Raaga Based Song Of The Day #32

Raaga Based Song of the Day: Chal udd ja re panchhi…
Raag Pahadi, Tal Kaherava

We have completed thirty-one days of Raaga Based Songs of the Day. Our 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.

Our thirty-first post was titled ‘Raaga Based Song Of The Day #31’ and the song was a Mohammad Rafi song from the 1958 Raj Khosla movie Kala Pani: Ham bekhudi mein tumko pukaare chale gaye.  It is in Raag Chayanat, 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 – Raaga Darbari Kanada – Part III’.

In the last thirty-one days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini and Chayanat.

Today, I give you a song in Raag Pahadi, Tal Kaherava.

However, first, lets take up the value added learning of today. Today, we shall learn about Thumri:

Thumri originated in the eastern part of Uttar Pradesh and the languages of Thumri are the local dialects of Hindi: Awadhi and Brij Bhasha. Indeed, if you go through the popular song of the best lyricist-music director duo in Hindi movies: Shakeel Badayuni and Naushad Ali for their last movie together (1968 HS Rawail movie Sunghursh): Mere paaon mein ghungru pehna de you will understand the use of Awadhi. Thumri’s most distinct feature is the erotic subject matter portraying the various episodes from the lives of lord Krishna and Radha.

If your imagination goes wild and you think Thumri word has originated from the popular word Thumka, ie, the sound of ankle-bells of a woman/man when he or she dances, well, you are absolutely correct.

We found Khayal as more free and flexible than Dhrupad. Well, Thumri is freer. The beauty of thumri lies in the artist’s ability to convey musically as many shades of meaning as the words of a song can bear.

How did Thumri originate and become one of the most significant genre’s of North Indian music. Until the 15th century, there are no historical references to Thumri. When I gave you Babul mora naihar chhoto hi jaaye in Raag Bhairavi, I mentioned to you that Nawab Wajid Ali Khan of Awadh or Oudh composed it as  Thumri. During his time in the 19th century, it was associated with the dance-form Kathak and hence with courtesans and tawaifs.

Unlike Khayal, Thumri artistes pay considerable attention to lyrics such as Krishna’s ras leela or love play with Radha and other gopis in Brindavan.

As I mentioned, today’s song is composed in Raag Pahadi, Taal Kaherava.

Today on the 32nd day, you would have noticed that so far I haven’t repeated a raaga except Pahadi; this being the third post on songs based on Pahadi.

Why do I have this urge to get back to Pahadi? On the tenth day, I had covered for you, the sources of names of raagas and mentioned that raagas like Marwa, Jaunpuri, Mand and Pahadi were named after places. Pahadi is not a place, in the same manner, as Marwa, Mand and Jaunpur. You should expect Pahadi anywhere you see pahad or hills but actually the name is from hills in Himalayas, my home place. It is a light raaga and is more akin to being a dhun.

Pahadi is a very popular raaga in the Hindi movies. It belongs to the Bilawal Thaat. Soundofindia.com describes it beautifully: the raga is like a lover, unruffled in union, serene in separation, powerful enough to achieve eternal union, but resigned to the painful parting ordained by destiny.

All raagas are supposed to transport you to the mood of the raaga (bhaav). But, none other does it better than Pahadi: you can’t escape the freshness, quiet, wetness, echoing effect and palpable romance of the hills. It is as if the raaga says to you: ‘Love is in the air’.

Some of the songs composed in Pahadi are:

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
Parbaton Ke Pedon Par
Chahoonga Main Tujhe
Baharon Mera Jeevan
Jawa hai Muhobbat
Chhod Babul Ka Ghar
Chaudhavi Ka Chand Ho
Tujhko Pukare Mera
Door Koi Gaye
Karvatein Badalte Rahe
Meri Aankhon Mein
Suhani Raat Dhal
Tod Diya Dil Mera
Chal udd ja re panchhi
Jane Kya Dhoonhati
Tum Apna Ranj-o-Gam
Apne Aap Raaton Mein
Patta Patta Boota Boota
Kahan Hai Tu
Tum Na Aaye Sanam
Deewana Mujhsa Nahin
Sun Mere Saajana
Saeeyan Bina Ghar
Piya Bin Jiya
Mehelon Ne Chheen
Dil Ne Phir
Aaja Re
Chhoomkar Raat Sulaye
Kaheen Ek Masoom
Aaj ki raat piya dil na todo
Mere Mundere Na Bol
Aao Mil Jaayen
Saanjh Bhayee Nahin Aaye
Neela Aasma So gaya
Ih hawaon Mein
Main Tulsi
Are ja re hat natkhat
Main Teri Chhoti Behena
Kabhi To Milegi Bahaaron Ki
Kanchi Re Kanchi Re
Tum Jahan Ho
Jeevan Se Na Haar
Aawaz De Kahan Hai
Isharon Isharon Mein
Aage bhi jaane na tu
Shagun
Dosti
Aakhri Khat
Anmol Ghadi
Babul
Chaudhavi Ka Chand
Neel Kamal
Baiju Bawara
Aapki Kasam
Barsaat
Dulari
Andaaz
Bhabhi
Shola Aur Shabnam
Shagun
Shankar Husain
Ek Nazar
Afsana
Bhootnath
Teesari Manzil
Goonj Uthi Sehnaibr
Aangan Ki Kali
Dasi
Jabak
Dil Ne Phir Yaad Kiya
Noorie
Razia Sultan
Shankar Husain
Bazi
Parwana
Prem Geet
Shama Parwana
Silsila
Gumrah
Main Tulsi Tere Aangan Ki
Navrang
Soutan
Aarti
Hare Rama Hare Krishna
Road To Sikkim
Door Ka Rahi
Anmol Ghadi
Kashmir Ki Kali
Waqt
Rafi, Suman Kalyanpur
Rafi
Lata
Noorjahan
Shamshad
Rafi
Rafi
Shamshad, Lata, Rafi
Kishore, Lata
Lata
Rafi
Lata
Mohammad Rafi
Rafi
Jagjeet Kaur
Lata
Lata, Rafi
Lata
Lata
Rafi
Lata, Rafi
Lata, Bhupendra
Bhupendra
Lata, Mukesh
Rafi, Suman, Mukesh
Lata, Nitin Mukesh
Lata
Rafi
Geeta Dutt
Suraiya
Suresh Wadekar, Anuradha
Nirmala Devi
Lata & Amitabh
Mahendra, Asha
Lata
Asha Bhosle
Lata
Lata
Kishore, Lata
Mukesh
Kishore
Noorjahan, Surendra
Rafi, Asha
Asha Bhosle

