Raaga Based Song Of The Day #57 – Final Tribute To My Late Mother

Raaga Based Song of the Day: Tumhi ho mata pita tumhi ho….
Raag Bhairavi, Tal Kaherava

I am in awe of Raag Bhairavi and its variations. On the eleventh day’s value added learning, I had told you about why Bhairavi is the first raag to be taught to beginners and why it is generally the last in a performance (Please read: Raaga Based Song Of The Day #11). On that day, if you recall, I gave you the finest song composed in Raag Bhairavi in the Hindi movies: Baabul mora, naihar chhooto hi jaaye… in Raag Bhairavi, Tal Kaherava. In the 1938 Phani Majumdar movie Street Singer, having Kundan Lal Saigal in the title role, this song was performed live on camera by him since playback singing hadn’t yet become popular. The song had been penned by Nawab Wajid Ali Khan, the Nawab of Awadh when the British exiled him from his favourite city of Lucknow. Rai Chand Boral had composed the song for the movie.

I gave you another song in Ahir Bhairavi on the 22nd day: Poochho na kaise maine rain bitayi and even that would be a fine tribute to my mother who went to reside with God on the morning of Wednesday, the 9th Aug 17.

Today’s song is a final tribute to her in the current series. By now you know why Bhairavi is so well suited for it. Raag Bhairavi is often regarded as the Queen of Melodies. It is a Sampurna – Sampurna (Heptatonic) raaga both in ascent (Aaroha) and descent (Avaroha). This simply means that it uses all seven notes (swar). The komal (soft) swar make for a sobering devotional atmosphere which is full of love and piety and makes one closer to one’s Creator.

My Creator, my mother, the incarnation of God on Earth for me, lived with me for six decades and four years and Bhairavi shall always connect me to her; I am sure of that. Praying to her, for me, is praying to God. Particularly, after the untimely demise of my father on 01 May 1984 in a jeep accident, she has been Mata, Pita, Bandhu, Sakha; in short, everything to me. Hence, once again, the lyrics are so appropriate for me.

Bhairavi is a raaga that is normally sung in the wee hours of the morning. The reason is that since it is usually the last piece in a night long performance, the performance concludes in the morning. The reason why it is kept in the end is because in a night long concert, it is left to Bhairavi to cure the mistakes in the earlier performances. The devotional and peaceful bhaav of Bhairavi also makes it suitable as a concluding piece.

We have completed fifty-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 fifty-sixth post or the last post was titled Raaga Based Song Of The Day #56 and the song was a Lata Mangeshkar song from the 1957 Nandlal Jaswantlal movie Champakali starring Bharat Bhushan and Suchitra Sen: Chhup gaya koi re door se pukaar ke. It is in Raag Jhinjhoti, Tal Kaherava.

This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: The Best Raaga Based Songs in Hindi Movies – Raaga Yaman – Part III.

In the last fifty-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, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi, Kalavati and Hamir. The only four raag that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani and Jhinjhoti. That makes a total of 49 raagas so far; today’s one too I am repeating: Raag Bhairavi.

Today, I give you a bhajan, one of my favourites, in Raag Bhairavi, Tal Kaherava, sung by Lata Mangeshkar.

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

Swarmandal is a drone instrument like Tanpura and Shruti Box. Swarmandal is a combination of two words: Swar (Notes) and Mandal (Group). Therefore, Swarmandal has the ability to produce a large number of notes. It is also called Surmandal.

Swarmandals are 24 to 30 inches in length and 12 to 15 inches in width. The number of strings employed by the singer vary between 21 to 36. If you have a look at the accompanying picture, you will see that the strings are hooked in a nail lodged in the right edge of the swarmandal and on the left are wound around rectangular pegs which can be tightened with a special key. Wooden pegs were used instead of metal ones in the medieval period. A sharp 12-inch (13 mm) ridge on both sides of the swarmandal stands a little apart from the nails on which the strings are tightened. This ridge functions as a bridge on both sides. The swarmandal is similar to the autoharp or zither in many respects.

Some of the vocalists who have used this instrument extensively are Ustad Bade Ghulam Ali Khan (1902–1968), Ustad Salamat Ali Khan (1934–2003), Pandit Jasraj (b 1930), Kishori Amonkar (1932-2017), Ustad Rashid Khan (b. 1966) and Pandit Shyam Sundar Goswami.

The Beatles’ 1967 single “Strawberry Fields Forever” features a swarmandal, played by George Harrison, as does “Within You Without You”, from the band’s Sgt. Pepper’s Lonely Hearts Club Band album.

