Month: July 2017

Raaga Based Song of the Day: Tu hai mera prem devta…
Raag Lalit, Tal Tintal

We have completed thirty-eight 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-eighth post was titled ‘Raaga Based Song Of The Day #38’ and the song was a Lata Mangeshkar & Manoj Kumar song from the 1960 Jaswant Jhaveri movie Banjarin: Chanda re mori patiya le jaa.  It is in Raag Durga, 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 Bhairavi – Part I’.

In the last thirty-eight 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, Gaur Sarang, Jogiya, Asavari, Maru Bihag and Durga. 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 Lalit, Tal Tintal.

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

Hori is the most popular type of Dhrupad sung on the festival of Holi. The compositions describe the spring season. These compositions are mainly based on the love pranks of Krishna and Radha. Holi khelat Nand Lal is one of the popular Horis. Interestingly Hori has both classical as well as semi-classical connections. Horis sung as a concluding portion of a Dhrupad recital are classical in nature as well as semi-classical. Those Horis, which are sung in semi-classical form, are in ragas like Khamaj, and Kafi. Significantly, these Horis are also set to a tala of 14 beats called Deepchandi.

Horis are most popular in regions of Uttar Pradesh and Bihar. The seasonal songs associated with Hori are: Chaiti, Sawani and Kajari.

As I mentioned, today’s song is composed in Raag Lalit, Tal Tintal.

Lalit is a raaga that belongs to Poorvi Thaat. It has to be performed in the wee hours of the morning (3 AM to 6 AM), which is actually, as per the Indian system of Samay, the last prahar of the night. The mood of the raaga is serene and devotional. Its Jati is Shadhav – Shadhav Vakra. The raag makes use of both Madhyams (Ma), that is Shuddha and Teevra, which not only makes the raag unique but also makes it very sweet, well suited for bhakti and karuna rasa.

Some of the other songs composed in Raag Lalit are:

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

Rain Ka Sapna Ye Kaun Aaj Ik Shahanshah Ne Preetam Daras Dikhao Tu Hai Mera Prem Devta Duniya Na Bhaye Jago Bansi Vare Ghat Ghat Mein Ram Bhor Bhaye Panghat Bhor Bhaye Panchi Aey Ishq Teri Talaash Teri Jaat Pak Hai Ye pyar tha ya Main To Kab Se Teri Sharan Jogiya More Ghar Aaye Mast Mayura Nache Vo Jo Milte The Kabhi

Lalat Nartaki Leader Chacha Jindabad Kalpana Basant Bahar Meera Bhumika Satyam Shivam Sundaram Aanchal Cha Cha Cha Main Hoon Alladin Prem Rog Ram Nagri Ragini Dil Ki Rahein Akeli Mat Jaiyo

Heerabai Barodkar Pankaj Mallik Mohd Rafi, Lata Manna Dey, Lata Manna Dey, Rafi Mohd.Rafi Vani Jayaram Firoz Dastoor Lata Mangeshkar Lata Mangeshkar Mohd.Rafi, Lata Usha Khanna Sudha malhotra,anwar Suresh Vadekar Amir Khan Manna Dey Lata Mangeshkar

I have taken today’s song from the 1960 movie Kalpana directed by RK Rakhan, this being the second song from the same movie after I had given you Beqasi hadd se jab guzr jaaye on the 15th day: ‘Raaga Based Song Of The Day #15’, which was in Desh & Khammaj, Tal: Dadra. The movie starred Ashok Kumar, Padmini and Ragini. In this song both the ladies dance in front of a statue of Lord Shiva.

Qamar Jalalabadi penned the song and OP Nayyar composed it. Those of you who ever entertained doubts about whether OP Nayyar was well versed in raagas or not, should have this controversy put to rest with this song.

The song also has Mohammad Rafi and Manna Dey singing together. What a veritable pleasure it must be for Manna Dey since he was fond of saying that in the ranking of male singers, Mohammad Rafi occupied all the top ten positions!

Please enjoy Mohammad Rafi and Manna Dey sing in Raag Lalit, Tal Tintal: Tu hai mera prem devta…….

Tuu hai meraa prem devataa
in charaNo.n kii daasii huu.N mai.n
man kii pyaar bujhaane aa_ii
antaraghaT tak pyaasii huu.N mai.n
tuu hai meraa prem devataa

ra : mai.n gaurii tuu kant hamaaraa
ma : mai.n ga.ngaa tuu meraa kinaaraa
ra : mai.n gaurii tuu kant hamaaraa

ra : mai.n gaurii tuu kant hamaaraa
ma : mai.n ga.ngaa tuu meraa kinaaraa
ra : a.ng lagaa_o pyaas bujhaa_o -2
ma : nadiyaa ho kar pyaasii huu.N mai.n
ra : man kii pyaar bujhaane aa_ii -2
antaraghaT tak pyaasii huu.N mai.n
do : tuu hai meraa prem devataa

ra : Dam Dam Dam Dam Damaruu baaje
ma : mai.n naachuu.N sha.nkar ke aage
ra : Dam Dam Dam Dam Damaruu baaje

ra : Dam Dam Dam Dam Damaruu baaje
ma : mai.n naachuu.N sha.nkar ke aage
ra : ho ke rahegii jiit usii kii -2
ma : jisakii kalaa se sha.nkar jaage
ra : man kii pyaar bujhaane aa_ii -2
antaraghaT tak pyaasii huu.N mai.n
do : tuu hai meraa prem devataa

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. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
36. On the thirty-sixth day, we learnt about Tabla.
37. On the thirty-seventh day, we learnt about Kirtan.
38. On the thirty-eighth day, we learnt about Pakhawaj.
39. And today, on the thirty-ninth day, we learnt about Hori.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Chanda re mori patiya le jaa…
Raag Durga, Tal Kaherava

We have completed thirty-seven 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-seventh post was titled ‘Raaga Based Song Of The Day #37’ and the song was a Lata Mangeshkar & Mohammad Rafi song from the 1963 V Shantaram movie Sehra: Tum toh pyaar ho sajna.  It is in Raag Maru Bihag, 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 Yaman – Part III’.

In the last thirty-seven 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, Gaur Sarang, Jogiya, Asavari and Maru Bihag. 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 Durga, Tal Kaherava.

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

The pakhawaj (To be pronounced as पखावज) or mridang is an Indian barrel-shaped, two-headed drum, a variant and descendant of the older mridang. The larger bass skin of the drum is to the left of the player and the smaller treble skin to the right. I told you, a few days back, about Dhrupad. Pakhawaj is widely used as an accompaniment in Dhrupad and in other forms of music and dance. The pakhawaj has a low, mellow tone, very rich in harmonics.