If you recall, I have already given you two: Aaj ki raat piya dil na todo, and Zara sun haseena-e-nazneen.

(Poster courtesy: Wikimedia)

The song of today is from the 1957 AVM Production Krishnan-Panju movie Bhabhi that starred Balraj Sahni, Nanda and South-Indian actress Pandari Bai (this being her first Hindi movie; later she did one more: Paigham in 1959). Bhabhi was earlier a movie by Franz Osten in 1938. The movie was a remake of Tamil film Kuladeivam which itself was a remake of Bengali film Banga Kora which in turn was based on the novel of same name by Prabhavathi Devi Saraswathi.

Rajinder Krishan was the lyricist of the song that was composed by Chitragupt.

I was fascinated by the song from the time I was a boy and, at that time, I didn’t know anything about Raag Pahadi, Rajinder Krishan and Chitragupt. The only person associated with the song that I knew, at that time, was Mohammad Rafi, the god of songs.

Please enjoy Mohammad Rafi sing in Raag Pahadi Tal Kaherava: Chal udd jaa re panchi…

Chal u.D jaa re pa.nchhii (2) ki ab ye desh huaa begaanaa
chal u.D jaa re pa.nchhii …

Khatam hue din us Daalii ke jis par teraa baseraa thaa
aaj yahaa.N aur kal ho vahaa.N ye jogii vaalaa pheraa thaa
sadaa rahaa hai is duniyaa me.n kisakaa aabuu-daanaa
chal u.D jaa re pa.nchhii …

TUne tinakaa-tinakaa chun kar, nagarii ek basaa_ii
baarish me.n terii bhiigii kaayA, dhuup me.n garamii chhAii
Gam naa kar jo terii mehanat tere kaam naa aaii
achchhaa hai kuchh le jaane se dekar hii kuchh jaanaa
chal u.D jaa re pa.nchhii …

Bhuul jaa ab vo mast havaa vo u.Danaa Daalii-Daalii
jab aa.Nkh kii kaa.NTaa ban gaI, chaal terii matavaalii
kaun bhalaa us baag ko pUchhe, ho naa jisakaa maalii
terii qismat me.n likhaa hai jiite jii mar jaanaa
chal u.D jaa re pa.nchhii …

Rote hai.n vo pa.Nkh-pakheruu saath tere jo khele
jinake saath lagaaye tUne aramaano.n ke mele
bhiigii aa.Nkho.n se hii unakii, aaj duaaye.n le le
kisako pataa ab is nagarii me.n kab ho teraa aanaa
chal u.D jaa re pa.nchhii …

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

  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, we learnt about Sargam.
  5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
  6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
  7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
  8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
  9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
  10. On the tenth day, we learnt about the sources of names of Raagas.
  11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
  12. On the twelfth day, we learnt about Khammaj Thaat.
  13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
  14. On the fourteenth day, we learnt about Alap.
  15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
  16. On the sixteenth day, we learnt about tips for raaga identification.
  17. On the seventeenth day, we learnt the basics of Gharana system.
  18. On the eighteenth day, we learnt about Filmi Sangeet.
  19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
  20. On the twentieth day, we learnt about the Kafi Thaat.
  21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
  22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
  23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
  24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
  25. On the twenty-fifth day, we learnt about Tintal.
  26. On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
  27. On the twenty-seventh day, we learnt about Lehar.
  28. On the twenty-eighth day, we learnt about the history of the Hindustani Music.
  29. On the twenty-ninth day, we learnt about Dhrupad.
  30. On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
  31. On the thirty-first day, we learnt about Khayal.
  32. And today, on the thirty-second day, we learnt about Thumri.

There is much more still to be learnt and enjoyed.

Please stay tuned!

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