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

Some of the songs composed in this raaga are:

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2.
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55.
Baat Chalat Nayi Chunri
Kaisay Jaaoon Jamuna Kay Teer
Chod Gaye Baalam
Sudh Bisar Gayee
Baat Chalat Nayi
Saanwaray Saanwaray
Phul Gendwa Na Maaro
Laga Chunari Mein Daag
Hato Kaahe Ko
Jo Tum Todo Piya
Meray Aey Dil Bata
Mori Cham Cham Bajay
Tu Ganga Ki Mauj
Sun Neel Kamal
Madhukar Shyam Hamaray
Babul Mora Naihar
Mat Ja Jogi
Bhagwan Do Ghadi
Ab Teray Siva Kaun
Dheeray Dheeray Aaray
Piu Piu Bol
Aaee Diwali
Hamein To Shamein Gam
Akeli Mat Jaeeyo
Kya Mil Gaya Bhagwan
Main To Girdhar
Saiyan Ho Tose
Bujhti Hui Is Jot
Bajuband Khul Khul
Tu Pyar Kare Ya
Armaan Bhare Dil
Shri Ram Bhajo Such Mein
Piya Ji Main To
Karam Gati Tare
Dekho Ji Bahar Aayi
Aaya Hai Mujhe Phir
Dil Ka Khilona Haye Toot Gaya
Kaise Samjhaoon
Duniya Bananewalay
Jiya Jale Jaan Jale
Na Tufan Say Khelo
Jai Bolo Beimaan
Tumharay Sang Main Bhi
Khamosh Hai Khewanhar
Do Hanso Ka Joda
Main Pyar Se Teray
Tumhee Ho Mata, Pita Tumheen Ho
Main Dekhoon Jis Or Sakhi
Insaaf Ka Mandir
Main Zindagi Mein
Jot Se Jot Jagaatay Chalo
Sajna Kahe Nahin
Babul Mora
Shyam Mohe Chakar
Aaja Sawariya
Ladki
Devta
Barsaat
Sangeet Samrat Tansen
Rani Roopmati
Anuradha
Dooj Ka Chand
Dil Hi To Hai
Manzil
Jhanak Jhanak Payal Baje
Jhanak Jhanak Payal Baje
Ghoonghat
Baiju Bawara
Chitralekha
Bhakt Surdas
Street Singer
Jogan
Bahar
Kismat
Kismat
Bandhan
Ratan
Jugnu
Lalat
Anmol Ghadi
Jogan
Nai Raahein
Lajawab
Bajuband
Dekh Kabira Roya
Ambar