The word Pakhawaj (Prakrit word) is derived from two words: the first is Paksha (a side), and Vaadya (a musical instrument). I told you that it is modern variation of Mridang. In the 14th century, Mridangists started experimenting with material used for its construction and replaced clay with wood. This gave birth to Pakhawaj.

Just like Tabla, Pakhawaj is used to produce rhythm (Tal) by a series of mnemonic syllables called bol. Naturally, the playing technique varies from that of tabla: in the bass face, the artist hits with his whole palm instead of the finger tip hitting which is done in tabla. In the treble face, the artist hits his whole palm with the fingers properly placed on the skin to produce different bols.

In Pakhawaj, a student learns various strokes to produce different bol. The very basic capacity is to play a theka in a particular tala or rhythmic cycle. I have already been giving you various theka that can be played.

Advanced students learn reelas that are virtuoso pakhawaj compositions.

As I mentioned, today’s song is composed in Raag Durga, Tal Kaherava.

Durga is another raaga that has been named after gods and goddesses. It belongs to the Bilawal Thaat. It is to be sung during the second prahar of the night: from 9 PM to midnight. Its Jati is Audhav-Audhav, that is, five notes each in Aaroha and Avroha. All notes or swar used are Shuddha (the raag is called Shuddha Saveri in the South). The two swar that are not used are: Gandhar and Nishad (Gaa and Ni). This Raag creates a very soothing atmosphere which is neither very deep nor very playful.

Some of the other songs composed in Raag Durga are:

1. 2. 3. 4. 5.

Khet Ko Mooli Baag Door Desh Ka Geet Gaya Pattharon Ne Jaane Wale O Mere Sason Ke Taar Par

Achuut Kanya Jawab Geet Gaya Pattharon Ne Geet Gaya Pattharon Ne Geet Gaya Pattharon Ne

Ashok Kumar, Devika Rani Kanan Devi Kishori Amonkar Asha Bhosle Asha, Mahendra Kapoor

I have taken today’s song from the 1960 movie Banjarin directed by Jaswant Jhaveri. The movie starred Manhar Desai, Kanchan Kamini and Dalpat. The song is a popular song even after 57 years of its original release.

Pt. Madhur penned the song and Pardesi composed it.

Please enjoy Lata Mangeshkar and Mukesh sing in Raag Durga, Tal Kaherava: Chanda re mori patiya le jaa….

la : nainaa to dukhan laage
chandaa re morii ( patiyaa.n le jaa ) -2 saajan ko pahu.Nchaa de re
vo likh sake javaab unhe.n tuu meraa pataa bataa de re
chandaa re
mu : chandaa re morii ( patiyaa le jaa ) -2 sajanii ko pahu.Nchaa de re
vo likh sake javaab …

la : palako.n kii hai kalam banaa_ii kaajal bah kar banii siyaahii
kaise likhuu.N kahaanii Gam kii tuu hii mujhe bataa de re
chandaa re …

mu : ham Kush hai.n Gam diyaa hai tuune ye ehasaan kiyaa hai tuune
jahaa.N raho Kush raho merii is du_aa kaa asar dikhaa de re
chandaa re …

do : o aakaash ke sundar darpaN tuu hii sajanii tuu hii saajan
bichha.De dilo.n ko phir se milaa de rotaa chaman ha.Nsaa de re
chandaa re …

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. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
36. On the thirty-sixth day, we learnt about Tabla.
37. On the thirty-seventh day, we learnt about Kirtan.
38. And today, on the thirty-eighth day, we learnt about Pakhawaj.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Tum toh pyaar ho sajna…
Raag Maru Bihag, Tal Kaherava

We have completed thirty-six 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-sixth post was titled ‘Raaga Based Song Of The Day #36’ and the song was a Lata Mangeshkar song from the 1949 DD Kashyap movie Badi Bahen: Chele jaana nahin nain mila ke.  It is in Raag Asavari, 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 Pilu – Part I‘.

In the last thirty-six 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, Gaur Sarang, Jogiya and Asavari. 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 Maru Bihag, Tal Kaherava.

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

At first instance, you are bound to ask me: “What is there to learn about Kirtan? We know it already.” Well, actually, there is a lot to learn. Kirtan is a Sanskrit word that means ‘narrating, reciting, telling or describing’ of a story or idea. In a religious gathering, Kirtan is a musical form of narration shared between the narrator and the congregation.

One can easily refer to Kirtan (Vedic anukirtana tradition) as song in which the narrator (kirtankara (or kirtankar)) or narrators takes a line in the hymn and expects the gathering to repeat the chant in the same melody. There are times when the singer’s singing is accompanied by dancing

Generally, the vocal performance by singers is accompanied by Harmonium and Tabla but may also include other instruments such as Mrdanga or Pakhwaj, Veena or Ektara, Flute, and Kartalas or Talas (Cymbals). The other day, in my home place Kandaghat, I attended a Kirtan performance for Sai Baba and they had a keyboard added too.

Kirtan is a routine practice in Sikh Gurudwaras, Vaishanavi devotion, and Sant tradition. Usually, Kirtan (as a form of eulogising gurus/gods) is accompanied by the singer pausing and telling the story (katha) and then resuming the singing.

The holy book of Sikhs is based on raagas and as I have been fond of saying, Sikhs carried forward the Vedic tradition of reciting scripture or religious texts through raagas with the accompaniment of music. In the Gurudwaras, a Shabad Kirtan is the musical recitation of the Sri Guru Granth Sahib itself.

Sikhs lay a lot of emphasis on Kirtan, generally performed by Ragi Jatha or those well versed in raagas. Generally, a Sikh Kirtan would be there in the forenoon before the final ardaas (prayer) on a Sunday. However, there are Gurudwaras wherein akhand kirtan (continuous unbreakable kirtan) takes place. The congregation in a Sikh Kirtan is known as Sangat or Satsang  meaning ‘fellow travelers on a spiritual journey’.

You are bound to ask me at this stage what, if any, is the difference between Bhajan and Kirtan. Both have common objectives, and share similar raagas and subjects. A bhajan is generally singular and is more free flowing; whereas a Kirtan is generally more structured performance in which the singers and the congregation share a call and response form of singing.

As I mentioned, today’s song is composed in Raag Maru Bihag, Tal Kaherava.

Maru Bihag is a very melodious raaga that belongs to the Kalyan Thaat. It is to be sung during the second prahar of the night: from 9 PM to midnight. Its Jati is Audhav-Sampoorna. Maru Bihag is a variation of Raag Bihag in which I gave you the song Tere sur aur mere geet from Goonj Uthi Shehnai that had Shehnai-vaadan by Ustaad Bismillah Khan. In the Sri Guru Granth Sahib, Raag Bihagara occurs on 20 pages from 537 to 557 and is similar to its modern version: Raag Bihag.

Some of the other songs composed in Raag Maru Bihag are: Dil jo na keh saka(Tal Kaherava), Matwali naar thumak thumak (Tal Kaherava), Payal wali dekhana (Tal Kaherava) and Radha jaaye na (Tal Dadra).

