Raaga Based Song Of The Day #35

Raaga Based Song of the Day: Raat bhar ka hai mehman andhera…
Raag Jogiya, Tal Dipchandi (Moghali)

We have completed thirty-four 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-fourth post was titled ‘Raaga Based Song Of The Day #34’ and the song was a Meena Kapoor song from the 1965 Motilal movie Chhoti Chhoti Baatein: Kuchh aur zamana kehta hai.  It is in Raag Gaur Sarang, 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 – Raaga Darbari Kanada – Part II.

In the last thirty-four 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, Chayanat, Shuddha Kalyan and Gaur Sarang. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

Today, I give you a song in Raag Jogiya, Tal Dipchandi (Moghali).

However, first, lets take up the value added learning of today. Today, we shall learn about Tal Dipchandi (Moghali):

Dipchandi meaning Lamplight is a 14 beat Tal also known as Chanchar or Chochar. There are four vibhags (sections) of 3, 4, 3 and 4 matras represented by Clap, Clap, Wave and Clap respectively, that is:

clap, 2, 3, clap, 2, 3, 4, wave, 2, 3, clap, 2, 3, 4

The Theka of the Tal is:

Theka for Dipchandi Tal

As I mentioned, today’s song is composed in Raag Jogiya, Tal Dipchandi (Moghali).

Raag Jogiya belongs to the Bhairav Thaat in the Bhatkhande’s system of raagas. It is to be sung during the first prahar of the night. The name Jogiya came from Jogi (ascetic), a corruption of the word Yogi. The mood of the raaga is devotion and detachment.

Two of the other songs composed in Raag Jogiya are: Dil ek mandir hai (Tal Dadra), and Kah do koio na kare yahan pyaar (Tal Dipchandi).

I have taken today’s song from the 1958 movie Sone Ki Chidiya directed by Shaheed Lateef. Ismat Chugtai who got the Filmfare Award in 1975 for the story of the MS Sathyu movie Garam Hawa, wrote the story for Sone Ki Chidiya too. The movie starred Balraj Sahni, Nutan and Talat Mahmood. Nutan, a poor orphan as a child, is abused by her extended family but later becomes Sone Ki Chidiya after she becomes rich and famous and then exploited.

The song is a great inspirational song penned by Sahir Ludhianvi, asking her not to give up her life for nothing but to see the silver lining around the dark clouds.

Many people feel that Omkar Prasad Nayyar or OP Nayyar didn’t understand raagas. However, his songs prove this theory wrong. This one was composed by him not in his favourite Raag Pilu but in Jogiya. And the Tal that he employed is not so common one.

Please enjoy Mohammad Rafi sing in Raag Jogiya, Tal Dipchandi (Moghali): Raat bhar ka hai mehman andhera….

Maut kabhii bhii mil sakatii hai lekin jiivan kal na milegaa
Marane vaale soch samajh le phir tujhako ye pal na milegaa

(Raat bhar kaa hai mehamaa.n a.Ndheraa
Kisake roke rukaa hai saveraa) -2

Raat jitanii bhii sa.ngiin hogii
Subah utanii hii ra.ngiin hogii
Gam na kar gar hai baadal ghaneraa
Kisake roke rukaa hai …

Lab pe shikavaa na laa ashq pii le
Jis tarah bhii ho kuchh der jii le
Ab ukha.Dane ko hai Gam kaa Deraa
Kisake roke rukaa hai …

Yuu.N hii duniyaa me.n aa kar na jaanaa
Sirf aa.Nsuu bahaakar na jaanaa
MusuraahaT pe bhii haq hai teraa
Kisake roke rukaa hai …

(Aa ko_ii mil ke tadabiir soche.n
Sukh ke sapano.n kii taabiir soche.n) -2
Jo teraa hai vahii Gam hai meraa
Kisake roke rukaa hai …

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. On the thirty-second day, we learnt about Thumri.
  33. On the thirty-third day, we learnt about Tappa.
  34. On the thirty-fourth day, we learnt about Tarana.
  35. And today, on the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).

There is much more still to be learnt and enjoyed.

Please stay tuned!


© 2017, Sunbyanyname. All rights reserved.

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  1. Dear Cmde Ravi Sahib your posts are very informative, educative and entertaining. I enjoyed them keeping it treasure beyond measure for future use/exploitation. Lord bless you with good health and sharp mind so that you continue to serve at same pace with enthusiasm. Regards, Capt Harbans S Dhillon

    1. Dear Dhillon Sahib, my passion for raagas and raaga based songs is as a direct result of my reading Sri Guru Granth Sahib ji everyday. For centuries the Sikhs carried forward the proud Indian tradition of classical music and indeed even composed raagas (for example, Raag Jaijaivanti was composed by the ninth guru, Sri Tegh Bahadur ji). A true Sikh will be seeped in raagas.