Raaga Based Song Of The Day #26

Raaga Based Song of the Day: Ye raat ye chandini phir kahan…
Raag Kafi, Tal Kaherava

We have completed twenty-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 twenty-fifth post was titled ‘Raaga Based Song Of The Day #25’ and the song was a Mohammad Rafi, Sudha Malhotra, SD Batish song from the 1964 Atma Ram movie Kaise Kahun: Manmohan man mein ho tumhi.  It is in Raag Adana, Tal Tintal.

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 III’.

In the last twenty-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, Mand and Adana.

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

However, first, lets take up the value added learning of today. Today, we shall learn a little more in detail about Raaga – Samay (Time) Linkage:

You would have noticed that I have often given a specific time of the day (Samay) for the rendition of a raaga. Raagas association with Samay dates back several centuries. The earliest mention of the relation between Raaga and Samay is Narada’s Sangita Makaranda, written sometime between the 7th and 11th century, which warns musicians against playing raagas at the incorrect time of day.

Let me delve a little more deeply in it. In order to keep track of time, in the ancient Indian system, a day of 24 hours has been divided into prahars of three hours each. Hence, there are four prahars in the day and four at night. The concept still prevails today, particularly in connection with the performance of Indian classical music. Some raagas of the Indian classical music are prescribed to be performed at a particular prahar to maximize their aesthetic effects. Pandit Bhatkhande, who based his Raaga System on Thaats (the system that is prevalent today) states that the correct time to play a raaga has a relation to its Thaat (scale or mode).

I have already told you that a Raaga brings out a certain mood in the listener. This mood is associated with a certain prahar when the Raaga is at the height of its melodic beauty and intended splendour. Therefore, a raaga that is meant to be played at night cannot set the mood and splendour if it is to be rendered in the day. The colour or hue or fragrance (Remember that the word Raaga roughly translates to Colour) would be missing at another time or Samay.

It is believed that as the day starts, there are daily cycle of changes that occur in our own body and mind and our moods and emotions are constantly undergoing subtle changes.

The main purpose of a raaga is to invoke a specific mood or sentiment in the listener. In the hands of ancient musicologists, musical notes were powerful instruments with powers to heal, to make people happy, sad, frustrated, angry and passionate and so on. Extensive research was carried out to find out these effects. This formed the basis of raaga – samay association which exists even today.

Human body, as per these musicologists,  is dominated by the three Doshas – Kaph , Pitta and Vata that rise and fall with prahars. Research also brought out that these three Doshas had different reactions during different seasons. That explains in detail now why a specific raaga is to be performed at a particular time of the day and in a particular season (the old saying, for example, brings out ‘Bin mausam malhar na gaana’ (Don’t sing Malhar out of season (Sawan)).

I have given you many songs based on raagas that belong to Kafi Thaat, eg, Bhimpalasi, Pilu, Megh Malhar, and Bageshri. However, I haven’t yet given you a song in Raag Kafi, the basic raaga of Kafi Thaat. Today, I shall make up for that.

Raag Kafi is not a very ancient raaga, I told you when describing the Kafi Thaat. It is believed to have emerged in 15th century. The raaga has a direct association with folk music in India such as Tappa, Hori, Dadra, Kirtan and Bhajan. Kafi is a sampoorna-sampoorna or heptatonic raaga, with komal (soft) Gandhar (Ga) and Nishad (Ni).

It is easy to guess that it belongs to Sringaar rasa. It is normally to be performed at midnight and during the season of Fagun (Feb to March).

Some of the songs composed in Raag Kafi are:

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
Balam Aaye Baso
Bharat Ki Ek
Hori Mose Khero
Jab Dil Hi Toot Gaya
Sooni Pari Re
Ghayal Hirania
Kaase Kahoon Man
Mori Ghayal Geet
Bairan Neend
Hori Khelat Nandlal
Kaal Ka Pahiya
Raaton Ko Chori
Jalte Hain Jiske Liye
Mitwa Lagi Re
Kaise Kahoon Man Ki
Piu Piu Bol
Dekho Bina Sawan
Tere Bin Soone Nayan
Bigdi Banane Wale
Preet Laga Ke Maine
Aaye Bhi Akela
Aelo Main Hari Piya
Devdas
Ram Rajya
Lalat
Shahjahan
Kangan
Munimji
Dhool Ka Phool
Baap Bete
Chacha Zindabad
Godan
Chanda Aur Bijli
Mohabbat Zindagi Hai
Sujata
Devdas
Bhala Manas
Bandhan
Sawan
Meri Soorat Teri Aankhen
Badi Bahan
Aankhen
Dost
Aar Paar
K. L. Saigal
Chorus
Hirabai Barodkar
K. L. Saigal
Leela Chitnis
Lata Mangeshkar
Sudha Malhotra
Lata Mangeshkar
Lata Mangeshkar
Mohd. Rafi
Manna Dey
Asha Bhonsle
Talat Mahmood
Talat Mahmood
Asha Bhosle
Pradeep
Mohd. Rafi
Rafi, Lata
Suraiya
Mukesh
Talat Mahmood
Geeta Dutt