I have taken today’s song from the 1963 movie Sehra directed by V Shantaram. The movie starred Sandhya, Prashant, Mumtaz, Lalita Pawar, Manmohan Krishan, Ulhas, Babloo, M. Rajan and Baburao Pendharkar. You would like the cinematography in the video of the song. Krishanrao Vashirde won the Best Cinematography (Colour) Filmfare Award.

Hasrat Jaipuri penned the songs of the movie and Ramlal Hirapanna composed them. The songs of the movie became very popular:

1	Mast Nazar Ki Katar	Mohammed Rafi
2	Taqdeer Ka Fasana	Mohammed Rafi
3	Ja Ja Ja Re Tujhe Ham Jaan Gaye	Mohammed Rafi, Lata Mangeshkar
4	Tum Toh Pyar Ho Sajni	Mohammed Rafi, Lata Mangeshkar
5	Taqdeer Ka Fasana	Lata Mangeshkar
6	Pankh Hote To Ud Aati, Rasiyaa O Zalima	Lata Mangeshkar
7	Ujad Gaya Hain Mohabbat Main	Lata Mangeshkar
8	Na Ghar Tera Na Ghar Mera	Hemant Kumar
9	Hum Hain Nashe Mein	Asha Bhosle

1. Please enjoy Lata Mangeshkar and Mohammad Rafi sing in Raag Maru Bihag, Tal Kaherava: Tum toh pyaar ho sajna….

la : tum to
tum to pyaar ho sajanaa tum to pyaar ho
mujhe tumase pyaaraa aur na ko_ii
tum to pyaar ho sajanaa

ra : tum to pyaar ho sajanii tum to pyaar ho
mujhe tumase pyaaraa aur na ko_ii
tum to pyaar ho

la : aa kitanaa hai pyaar hamase ye to bataa do
ra : a.mbar pe taare jitane itanaa samajh lo
la : sach merii qasam
ra : terii qasam terii yaad hame.n luuTe
la : qasame.n to khaane vaale hote hai.n jhuuThe
chalo jaa_o haTo jaa_o dil kaa daaman chho.Do
ra : tum to pyaar ho sajanii …

ho o aake na jaa_e kabhii aisii bahaar ho
la : tum bhii hamaare li_e jiivan si.ngaar ho
ra : sach merii qasam
la : terii qasam tuu hai aa.Nkh ke til me.n
ra : tum bhii chhupii ho mere shiishaa-e-dil me.n
o mere hamadam mere hamadam merii baat to maano
la : tum to pyaar ho sajanaa …

do : tum to pyaar ho

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. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
36. On the thirty-sixth day, we learnt about Tabla.
37. And today, on the thirty-seventh day, we learnt about Kirtan.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Chale jaana nahin nain chura ke…
Raag Asavari, Tal Kaherava

We have completed thirty-five 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-fifth post was titled ‘Raaga Based Song Of The Day #35’ and the song was a Mohammad Rafi song from the 1958 Shaheed Lateef movie Sone Ki Chidiya: Raat bhar ka hai mehman andhera.  It is in Raag Jogiya, Tal Dipchandi (Moghali).

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-five 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, Gaur Sarang and Jogiya. 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 Asavari, Tal Kaherava.

However, first, lets take up the value added learning of today. Today, we shall learn a little more about Tabla:

Tabla is one of the two percussion instruments in Hindustani music that produces Tal or rhythm (the other is Pakhwaj) whereas the melody is produced by Vocals, Sitar, Sarod, Surbahar, Rudra Veena, Violin, Sarangi, Esraj/Dilruba, Bansuri, Shehnai, Santoor, Harmonium, and Jal Tarang, and Tanpura, Shruti Box and Swarmandal are used to producing drone.

Initially, when I started giving you the raaga based songs of the day, I mentioned to you that it was as late as in the 18th century that Tabla was used to keep the Tal. Before that, and to some extent even now, Tal is kept by the clap (Bhara) or wave (khali) of the hand. Tabla consists of a pair of drums (the word tabla is likely to have originated from the Persian word Tabl meaning drum). The pair is actually two small barrel drums (to be beaten with hands). Daya drum is the dahina drum or right and Baya is bahina or left. Out of the two, the Baya drum is a little bigger (about eight inches in dia and ten inches high) than the Daya (six inches by 10 inches). The Daya is tuned to the ground note of the raaga called Sa. Tal is produced both by the heel of the hand (to change the pitch) and the complex use of the fingers.

In the Hindustani style tabla is played in two ways: band bol (Tali) and khula bol (Khali). Tabla is used extensively in raaga based singing in gurudwaras and temples and in Sufi music.

Some basic strokes with the dayan on the right side and the bayan on the left side are:

• Ta: (on dayan) striking sharply with the index finger against the rim while simultaneously applying gentle pressure to the edge of the syahi with the ring finger to suppress the fundamental vibration mode.
• Ghe or ga: (on bayan) holding wrist down and arching the fingers over the syahi; the middle and ring-fingers then strike the maidan (resonant).
• Thin: (on dayan) placing the last two fingers of the right hand lightly against the syahi and striking on the border between the syahi and the maidan (resonant).
• Dha: combination of Na and Ghe.
• Dhin: combination of Tin and Ghe.
• Ka or kath: (on bayan) striking with the flat palm and fingers (non resonant).
• Na: (on dayan) striking the edge of the syahi with the last two fingers of the right hand.
• Te: (on dayan) striking the center of the syahi with the middle finger (non resonant).
• Tu | Tun^: (on dayan) striking the center of the syahi with the index finger to excite the fundamental vibration mode (resonant).
• Dhere dhere (on dayan) striking of syahi with palm.

As I mentioned, today’s song is composed in Raag Asavari, Tal Kaherava.

Asavari is the principle raaga of Asavari Thaat in the Bhatkhande’s system of raagas. Asavari, as anyone who reads Sri Guru Granth Sahib would know, is a raaga of the mornings. However, some of the important raagas of Asavari Thaat are sung at nights: eg, Adana and Darbari. Its Jati is Audhav-Sampoorna. The mood of the raaga is Tyag, sacrifice or renunciation.

Two of the other songs composed in Raag Asavari are: Jadoo teri nazar, khushbu tera badan (Tal Kaherava), and Mujhe gale se laga lo bahut udaas hoon main (Tal Kaherava).

