प्यारे नग्में,
तो यह सब नीर, बदरा, घटा, बरसात में क्यों अटके?

कहीं ऐसा तो नहीं के अभी से महसूस हो रहे हैं,
After Fest के भूकंप के ज़ोरदार झटके?

सिर्फ मेरी बहनें चुप हैं, क्योंकि आंसू उनके अपने हैं,
Rare की खोज में उनके तो नैन भी ना मटके।

बाकी रहे मेरे भाई, यूँ लगता है मुझे तो हुज़ूर,
आसमान से गिरे, ख़जूर पे लटके!

लगे रहो Munna भाई!

Aansu Songs Fest
Prelude #6

I agree with you that most things in this universe are inter-connected. Hence, some of the causes of Aansu would be crying, wailing, screaming, cutting onions and weeping. There are others who would like to reason out that even uncontrolled laughter can cause Aansu and hence even Hansi, Muskaan, Khushi, Gham, Sorrow, Miseries all should be under the general heading AANSU.

This time, unlike the working of your complex minds, I made it very simple. ONLY Aansu and its direct synonyms such as Ashq and Tears are included. No Rona Dhona, Aankhon se Barsaat, Naino mein Badra, Motiyon ki ladhi, Neer, Paani, NOTHING. If you have the slightest doubt whether what you are putting up is a synonym or your interpretation of Aansu, DON’T PUT IT UP.

I have already done the homework for you and confirmed that there are adequate songs on Aansu and its direct synonyms.

AANSU AUR DIL
by Sunbyanyname (First Look here, as always)

लोग कहते हैं आंसू दिल की जुबां हैं,
मैं सोचता हूँ आंसुओं के अपने अरमान हैं,
कई बार लगता है इन नन्हे आंसुओं में,
गौर से देखें तो सारा जहान है I

आंसू चुप रह के भी सब कुछ बोल जाते हैं,
किस खूबी से दिल से दिल को टोल जाते हैं,
राज़ – ऐ – दिल लाख आप छुपाते रहें,
खामोशी में छुपे राज़ अक्सर खोल जाते हैं I

आंसुओं के साथ जुड़े हैं कई जज़्बात,
आंसू ही तो हैं एहसास – ऐ – कायनात,
खशी में, ग़म में, उदासी में, हँसते हुए,
आंसू हैं सुहाना दिन, आंसू हैं हिज्र की रात I

आंसुओं की बौछार से खिल जाते हैं फूल,
वल्लाह, कई बार चुभते हैं बनके गरम शूल,
बेकसी के आलम में तो यौन भी लगता है हमें,
हमारे आंसू हैं किसी और की भूल I

आंसुओं का फेस्ट मेरा दिल – पसंद और अज़ीज़ है,
चाँद के बाद एहि तो मेरे करीब है,
साड़ी उम्र गुज़री है यह खज़ाना जमा करने में,
आंसुओं के बग़ैर रवि फ़क़त गरीब है !

Log kehte hain aansu dil ki zubaan hain,
Main sochata hoon aansuyon ke apne armaan hain,
Kayi baar lagta hai in nanhe se aansuyon mein,
Gaur se dekhen to saara jahaan hai.

Aansu chup reh ke bhi sab kuchh bol jaate hain,
Kis khoobi se dil ko dil se tol jaate hain,
Raaz-e-dil laakh aap chhupate rahen,
Khaamoshi mein chhupe raaz aksar khol jaate hain.

Aansuyon ke saath judhe hain kayi jazbaat,
Aansu hi to hain ehsaas – e – kayinaat,
Khushi mein, gham mein, udaasi mein, hanste huye,
Aansu hain suhaana din, aansu hain hijr ki raat.

Aansuyon ki bauchhar se khil jaate hain phool,
Wallah kayi baar chubhate hain banake garam shool,
Bekasi ke aalam mein to youn bhi lagta hai hamen,
Hamaare aansu hain kisi aur ki bhool.

Aansuyon ka Fest mera dil-pasand aur azeez hai,
Chand ke baad yehi to mere kareeb hai,
Saari umr guzari hai yeh khazaana jama karne mein,
Aansuyon ke bagaair Ravi faqt gareeb hai!

Aansu Songs Fest
Prelude #7
(Six Hours to Go!)