Hats off to SD Burman for having considered these essential characteristics of the Raag Kafi for selecting the Raaga Based Song of today for composing the best ever of my favourite singer Hemant Kumar. It is from the 1952 Guru Dutt movie Jaal (Net or Trap) starring Dev Anand and Geeta Bali.Geeta Bali (Maria) is the daughter of KN Singh (Carlos), fishermen folks in Goa. Dev Anand (Tony Fernandez) tries to trap Maria in his love even though he is a good-for-nothing mysterious man from Bombay. And now you know why Raag Kafi, to be sung at midnight, is such an apt choice for this song trying to ensnare Maria.

The taal is Kaherava and I have told you adequately about it in one of the earlier posts.

It is one of the most enchanting songs penned by poet and lyricist Sahir Ludhianvi.

Sahir was born as Abdul Hayee on 8th March 1921. Sahir means ‘Wakeful’ or ‘Magician’ and this poet from Karimpura, Ludhiana actually awakened us with his poetry as a magician.

His mother Sardar Begum suffered at the hands of his father who eventually remarried. Some of Sahir’s poetry reflects that angst about the treatment of women. Sahir gained fame in his college (Khalsa College, Ludhiana) reading out his poems and giving his fiery speeches.

Sahir didn’t marry though he was romantically inclined to Amrita Pritam and later to the singer Sudha Malhotra.

Sahir Ludhianvi and Amrita Pritam (Pic courtesy: thebigindianpicture.com)

Sahir’s style of poetry was different from Shakeel’s. Indeed, Shakeel was exclusively a poet of Love whereas almost all other poets of that era, including Sahir, wrote about the social conditions prevalent in the country including poverty.

For example, if Shakeel wrote for a Leader song, about Taj Mahal:

Ek Shehanshah ne banwa ke haseen Taj Mahal,
Saari duniya ko mohabbat ki nishaani di hai,
Iske saaye mein sadaa pyaar ke charche honge
Khatam jo ho naa sakegi wo kahani di hai

Sahir’s was to be critical of Shahjehan for the ostentation:

Ek Shaehanshah ne banwa ke haseen Taj Mahal,
Ham gareebon ki mohabbat ka udhaaya hai mazaak,
Mere mehboob kahin aur mila kar mujhako.”

Many of his fans consider Sahir Ludhianvi as the greatest poet and lyricist of that era.

These do not include me though I was brought up in a place close to Sahir’s. As I told you a favourite is not someone like a horse who wins all races for you. A favourite is the one who comes closest to your own emotions and moods. Shakeel Badayuni does that for me.

Sahir received Filmfare awards for Best Lyricist twice: once for the Taj Mahal song: Jo vaada kiya wo nibhaana padhega; and once for the title song of Yash Chopra’s Kabhie Kabhie, which some feel was tailored on his own biography in part.

Please enjoy this most enchanting song sung by Hemant Kumar on a composition in Raag Kafi Tal Kaherava on the lyrics of Sahir Ludhianvi: Ye raat ye chandini phir kahan….

Ye raat ye chaa.Ndanii phir kahaa.N
sun jaa dil kii daastaa.N
ye raat…

Pe.Do.n kii shaakho.n pe soii soii chaa.Ndanii
tere khayaalo.n me.n khoii khoii chaa.Ndanii
aur tho.Dii der me.n thak ke lauT jaaegii
raat ye bahaar kii phir kabhii na aaegii
do ek pal aur hai ye samaa, sun jaa…

Laharo.n ke ho.nTho.n pe dhiimaa dhiimaa raag hai
bhiigii havaao.n me.n Tha.nDii Tha.nDii aag hai
is hasiin aag me.n tuu bhii jalake dekhale
zi.ndagii ke giit kii dhun badal ke dekhale
khulane de ab dha.Dakano.n kii zubaa.N, sun jaa…

Jaatii bahaare.n hai.n uThatii javaaniyaa.N
taaro.n ke chhaao.n me.n pahale kahaaniyaa.N
ek baar chal diye gar tujhe pukaarake
lauTakar na aae.nge qaafile bahaar ke
aajaa abhii zi.ndagii hai javaa.N, sun jaa…

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. And today, on the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #25

Raaga Based Song of the Day: Manmohan man mein ho tumhi…
Raag Adana, Tal Tintal

We have completed twenty-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 twenty-fourth post was titled ‘Raaga Based Song Of The Day #24’ and the song was a Lata Mangeshkar song from the 1991 Gulzar movie Lekin: Kesariya baalma.  It is in Raag Mand, 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 Bhairavi – Part II’.