I have taken today’s song from the 1949 movie Badi Bahen directed by DD Kashyap. The movie starred Suraiya, Rehman, Ullhas and Pran. If you see in the video Geeta Bali singing this song to the villain Pran it is because of the story, also by DD Kashyap:

“Shyama (Suraiya) gets a job as a servant so she can pay for her younger sister, Kiran’s (Geeta Bali) education in the city. Kiran, though, is in love with a rogue, Ajit (Pran). Ajit makes Kiran splurge all the money Shyama sends her on them. Meanwhile, Shyama meets and falls in love with Shyam (Rehman), the son of the family she works for and who is a doctor who wants to treat the poor. With both being ill-treated by the woman of the house, who is Shyam’s step mother, they decide to elope. However, Kiran comes to her, abandoned and impregnated. Shyama goes along with her without informing Shyam in order to find Ajit. They find Ajit but he escapes from them. The two sisters then relocate to another town. Kiran has the child, Shyama works in another house, where in order to get Kiran settled with the young man of the house and to prove her to be without blemish, she takes it upon herself to claim to be the mother of the child. This causes further complications with Shyam, who has managed to trace her out and now believes that she has been unfaithful to him. Wallowing in grief, he falls ill. Finally, with the help of a kindly army Colonel, also Ajit’s uncle (Ulhas), all ends well that well with a repentant Ajit marrying Kiran and Shyama reunited with Shyam.”

The song was penned by Rajinder Krishan and composed by Husanlal Bhagatram, Hindi movies’ first music duo.

Please enjoy Lata Mangeshkar sing in Raag Asavari, Tal Kaherava: Chale jaana nahin nain chura ke….

Chale jaanaa nahii.n, nainaa milaake
Haay! sai.nyyaa bedardii, sai.nyyaa bedardii

Merii qasam tumhe mere hii hoke rahanaa
Dilo.n kii baat kisii aur se nahii.n kahanaa
Bairii duniyaa se rakhanaa chhupaa ke
Haay! sai.nyyaa bedardii, sai.nyyaa bedardii
Chale jaanaa nahii.n …

Nanhii.n sii jaan merii kaho na jalaaoge
Chho.D ke mujhe kahii.n chale to na jaaoge
Bhuul jaanaa nahii.n dil me.n basaa ke
Haay! sai.nyyaa bedardii, sai.nyyaa bedardii
Chale jaanaa nahii.n …

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. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
36. And today, on the thirty-sixth day, we learnt about Tabla.

There is much more still to be learnt and enjoyed.

Please stay tuned!

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:

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!

Raaga Based Song of the Day: Kuchh aur zamaana kehta hai…
Raag Gaur Sarang, Tal Dadra

We have completed thirty-three 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-third post was titled ‘Raaga Based Song Of The Day #33’ and the song was a Lata Mangeshkar song from the 1956 Anant Thakur movie Chori Chori: Rasik balma.  It is in Raag Shuddha Kalyan, 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 Todi’.

In the last thirty-three 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 and Shuddha Kalyan. 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 Gaur Sarang, Tal Dadra.

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

Colloquially, we call any song or melody as Tarana. However, it is type of composition in Hindustani music such Dhrupad, Khayal, Thumri and Tappa that I have already told you about. Whilst giving you a write-up about Hindustani classical music I told you about the contribution of Amir Khusrow and how he first fuzed Sufi music with Sanskrit/Hindi music. Taranas are medium (madhya) or fast (drut) paced (laya) songs that convey mood of elation. Taranas consist of lines of rhyming poetry that use Persian or Arabic syllables or bols. The singers use these poetical lines for improvisation.

Do you recall Baiju Bawra, the 1952 Vijay Bhatt movie? (Please read). Naushad had all songs of the movie based on one raaga or the other. He got Ustad Amir Khan to sing Tori jai jai kartar in Raag Puriya Dhanashree, Langar kankariya ji na maro in Raag Todi (with DV Paluskar), Ghanana ghanana ghana garjo re in Raag Megh and Sargam in Raag Darbari. Well, it was the same Ustad Amir Khan who gave impetus to Tarana genre’ of singing in modern times. Those who are familiar with Sri Guru Granth Sahib would also know that Sri Guru Gobind Singh used tarana in his compositions like Jagardang nagardang bagardang.

As I mentioned, today’s song is composed in Raag Gaur Sarang, Taal Dadra.

Gaur or Gaud Sarang is a raga in Hindustani classical music that combines characteristics of Sarang and the now extinct raga named Gaud. Unlike most other members of the Sarang family of ragas, Gaud Sarang is assigned to the Kalyan thaat rather than the usual Kafi.

It’s Jati is Sampurna-Sampurna Vakra (all swar are Shuddha except both Madhyam are used in Avroha).

The time of the day for rendering this Raaga is the third prahar of the day, ie, between noon and 3 PM.

Raag Gaud Sarang, though a daytime melody produces effect like the night melodies. The overall impact of the Raag is identical to that in Raag Kedar or Raag Bihag. (Both night time Raagas).

Shuddha Madhyam is a prominent note which is Deergh Swar but not a resting note. Pancham and Gandhar are the resting note of the Raag. Like in Raag Kedar and Raag Hameer the Teevra Madhyam (M) is rendered Vakra.

The song is dear to me because I regard it as one of the best ever penned by lyricist Shailendra. Indeed, on my Facebook page ‘Lyrical’, as soon as I finished with my favourite lyricist Shakeel Badayuni, the very first Lyricist that I paid tribute to, in Great Lyricists series, was Shailendra.I have taken today’s song from the 1965 movie Chhoti Chhoti Baatein that was the only movie directed by actor Motilal under his banner Rajvanshi, and starring him, Nadira and Moti Sagar in the lead roles. He died before the movie was released. The movie was a flop at the box-office even though it earned enormous critical acclaim.

Here is a gem that came my way and I must share it with you:

Through Shankar Jaikishan Music Foundation (SJMF) I am acquainted with Dinesh (Shailendra’s son). One day, on his timeline there was a raging discussion about whether Shailendra got back from Raj Kapoor what he had so loyally given him. The reference was to Shailendra’s own movie Teesri Kasam starring Raj Kapoor, which was delayed by the latter so that he could first revel in the success of his Sangam. Some said that the lyrics of the song: Dost dost na raha probably fitted with Shailendra’s emotions for not having got any support from his friend Raj Kapoor for the early release of his own movie, leading to its getting much reduced box-office and ultimate untimely death of Shailendra. My input was that Teesri Kasam was released a year after Chhoti Chhoti Baatein (and a year before Teesri Kasam) and that Shailendra said in this song whatever he obliquely wanted to refer to! The most revealing lines are:

Duniyaa ne hame.n berahamii se
Thukaraa jo diyaa, achchhaa hii kiyaa
Naadaan ham samajhe baiThe the
Nibhatii hai yahaa.N dil se dil kii

From what I have seen, Dinesh is a level-headed, mature man, not given to affectations. I was, therefore, quite pleased when he tacitly upheld my assessment. My assessment was also based on another fact; which is, that whatever Shailendra wanted to tell people close to him he conveyed through his lyrics. For example, when Shankar Jaikishan dilly-dallied about introducing him to other music directors despite their promise, Shailendra wrote to them: “Chhoti si ye duniya, pehchaane raaste; tum kabhi to miloge, kahin to miloge, to poochhenge haal”. This, later, became a popular song.