AANSUYON KI TAMANNA!

आज तो आंसुओं की बरसात होने वाली है,
थाम लो दिल अब मुलाक़ात होने वाली है I

अजीब तमन्ना – ए – आंसू लेकर उठेंगे दोस्त मेरे,
ख़ुशी अब मिले अब अश्क़ों की बरात होने वाली है I

बहारों से दिन रात सजे थे पिछले फेस्ट में,
अब तो सुनते हैं ग़म – ए – हयात होने वाली है I

सुलगते अश्क़ों से दिल के फ़साने सुनाएंगे,
मुझे लगता है करामात होने वाली है I

दोस्तो, अल्लाह का फज़ल हो आप पे और आप की कलम पे,
खामोश लबों की आँखों से बात होने वाली है I

(Pic courtesy: musicaltourist.files.wordpress.com)

Aaj to aansuyon ki barsaat hone waali hai,
Thaam lo dil ab mulaqaat hone waali hai.

Ajeeb tamanna-e-aansu lekar uthenge dost mere,
Khushi ab mile ab ashqon ki baraat hone waali hai.

Baharon se din raat saje the pichhale fest mein,
Ab to sunate hain gham-e-hayaat hone waali hai.

Sulagate ashqon se dil ke fasaane sunayenge,
Mujhe lagata hai karamaat hone waali hai.

Dosto, Allah ka fazal ho aap pe aur aapki kalam pe,
Khamosh labon ki aankhon se baat hone wali hai.

All the best.
Have a great Fest.
Don’t rest
Until you’ve quenched your zest.

Lets see what the Fest holds in store for us.

HAPPY WEDDING ANNIVERSARY MEENA AND RAJ DUTTA

आपकी सालगिरह पर आपको बधाई हो,
आपके प्यार में हर दम गहराई हो,
और कुछ ऐसा संगीत और गीत बनें,
अपनी अपनी बीन नहीं, सांझी शहनाई हो !

आप दोनों ही प्यार की हसीन मूरत हो,
आपसी ख्वाइश ही नहीं ज़िन्दगी की ज़रुरत हो,
आपको देख के लगता है कुछ यूँ हमें,
सारे जहाँ में आप दोनों सबसे खूबसूरत हो I

खुदा ने बनाई है यह जोड़ी बड़े प्यार के संग,
सुन्दर मीना है फ़रिश्ते राज कुमार के संग,
फिर ऊंचे बादल क्यों न हों पैरों तले?
बसंत जब जुड़ी हो बहार के संग !

अगर शहनशाह है राज तो मीना है मुमताज़,
राज की गहरी आवाज़ और मीना का अंदाज़,
सच पूछो तो ऐसा महसूस होता है हमें,
राज गर गीत का सुर है तो मीना है साज़ I

आपके प्यार में खुशबु हो, कभी न हो गन्दगी,
मीना की हो इबादत और राज की हो बंदगी,
हज़ारों जनम आप का बार बार मिलन हो,
हसीं ख़ुशी से गुज़रे मुहब्बत की ज़िन्दगी I

Aapki saalgirah par aapko badhayi ho,
Aapke pyaar mein har dam gehrayi ho,
Aur kuchh aisa sangeet aur geet banen,
Apni apni been nahin saanjhi shehnayi ho!

Aap dono hi pyaar ki haseen murat ho,
Aapsi khwaaish hi nahin zindagi ki zaroorat ho,
Aapko dekh ke lagta hai kuchh youn hamen,
Saare jahan mein aap dono sabse khoobsurat ho.

Khuda ne banayi hai yeh jodhi badhe pyaar ke sang,
Sundar Meena hai farishtey Raj Kumar ke sang,
Phir oonche baadal kyun na hon pairon tale?
Basant jab judhi ho Bahaar ke sang!

Agar Shehanshah hai Raj to Meena hai Mumtaz,
Raj ki gehri awaaz aur Meena ka andaaz,
Sach poochho to aisa mehsoos hota hai hamen,
Raj gar geet ka sur hai to Meena hai saaz!

Aapke pyar mein khushbu ho, kabhi na ho gandagi,
Meena ki ho ibaadat aur Raj ki ho bandagi,
Hazaaron janam aapka baar baar milan ho,
Hansi khushi se guzre aapki muhabbat ki zindagi.

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