In the last twenty-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 and Mand.

Today, I give you a song in Raag Adana, Tal Tintal.

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

I had given you an introduction to Tal (musical measure) on the second day itself. Some of you would recall that I had mentioned that Tal, Taal or Tala is a word that is variation of the word Taali (Clap). Before the advent of Tabla, the standard method of keeping the musical measure was with the clapping or tapping of one’s hand on the arm or thigh. Indeed, now that we have Tabla, this beat is still maintained by clapping and waving of hands. If you recall, I had also mentioned that whilst the Raaga sets the mood, time of day and season of a composition, Tal constitutes the time-cycle. Therefore, a Raaga and Tal go hand in hand. On the 14th Raaga Based Song of the Day, was the only occasion when we didn’t have a Raaga (Kalyan) accompanied by a Tal since the entite composition of Lagata nahin hai dil mera was in Alaap.

The rythmic hand gestures used to denote Tal are called Kriyas. If you recall, I laid emphasis on something called Vibhag or sections or angas or parts of a Tal. In Hindustani music, the first beat of a Vibhag is Tali (Clap), whilst the empty beat (Khali) is indicated is indicated by the sideways wave of the dominant clapping hand. And thus, you would recall, I represented the Tal for you with Claps and Waves.

We had also learnt that a Tal doesn’t have a fixed tempo or laya. Hence, we had learnt three different tempos: Vilambit (delayed or slow), Madhya (medium) and Drut (fast).

Teental or Tintal is the most popular Tal in North India/Hindustani Music. It is also the most symmetrical. It has 16 beats in four vibhags. The period between every two beats is the same. We already know that the first beat is called Sam (to be pronounced like the English word Sum) and the ninth beat is Khali or empty. To perform the kriya of Tintal, one has to clap on the first beat, clap on the 5th beat, then waves on the 9th beat and lastly again claps on the 13th beat; these three claps give the rhythm its name: Teental or Tintal.

The Theka for Tintal
dha dhin dhin dha | dha dhin dhin dha |
x 2
dha tin tin ta | ta dhin dhin dha |
o 3

This can also be shown using the following figure:

Taal signs X 2 0 3
Maatra 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Bols dha dhin dhin dha dha dhin dhin dha dha tin tin ta ta dhin dhin dha

Raag Adana was earlier called Addana, which used to be a major raaga of the 17th century and used to be a combination of Malhar and Kanada. Because of its association with Kanada, it is also called Adana Kanada. If that reminds you of Darbari Kanada, you are not too much off the mark. The fact is that Adana is often sung or played in drut laya after a vilambit composition in raga Darbari Kanada. Adana is much more straight than Darbari and hence passages faster than vilambit are possible. Adana is a late night raaga to be sung between midnight and 3 AM.

Some of the other Hindi songs composed in Raag Adana are:

Aapki nazron ne samajha
Ai dil mujhe aisi jagah le chal
Jhanak Jhanak Payal
Jaa Main Tose
Manmohan Man Mein
Lapak Jhapak Tu
Mukh Se Na Boloon
Ghar Aaja Meray
Jab Ishaq Kahin Ho Jaata Hai
Saanware Mat Ja
Tumhe Jo bhi
Cham Cham Baje Re
Dil Ka Fasaana
Anpadh
Arzoo
Jhanak Jhanak Payal Bajay
Sautela Bhai
Kaisay Kahoon
Boot Polish
Jalianwala Bagh
Garam Coat
Aarzoo

Majboor
Jaane-Anjaane
Lata Mangeshkar
Talat Mahmood
Ustaad Amir Khan & Chorus
Lata Mangeshkar
Rafi, Suman, S. D. Batish
Manna Dey & Chorus
Lata Mangeshkar, Talat
Lata Mangeshkar
Asha Bhosle, Mubarak Begum
Lata Mangeshkar
Hemant Kumar
Manna Dey
Manna Dey

I have taken today’s song from the 1964 Atma Ram movie Kaise Kahun starring Biswajeet, Nanda, Geetanjali (Remember her? Well she is the one who acted with Mahipal in Parasmani and sang the famous song: Woh jab yaad aaye bahut yaad aaye), Poonam Kapoor, Durga Khote and Manmohan Krishna.