Chhoti chhoti baatein, indeed.

It was Anil Biswas who composed the song in Raag Gaur Sarang, Tal Dadra. The song was sung for Nadira by Meena Kapoor.

Please enjoy: Kuchh aur zamana kehta hai….

Kuchh aur zamaanaa kahataa hai, kuchh aur hai zidd mere dil kii
mai.n baat zamaane kii maanuu.N, yaa baat sunuu.N apane dil kii
kuchh aur zamaanaa kahataa hai …

Duniyaa ne hame.n berahamii se
Thukaraa jo diyaa, achchhaa hii kiyaa
naadaan ham samajhe baiThe the
nibhatii hai yahaa.N dil se dil kii
kuchh aur zamaanaa kahataa hai …

Inasaaf, muhabbat, sachchaa_ii
vo raham-o-qaram ke dikhalaave
kuchh kahate zubaa.N sharamaatii hai
puuchho na jalan mere dil kii
kuchh aur zamaanaa kahataa hai …

Go bastii hai insaano.n kii
insaan magar Dhuu.NDhe na milaa
patthar ke buto.n se kyaa kiije
fariyaad bhalaa TuuTe dil kii
kuchh aur zamaanaa kahataa 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. And today, on the thirty-fourth day, we learnt about Tarana.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Rasik balma…
Raag Shuddha Kalyan, Tal Kaherava

We have completed thirty-two 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-second post was titled ‘Raaga Based Song Of The Day #32’ and the song was a Mohammad Rafi song from the 1957 Krishnan-Panju movie Bhabhi: Chal udd jaa re panchhi.  It is in Raag Pahadi, 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 Jaijaivanti’.

In the last thirty-two 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. 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 Shuddha Kalyan, Tal Kaherava.

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

Tappa is as semi-classical as Dhrupad, Khayal and Thumri. In royal courts, songstresses known as Baigees used to sing Tappe that are fast paced, subtle, sweet and melodious genre’ of singing representing the emotional outburst of a lover.

Camel riders of Punjab are credited with having begun the tradition of Tappa in their folk singing. Mian Ghulam Nabu Shori or popularly known as Shori Mian is credited with having developed Tappa as classical music. He was a court singer in the then Nawab of Avadh: Asad-ud-Dowlah. In the 18th and 19th century, tappas sung by Nidhu Bahar became popular in Bengal. These were called: Nidhubabur Tappa. Presently, amongst the best known Tappa singers are: Girija Devi, Ishwar Chandra Karkare, Jayant Khot, Laxmanrao Pandit, Manvalkar, Meeta Pandit and Shanno Khurana.

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

Raag Shuddha Kalyan belongs to the Kalyan Thaat in Bhatkhande’s system of raagas. The raaga is to be sung during the first prahar of the night (6 PM to 9 PM); indeed, that is true for all raagas in the Kalyan Thaat. Characterised by the teevra Madhyam, the name Kalyan translates to ‘Good Luck’. It is, therefore, performed at the beginning of a concert in the evening to seek blessings. Shuddha Kalyan is one of the many variations; some of the others are Shyam Kalyan, Yaman Kalyan, Anandi Kalyan, Khem Kalyan and Savani Kalyan. The Jati of the raaga is Audhav – Sampoorna (Vakra). This raaga has notes of Raag Bhoopali in tha Aaroha and Raag Kalyan (or Yaman) in Avaroha. Because of this reason it is also referred to as Raag Bhoop Kalyan.

Some of the songs composed in Raag Shuddha Kalyan are: Chand from niklala from 1957 movie Paying Guest, Jahan daal daal par sone ki chidhiyan karti hain basera from 1965 movie Sikander-e-Azam, Meri mohabbat jawan rahegi from 1965 movie Jaanwar, and Ye shaam ki tanhayiyan from 1953 movie Aah.

I have taken today’s song from yet another AVM Production movie, the 1956 Anant Thakur movie Chori Chori starring Nargis as Kammo, the daughter of a multi-millionaire Girdharilal (Gope). She jumps out of her father’s ship in Bombay harbour so as to be with her lover Suman Kumar (Pran). Whilst on her way to Bangalore, at the bus-stop itself, she meets Sagar (Raj Kapoor) and decides to take help from him in undertaking a journey that she had never taken alone. Gradually they fall in love. The movie’s story was later used by Mahesh Bhatt in his 1991 movie Dil Hai Ki Maanta Nahin that starred his daughter Pooja in the same role as Nargis and Aamir Khan in Raj Kapoor’s role.

As with most Raj Kapoor starrers, the lyricists were Shailendra and Hasrat Jaipuri with music by Shankar Jaikishan. This one has been penned by Hasrat Jaipuri.

I have put my neck out by selecting my five favourite songs of Lata Mangeshkar (Please read: ‘My Favourite Songs Of Lata Mangeshkar’). This song is at #1. The other four are:

#2. Jaa jaa re jaa balamwa in Raag Jhinjhoti, Tal Kaherava from Basant Bahar.
#3 Unako ye shikayat hai ke ham kuchh nahin kehate in Raag Malgunji, Tal Dadra from Adalat.
#4 Aapki nazaron ne samajha pyaar ke kaabil mujhe in Raag Adana, Tal Rupaktal from Anapadh.
#5 Aaja re pardesi in Raag Bageshri, Tal Kaherava from Madhumati.

Please enjoy my most favourite song of Lata Mangeshkar in Raag Shuddha Kalyan, Tal Kaherava: Rasik balma….

Rasik balamaa, haay, dil kyo.n lagaayaa
tose dil kyo.n lagaayaa, jaise rog lagaayaa

Jab yaad aaye tihaarii
suurat vo pyaarii pyaarii
nehaa lagaa ke haarii
aa~
nehaa lagaa ke haarii
ta.Dapuu.N mai.n Gam kii maarii
rasik balamaa …

Dhuu.Ndhe hai.n paagal nainaa
paaye na ik pal chainaa
Dasatii hai ujda.Dii rainaa
aa~
Dasatii hai ujda.Dii rainaa
kaase kahuu.N mai.n bainaa
rasik balamaa …

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. And today, on the thirty-third day, we learnt about Tappa.

There is much more still to be learnt and enjoyed.

Please stay tuned!

 

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.

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!

Raaga Based Song of the Day: Ham bekhudi mein tumko pukaare chale gaye…
Raag Chayanat, Tal Kaherava

We have completed thirty 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 thirtieth post was titled ‘Raaga Based Song Of The Day #30’ and the song was a Lata Mangeshkar song from the 1960 Hrishikesh Mukherjee movie Anuradha: Haay re vo din kyun naa aaye.  It is in Raag Janasammohini, Tal Rupaktal.

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 Yaman – Part III’.

In the last thirty 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 and Janasammohini.

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

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

Khayal is a modern genre’ of Hindustani Music; it certainly came after Dhrupad that I have told you about. The Urdu word Khayal means ‘Imagination’ and hence this flexible form of music uses a lot of improvisations.

A Khayal song is normally called a bandish (composition). Generally, in a performance there would be number of short (2 to 8 lines) songs, with each singer rendering the same bandish differently; in which the lyrics and raaga remains the same. These compositions are in Urdu/Hindi/Hindustani/Punjabi or combinations. The themes that the compositions cover include love (both romantic and divine), Krishna-Leela, praise of gods, kings, seasons and times of day.

The Khayal bandish is divided into two parts — the sthayi (or asthayi) and the antara, with the former considered more important as it shows the melodic contours of the raga. The sthayi often uses notes from the lower octave and the lower half of the middle octave, while the antara ascends to the tonic of the upper octave and beyond before descending and linking back to the sthayi.

The main facet of Khayal, as I told you, is improvisation. Each singer uses the bandish as a base for improvisation. The singer is normally accompanied by harmonium, sarangi or violin, and a tabla. The instruments play off the singer’s melody line and these instruments play this even when the singer pauses for breath. Thus, continuity is maintained. The accompanying Tal are generally Ektal, Jhaptal, Tintal, Rupaktal, Jhaptal and Tilwada.

A typical khayal performance uses two songs — the bada khayal or great khayal, in slow tempo (vilambit laya), comprises most of the performance, while the chhota khayal (small khayal), in fast tempo (drut laya), is used as a finale and is usually in the same raga but a different taal.

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

Raag Chayanat or Chhayanat belongs to the Kalyan Thaat to be sung during the second prahar of the night (9 PM to midnight). Its Jati is Shadhav-Sampoorna (six notes in Aaroha and seven notes in Avaroha).

Raag Chayanat is related to the now obscure raaga Nat.

Chayanat, Gaud Sarang, Kedar and Kamod raagas have similar tone material and share similar melodic movements as well. It requires a clear conception of their individual melodic features to avoid drifting from one raaga to another.

The other songs composed in Raag Chayanat are:

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

Chanda Re Ja Re Sab Kuchh Luta ke Hum Bekhudi Me Dil Gham Se Jal Raha Tere Naina Talaash Keren Baad Muddat Ke Lagta Nahin Hai Dil Itni Haseen Itni Zindagi Kitni Khoobsurat Aaj Bichhde Hain Fir teri Yaad Naye Gham Aap Aaye Gharib Kahen Me Sher Ka Husn Ho Paas Ho Tum Magar Wo Chal Diye Hain Meri Nigaah Ne Kya Tumhi Kaho mera Man Jhuka Jhuka Ke Nigahen Mujhse Naaraz Ho To Tum Meri Zindagi Me

Ziddi Ek Saal Kala Pani Shama Talaash Jahan Aara Laal Quila Nartaki Bin Badal Barsaat Thodi Si Bewafai Aayi Teri Yaad Sitaara Chambal Ki Qasam Lootmaar Gulnaar Mohabbat Isko Kehten Hain Girls School Miss Coca Cola Papa Kehten Hain Bombay To Goa

Lata Lata & Talat Rafi Suman Manna Dey Rafi, Suman Rafi Mahendra Hemanti, Lata Bhupinder Bhupinder Asha Rafi Lata Noor Jahan Rafi Lata Mukesh, Asha Sonu Nigam Lata, Kishore Kumar

I have taken the song from 1958 production of Dev Anand for Navketan Films that was directed by Raj Khosla: Kala Pani. The movie starred Dev Anand as Karan trying to prove the innocence of his father Shankarlal who was, through deceit, put in a jail. To unearth the truth, he must take the help of a courtesan Kishori played by Nalini Jaywant. Meanwhile he hires a room in the house of Asha (Madhubala) and sure enough they fall in love.

Please enjoy in Raag Chayanat, Tal Kaherava: Ham bekhudi mein tumko pukaare chale gaye…

Ham… aa… chale gaye
ham bekhudii me.n tumako pukaare chale gaye
ham…
ham bekhudii me.n tumako pukaare chale gaye
saaGar me.n zindagI ko utaare chale gaye
ham…

Dekhaa kiye tumhe.n ham, banake diivaanA – 2
utaraa jo nashaa to, hamane ye jaanaa
saare vo zindagI ke sahaare chale gaye
ham bekhudii me.n tumako pukaare chale gaye
ham…

Tum to naa kaho ham, khud hii se khele – 2
Duube nahii.n ham hii yuu.N, nashe me.n akele
shiishe me.n aapako bhii utaare chale gaye
ham bekhudii me.n tumako pukaare chale gaye
saagar me.n zindagI ko utaare chale gaye
ham…

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. And today, on the thirty-first day, we learnt about Khayal.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Haye re vo din kyun naa aaye…
Raag Jansammohani, Tal Rupaktal

We have completed twenty-nine 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 twenty-ninth post was titled ‘Raaga Based Song Of The Day #29’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1971 HS Rawail movie Mehboob Ki Mehbdi: Itna to yaad hai mujhe.  It is in Raag Tilang, 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 Yaman – Part I’.

In the last twenty-nine 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 and Tilang.

Today, I give you a song in Raag Jansammohani, Tal Rupaktal.

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

Yesterday, we learnt about Dhrupad. That’s one style of singing that doesn’t use Rupaktal. However, Rupaktal is otherwise such a common tal that it is to be found in almost all styles of singing in Hindustani Music including Khayal.

Rupaktal distinguishes itself from the other Tals in that the first beat (Sam) is Khali (Wave and not Clap or Taali). The total number of beats (matra) are seven. It is represented by:

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

that is, unlike the symmetric Tintal, the vibhags (three of them) are not of equal length.

and the Theka is:

As I mentioned, today’s song is composed in Raag Jansammohani, Taal Rupaktal.

Raag Jansammohani or Janasmohini is another raaga of Khammaj Thaat. It is similar to the modern pentatonic (five notes or swar) raaga called Kalavati. The two notes that are omitted in Kalavati are Re (Rishab, the second note) and Ma (Madhyam, the fourth note). If we add Re to Kalavati, we get Janasmohini (and if we add Ma too, we get Khammaj). Indeed, Naushad’s composition in the movie Dil Diya Dard Liya: Koi sagar dil ko behlata nahin, although in Janasmohini, is believed to be closer to Kalavati since there is very little use of Re.

Janasammohini was originally called Siva Kalyan. Little is heard of that raaga now. I have chosen for you a composition by Pandit Ravi Shankar. He brought back the raaga with its original Karnataka name Janasammohini.