Naturally, you would be floored by the lyrics since these were penned by the best ever lyricist: Shakeel Badayuni. The composition is that of SD Burman (post 1959, you would recall that Shakeel came out of the influence of his mentor Naushad Ali and tied up with others such as Ravi and Hemant Kumar.

The song has been sung by Mohammad Rafi singing for Biswajeet, Sudha Malhotra singing for Nanda and SD Batish singing for Manmohan Krishna.

Please enjoy in Raag Adana, Tal Tintal: Manmohan man mein ho tumhi…

shi : a~ tanu~~um aa~ aa~ aa aa~
su : aa~ aa~ aa~ aa~ aa~
shi : aa~ manamohan man me.n ho tumhii.n
ra, su : manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano ya jaano na ho tumahii
manamohan man ## SDB joins in, R+S fade out ## me.n …
R: manamohan man me.n man me.n
S: ho tumhii.n ho tumhii.n ho tumhii.n
R+S=manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano yaa jaano naa ho tumhii.n
manamohan ## SDB joins in, R+S fade out ## man me.n …

SDB: dekh dekh torii chhab saa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano naa ho tumhii.n
manamohan man ## R fade out, S alone ## me.n
R: dekh dekh torii chhab saa.Nvariyaa
S: ho~o bani hai raadha tumharii baa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano na ho tumhii.n
manamohan man(R fade out, S alone) me.n
R: a~ aa~
S: aa~ aa~ a~

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. And today, on the twenty-fifth day, we learnt about Tintal.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #24

Raaga Based Song of the Day: Kesariya baalma…
Raag Mand, Tal Dadra

We have completed twenty-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 twenty-third post was titled ‘Raaga Based Song Of The Day #23’ and the song was a Mohammad Rafi song from the 1952 Vijay Bhatt movie Baiju Bawra: Man tadpat Hari darsan ko aaj.  It is in Raag Malkauns or Malkaush, Tal Tintal.

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 twenty-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 and Malkaush.

Today, I give you a song in Raag Mand, Tal Dadra.

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

We already know that a Thaat is a mode in Hindustani music. In the system of Raagas that Pandit Vishnu Narayan Bhatkhande devised, he initially came up with 32 Thaats to which almost all raagas belonged. Later, he cut it down to just 10 Thaats. According to Bhatkhande, almost all raagas are variations of or are based on these ten basic thaats or musical scales: Bilawal, Kalyan, Khammaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi. Therefore, if one were to pick a raga at random, it should be possible to find that it is based on one or the other of these thats. In the last twenty-three days, I have given you the Thaat to which the Raaga of the day belonged. For example, Raag Malkauns or Malkaush in our last post belongs to Bhairavi Thaat.

Raag Mand belongs to Bilawal Thaat. The other raagas belonging to this thaat are: Deskar, Hamsadhwani, and Bihag. In Bhatkhande’s system, the most basic Thaat is Bilawal. I have already told you in a previous post that Raag Bilawal occurs in Sri Guru Granth Sahib exactly half way through, that is, it is the 16th raaga out of 31 raagas in SGGS. It occurs from page 795 to 859. In an Akhand Paath (unbroken recital), it normally occurs on the next day morning and hence it is easy to conclude that it is an early morning raaga.

Being the most basic Thaat, Bilawal is used as a reference Thaat for all other thaats. A thaat must have seven notes (swar) out of a total of twelve notes (seven shuddha, four komal (Re, Ga, Dha, Ni) and one teevra (Ma) placed in an ascending order. Hence, a thaat has only aaroha. It would be easy to visualise that thaats by themselves are not sung but the raagas belonging to them are sung. I have already told you that thaats are named after the popular raaga of that thaat; eg, Bhairavi is a thaat named after the raag Bhairavi.

One reason for Bilawal being the basic thaat is because all the swars in the thaat are shuddha, ie, in their natural scale. One never hears of Bilawal raaga these days except in SGGS. However, a variation of the raag called Alhaiya Bilawal is very common.

Raag Mand, belonging to Bilawal Thaat has all shuddha swar too. Its Jati is (yesterday we studied jatis, if you recall) is Sampurna-Sampurna (Vakra). The best part of the raaga is that it is a light melody that sounds very natural (shuddha swar) but is rendered with great difficulty. No bandishes like bada-khayaals are rendered in this raaga. It is aptly suited for bhajans and ghazals. The basic format belongs to the folk tune of Rajasthan, which is the sung during festive occasions like birthdays, and marriages.