The raaga is to be sung during the first prahar of night: 6 PM to 9 PM. The mood that the raaga invokes is that of pangs of separation, nostalgia and remorse.

Indeed, this is exactly the mood in Pandit Ravi Shankar’s composition that I have taken from 1960 Hrishikesh Mukherjee movie Anuradha (Please also read: ‘Bengal Based Hindi Movies From Anuradha To Piku’) with Leela Naidu in the title role as a talented woman fond of singing and indeed being an All India Radio artiste. She falls in love with and gets married to Dr Nirmal Chowdhary (Balraj Sahni). He is an idealist doctor devoting all his time to the patients in the village (after marriage they shift to a village since Nirmal is fired with the idea of bringing relief to the rural people). She feels neglected and has to leave her passion of singing. And that’s how this song came about in the movie.

The other songs composed in Raag Janasammohini are: Aaja re mere pyaar ke raahi, Bhajan bina chain na aaye Ram (the Raag also invokes devotional feelings), and Koi sagar dil ko behlata nahin.

Incidentally, the movie Anuradha won the National Award for Best Feature Film of 1960.

For those extraordinarily poignant lyrics, bringing out her inner feelings, one has to thank one of the greatest lyricists in Hindi movies: Shailendra. And of course, to sing it, is my favourite female singer: Lata Mangeshkar.

Please enjoy in Raag Janasammohini, Tal Rupaktal: Haye re vo din kyun naa aaye…

Haay re vo dinaa kyo.n na aaye
ja ja ke R^itu
ja ja ke R^itu lauT aaye
haay re vo dinaa kyo.n na aaye

Jhilamil vo taare kahaa.N gaye vo saare
man baatii jale bujh jaaye
haye re vo dinaa kyo.n na aaye

Suunii merii biinaa sa.ngiit binaa
sapano.n kii maalaa murajhaaye
haay re vo dinaa kyo.n na aaye

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. And today, on the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Itna to yaad hai mujhe…
Raag Tilang, Tal Kaherava

We have completed twenty-eight 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 twenty-eighth post was titled ‘Raaga Based Song Of The Day #28’ and the song was a Lata Mangeshkar song from the 1954 Chetan Anand movie Taxi Driver: Jaayen to jaayen kahan.  It is in Raag Jaunpuri, 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 Pilu – Part I’.

In the last twenty-eight 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 and Jaunpuri.

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

However, first, lets take up the value added learning of today. Today, we shall learn about one of the oldest forms of compositions in Indian classical music: Dhrupad. Yesterday, whilst giving you the history of Hindustani Music, I merely mentioned it in the passing:

The name Dhrupad, a Sanskrit name, is a combination of two words: Dhruva means immovable or permanent (Recall Dhruva, the Pole Star through which ancient mariners used to establish North), and Pad means Verse. The oldest reference to Dhrupad is in Natyashastra (200 BC to 200 AD). Some six to eight hundred years later, there is mention in Bhagwat Purana (remember how I extolled our ancient musical heritage in the very first post of the series) which contains not just hymns for Lord Krishna but also musical theories of ancient times.

Dhrupad, therefore, came to denote both poetic style and singing style. Its bhaav is religious and spiritual and it evokes feelings of thoughtfulness, moral wisdom and even heroism. Initially it was sung in praise of Hindu deities. However, yesterday I told you about how Hindu Music found its way courts of Muslim kings and there it was to sing praises of them.

“Dhrupad has at least four stanzas, called Sthayi (or Asthayi), Antara, Sancari and Abhoga. The Sthayi part is a melody that uses the middle octave’s first tetrachord and the lower octave notes. The Antara part uses the middle octave’s second tetrachord and the higher octave notes. The Samcari part is the development phase, which holistically builds using parts of Sthayi and Antara already played, and it uses melodic material built with all the three octave notes. The Abhoga is the concluding section, that brings the listener back to the familiar starting point of Sthayi, albeit with rhythmic variations, with diminished notes like a gentle goodbye, that are ideally mathematical fractions such as dagun (half), tigun (third) or caugun (fourth). Sometimes a fifth stanza called Bhoga is included.”

As I mentioned, today’s song is composed in Raag Tilang, Taal Kaherava. It is only apt that I should bring out Raag Tilang today since yesterday only we took up the history of Hindustani Music and I mentioned in detail about the fusion of first Sanskrit and later Hindi music with Islamic music, particularly Sufi music that was introduced by Amir Khusrow.

Tilang belongs to Khammaj Thaat. It borrows a lot from Sufi tradition. It is used a lot in Thumri and Khayal. In the Raagmala at the end of Sri Guru Granth Sahib it is shown as a Raagini of Hindol.

Having been placed in Khammaj Thaat makes it a raaga of the night (second prahar), having romantic mood with a hint of yearning (O sajana barkha bahaar aayi, for example).

In the Sri Guru Granth Sahib, Tilang has a lot of Islamic vocabulary too. There are a total of twenty hymns in SGGS having been composed in Tilang: Six by Guru Nanak, three by Guru Ram Das, Five by Guru Arjan Dev, Three by Guru Tegh Bahadur, one by Kabir and two by Namdeo.

Some of the songs composed in Raag Tilang are:

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

Sajan Sang Kahe Main Apne Aap Se Bata Do Koi Bata Do Koi Aaj Mero Man Been Chota Sa Balama Lagi Nahi Chhute Meri Kahani Bhulne Is Duniya Mein Tum Kahe Ko Neha Is Dil Ke Tukde Man Mora Bawara Kismat Bigdi Paijaniya Chhanke Ram Itna To Yaad Hai Mujhe Sawan Ka Mahina Piya Tose Naina Ja Main Tose Naahi Kaise Kahein Hum O Gori Gori Gaon Ki

Main Nashe Mein Hoon Son Of India Madhu Madhu Gawaiya Ragini Sautela Bhai Deedar Dillagi Jasoos Pyar Ki Jeet Ragini Afsana Wapas Mehboob Ki Mehndi Nehley Pe Dehla Guide Sautela Bhai Sharmilee Yeh Gulistan Hamara

Lata Rafi Manna Dey Lata Talat Mehmood Asha Lata, Meena Kapoor Rafi Rafi Asha Rafi Rafi Mukesh Rafi Rafi, Lata Lata, Kishore Lata Lata Kishore Kishore, Lata

I have taken the song from the 1971 HS Rawail (He is incidentally the director of the movie of my all time favourite song: Mere Mehboob, Sunghursh and Laila Majnu) movie Mehboob Ki Mehndi starring Rajesh Khanna and Leena Chandavarkar. Laxmikant Pyarelal composed some really delightful songs in the movie on the lyrics of Anand Bakshi.