And that brings me to the song called Kesariya baalma. Kesariya baalma is the most popular Rajasthani folk song sung in Raag Mand. The earliest recording of this song is by Allah Jilai Bai, a folk singer of Rajasthan who lived between 01 Feb 1902 and 03 Nov 1992. She was such a superb singer that by the age of ten she was singing in the darbar of Maharaja Ganga Singh of Bikaner. Both Padma Shri and Sahitya Akademi awards have been conferred on her.

In the 1991 movie Lekin, the same song in Raag Mand, Tal Dadra was sung by Lata Mangeshkar, my favourite female singer in the movies. Indeed, if you look at the list of songs in Raag Mand, you would see that most of these have been sung by Lata Mangeshkar. Here is a representative list:

  1. Kise Karta Moorakh
  2. Mushqil Hai Bahut Muhkil
  3. Bachpan Ki Mohabbat
  4. Dekh Liya Main Ne
  5. Jo Main Janati
  6. Bala Main Bairagan
  7. Do Dil Toote
  8. Ab To Hai Tumse
  9. Thade Rahiyo
  10. Aaj Sach Hua
  11. Kesariya Balamaa
  12. Aao gori Aao Shyama
Achhuut Kanya
Mahal
Baiju Bawara
Deedar
Shabab
Meera
Heer Ranjha
Abhimaan
Pakeezah
Swarg Narak
Lekin
Tansen
Ashok Kumar
Lata
Lata
Lata, Rafi
Lata
Vani Jayaram
Lata
Lata
Lata
Lata
Lata
Khursheed

The 1991 movie Lekin was directed by Gulzar and starred Vinod Khanna, Dimple Kapadia, Amjad Khan, Alok Nath, Bina Banerjee and Hema Malini (in a special appearance).

Guess what? The movie was produced by Lata Mangeshkar and the music director was her brother Hridyanath Mangeshkar, who won the 1991 National Award for Best Music Direction. Another song from the movie: Yaara seeli seeli got Lata Mangeshkar the National Award for Best Playback Singer (Female) as also it got both the National and Filmfare Awards for Best Lyricist for Gulzar, who was also the director of the movie.

Please enjoy a rendition by Lata Mangeshkar of the most popular folk song of Rajasthan, composed in Raag Mand, Tal Dadra by her brother Hridyanath Mangeshkar on the lyrics of Gulzar: Kesariya baalma….

Kesariyaa baalamaa o rii
ki tumase laage nain, nain re

Ra.ng liyo mai.n aaj a.ng a.ng tere ra.ng me.n
tan huaa man huaa kesariyaa
chaa.Ndanii hai raat ab to aa jaa piyaa
aa~
chaa.Ndanii hai raat ab to aa jaa piyaa
kesariyaa baalamaa o rii …

Takaraa ke sar ko jaan na de duu.N to kyaa karuu.N
kab tak firaaq-e-yaar ke sadame sahaa karuu.N
mai.n to hazaar chaahuu.N ki boluu.N na yaar se
qaabuu me.n apane dil ko na paa_uu.N to kyaa karuu.N
chaa.Ndanii hai raat ab to aa jaa piyaa
chaa.Ndanii hai raat ab to aa jaa piyaa, aa jaa piyaa
chaa.Ndanii hai raat ab to aa jaa piyaa
kesariyaa baalamaa o rii …

Version II
Kesariyaa baalamaa o rii
ki baa.Nvarii bole log
na mai.n ji_utii na mariyo mai.n
biarahaa mhaaro rog re
baa.Nvarii bole log, log re
kesariyaa …

Cha.Dhate din kii aa.Nch baToruu.N
til til, til til sab jal jaa_uu.N
Dhalate saa.Njh kii raakh kureduu.N
ret me.n ret me.n sab ral jaaye
na mil paayii na bichha.Dii mai.n
kaiso ye sa.njog re
baa.Nvarii bole log re …

Mhaaro thal kii laambii saa_i.nyaa
nis din nis din kuchh likh jaa_uu.N
mero sandeso koii sunaa do
jis ko vo jis ko vo dikh jaaye
priit ko dekhe nagarii vaale
piir na dekhe log re
baa.Nvarii bole log
kesariyaa …

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. And today, on the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.

There is much more still to be learnt and enjoyed.

Please stay tuned!

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