Please enjoy Mohammad Rafi and Lata Mangeshkar (undoubtedly the singers of the best duets in Hindi movies) sing a composition of Laxmikant Pyarelal in Raag Tilang, Tal Kaherava, on the lyrics of Anand Bakshi: Itna to yaad hai mujhe…..

Itanaa to yaad hai mujhe, o, itanaa to yaad hai mujhe, haay,
itanaa to yaad hai mujhe ke unase mulaaqaat huii
baad me.n jaane kyaa huaa, naa jaane kyaa baat huii

Saare vafaa ke karz apane chukaake
kisii se dil lagaake chalaa aayaa
nazare.n milaake, nii.Nd apanii ga.Nvaake
kasak dil me.n basaake chalaa aayaa
din to guzar jaayegaa, kyaa hogaa jab raat huii
itanaa to yaad hai mujhe …

Maare hayaa ke, mai.n to aa.Nkhen jhukaake
zaraa daaman bachaake chalii aayii
pardaa haTaake unakii baato.n me.n aake
unhe.n suurat dikhaake chalii aayii
kis se shiqaayat karuu.N, sharaarat mere saath huii
itanaa to yaad hai mujhe …

Thii ik kahaanii pahale ye zi.ndagaanii
tumhe.n dekhaa to jiinaa mujhe aayaa
dilbar-o-jaanii, sharm se paanii paanii
huii mai.n bas pasiinaa mujhe aayaa
aise mai.n bhiig gayii jaise ke barasaat huii
itanaa to yaad hai mujhe …

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. And today, on the twenty-ninth day, we learnt about Dhrupad.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Mohabbat aisi dhadkan hai…
Raag Rageshri, Tal Kaherava

We have completed twenty-six 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 twenty-sixth post was titled ‘Raaga Based Song Of The Day #26’ and the song was a Hemant Kumar song from the 1952 Guru Dutt movie Jaal: Ye raat ye chandini phir kahan.  It is in Raag Kafi, 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 Bhimpalasi – Part I’.

In the last twenty-six 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, and Kafi.

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

However, first, lets take up the value added learning of today. Today, we shall learn about something called a Lehar or literally Wave:

If any of you have listened to Ghulam Ali sing his famous ghazal Dil mein ik lehar si uthi hai abhi, you would have heard the rendition of the word Lehar in various beats making you get the feel of different types of waves.

Generally, in a raaga or musical performance, the tabla is repetitive as accompaniment to main musicians. However, in a Lehar, the Tabla (or even Pakhwaj) is solo and the main musicians (sitar, harmonium or sarangi players), in a reversal of roles, have to improvise to keep tempo with the tabla. What is Lehar then? Lehar is what these main musicians play to keep pace with the tabla. It would be easy to make out that these musicians would do the same in Kathak recital too. The level of difficulty for the musicians is enormous as they have to understand the changing rhythm of the tabla.

In some part of the country, Lehar is just called naghma. In certain performances, erroneously, the tabla solo is called Lehar. I have clarified that it is the accompanying melody rendered by the main musicians.

Lehars can be three or six beat (Dadra, for example), four and eight beat (Kaherava), seven beat (Rupaktal), ten beat (Jhaptal), eleven beat (Chartal-ki-Savari), twelve beat ( Ektal), thirteen beat (Chandrachautal), fourteen beat (Dipchandi), fifteen beat (Pancham Savari), sixteen beat (Tintal), seventeen beat (Vishnutal), eighteen beat (Mattatal), nineteen beat (Purnatal) and twenty-one beat (Mansijtal).

As I told you, today’s song is composed in Raag Rageshri. We did one in Bageshri earlier, on the 19th day: Jao jao Nand ke Lala, an exquisite dance on that number by the best dancer in Hindi movies ever: Vyjayanthimala. But, Raag Bageshri and Rageshri, although similar sounding, are two very different raagas; the former belongs to the Kafi Thaat and the mood that it evokes is of a woman waiting to have reunion with her lover. It is a late night raaga. Rageshri, on the other hand, belongs to Khammaj Thaat, even though it too is to be sung in the second prahar of the night (9 pm to midnight). I have already told you that the Khammaj evokes sensuous feelings, even flirtatious.

Here are some of the other songs composed in Raag Rageshri:

1. 2. 3. 4. 5. 6. 7. 8.

Shubh Din Aayo Kaun Aaya Mere Mohe Chhedo Na Kanha Jaadu Bhare Tore Naina Des Chhudaye Bhes Zindagi Khwab Hai Prabhu Charanon Mein Mane Na

Mughal-E-Azam Dekh Kabira Roya Aaj Aur Kal Jaadunagari Chacha Zindabad Jaagte Raho Andolan Jaagir

Bade Ghulam Ali Khan Manna Dey Asha Asha, Mahendra Kapoor Kishore Mukesh Parul Ghosh Lata

Today’s song is from the 1953 iconic movie Anarkali (some seven years before K Arif’s magnum opus Mughal-e-Azam on the same story/theme), a movie on the life and love of a courtesan Nadira (popularly known as Anarkali, the blossom of Pomegranate) with the prince to Emeperor Akbar: Salim (who was later to become Jehangir). The movie was directed by Nandlal Jaswantlal and starred Bina Rai in the title role and Pradeep Kumar as Salim.

Most of its songs are evergreen and were put together by Rajendra Krishan as Lyricist, and C Ramchandra as Music Director and Composer. However, this immortal and iconic song was penned by Hasrat Jaipuri, the undisputed King of Romance.

C Ramchandra came on the scene, Vasant Prakash was the Music Director who died whilst the movie was being made. C Ramchandra, because of his abiding love for Lata Mangeshkar, insisted that all female songs be sung by her. However, one song sung by Geeta Dutt was retained: Aa jaane wafa.

This one was sung by Lata Mangeshkar on a composition by C Ramchandra in Raag Rageshri, Tal Kaherava, on the lyrics of Hasrat Jaipuri and assumed proportions of being an iconic song on Love.

Please enjoy: Muhabbat aisi dhadkan hai….

Is i.ntezaar-e-shauk ko janamo.n kii pyaas hai
Ik shamaa jal rahii hai, to vo bhii udaas hai

Muhabbat aisii dha.Dakan hai, (jo samajhaaii nahii.n jaatii) – 2
Zubaa.n par dil kii bechainii, (kabhii laaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan hai

Chale aao, chale aao, taqaazaa hai nigaaho.n kaa – 2
Taqaazaa hai nigaaho.n kaa
Kisii kii aarzuu aise, (to Thukaraaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan hai, (jo samajhaaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan hai

(Mere dil ne bichhaae hai.n sajade aaj raaho.n me.n) – 2
sajade aaj raaho.n me.n
Jo haalat aashiqii kii hai, (vo batalaaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan hai, (jo samajhaaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan 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. And today, on the twenty-seventh day, we learnt about Lehar.

There is much more still to be learnt and enjoyed.

Please stay tuned!