Milan
Milan
Azaad
Devar
Goonj Uthi Shehnai
Suraj
Teesri Kasam
Dil Se
Udan Khatola
Beimaan
Sohni Mahiwal
Amar
Ganga Jamuna
Saathi
Main Chup Rahoongi
Anita
Amar
Barsaat
Sant Gyaneshwar
Badnam Basti
Avishkar
Meera
Gaman
Geeta Roy
Lata Mangeshkar
Mukesh, Lata
Manna Dey
Krishnrao, Mohd.Rafi
Lata
Manna Dey
Manna Dey
Manna Dey
Lata Mangeshkar
Lata, Manna Dey
Lata Mangeshkar
Rafi, Lata
Ram Dulari
K. L. Saigal
K. L. Saigal
Geeta Roy
Geeta Roy
Amirbai Karnataki
Arun, Amir
Pradeep
Zohrabai Ambalawali
Noorjahan
Heerabai Barodkar
Noorjahan
Geeta Roy
Rafi , Asha
Geeta Roy
Lata Mangeshkar
Lata Mangeshkar
Geeta Dutt, Talat Mehmood
K. C. Dey
Lata Mangeshkar
Manna Dey
Lata Mangeshkar
Mukesh
Lata Mangeshkar
Rafi, Lata
Mukesh
Lata
Mohd. Rafi
Mukesh
Lata
Lata
Lata
Lata
Lata
Lata
Mohd. Rafi, chorus
Mohd. Rafi
Lata & Mukesh
Ghulam Mustafa
Jagjit & Chitra Singh
Vani Jayaram
Hiradevi Mishra
56.
57.
58.
59.
60.
61.
62.
63.
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Aapki Yaad Aati Rahi Raat Bhar
O Bansi Bajaiya
Ho Gori Tori Baanki
Jara Man Ki
Satyam Shivam Sundaram
Jo Tum Todo
Rang Mahal Kay
Kanha Re Peed Sahi Na Jaye
Meri Jaan
Aey Ji O Dekha Pyar
Hai Re Main To
Jo Bhajay Hari Tero Naam
Dil Ka Na Karna Aitbar
Mehndi Lagi Mere Haath
Suno Choti Si Gudiya Ki
Sar Pay Kadam Ki Chaiya
Sun Le Baapu Ye Paigam
Meray Man Ki Ganga
Mujhko Is Raat Ki
Chhaliya Mera Naam
Ek Paisa Day Day
Main Chali Main Chali
Garib Jaan Kay
Chahe Koi Mujhay
Sur Badle Kaisay
Piya Te Kahan Gayo
Ye Zindagi Kay Melay
Aey Dil Ab Kahin
Yahi Hai Vo Sanjh Aur Savera
Dil Apna Aur Preet Parayee
Shisha-e-dil Itna Na
Mera Naam Raju
Hothon Pe Sacchai Rehti Hai
Hai Aag Hamare Seene Mein
Sab Kuch Seekha Hamne
Tu Hindu Banega Na
Dil-e-betaab Ko
Tera Jaadu Na Chalega
Waqt Se Din Aur Raat
Mera Rang De Basanti
Raja Ki Aayegi Baraat
Ek Dil Aur Sau Afsane
O Shama Mujhe Phook De
Main Aashiq Hoon
Barsaat Mein
Kehta Hai Joker
Mera vichada yaar milaaday
Mera Joota Hai Japani
Ramaiya Vasta Vaiya
Pyar Hua Ikrar Hua Hai
Teri Nigahon Pe
Bane To Ban Jao
Jis Dil Mein Basa
Ae Mere Dost Ae Mere
Pagdi Samhal
Gaman
Sapne Suhane
Aadhi Raat Ke Baad
Kohinoor
Satyam Shivam Sundaram
Silsila
Satyam Shivam Sundaram
Aakrosh
Anubhav
Dekha Pyar Tumhara
Bedag
Taqdir Ka Badshah
Halaku
Mehndi Lagi Mere Haath
Seema
Bhakt Surdas
Balak
Sangam
Dil Bhi Tera Hum Bhi Tere
Chhaliya
Vachan
Professor
Chhoo Mantar
Junglee
Barkha
Toofan Aur Diya
Mela
Bluff Master
Sanjh Aur Savera
Dil Apna Aur Preet Paraee
Dil Apna Aur Preet Paraee
Jis Des Mein Ganga Behti Hai
Jis Des Mein Ganga Behti Hai
Jis Des Mein Ganga Behti Hai
Anari
Dhool Ka Phool
Palki
Guest House
Waqt
Shaheed
Aah
Ek Dil Aur Sau Afsane
Aashiq
Aashiq
Barsaat
Mera Naam Joker
Sohni Mehiwaal
Shri 420
Shri 420
Shri 420
Shabnam
Dulha-Dulhan
Saheli
Meherbaan
Shaheed
Chhaya Ganguli
Suman Kalyanpur
Manna Dey
Mohd. Rafi
Lata
Lata
Lata , Nitin
Vandana Purandare
Geeta Dutt
Suman Kalyanpur
Manna Dey
Lata
Lata
Lata
Lata
Sehgal, Rajan
Hemlata
Mukesh
Mukesh
Mukesh
Asha Bhosle
Lata, Rafi
Mohd. Rafi, Geeta Dutt
Mohd. Rafi
Lata
Lata
Rafi
Hemant Kumar
Asha , Rafi
Lata
Lata
Mukesh
Mukesh
Manna Dey, Mukesh, Geeta, Lata
Mukesh
Rafi
Rafi, Suman Kalyanpur
Lata
Rafi
Rafi
Lata
Lata
Lata, Mukesh
Mukesh
Lata
Mukesh
Lata
Mukesh
Rafi, Lata, Mukesh
Manna Dey, Lata
Mukesh
Lata, Mukesh
Mukesh
Rafi
Rafi
111.
112.
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April Fool Banaya
O Jane Wale Jao
Aa Asmaan Wale
Mera Rang De Basanti Chola
Manzil Ki Dhun Mein
Mehtaab Tera Chehra
Dhanya Bhagya Sewa Ka
Chali Pee Ke Nagar
Nain Mile Chain Kahan
Dhire Dhire Chal Chand
Mile Jo Kadi Kadi Ek
Matwala Jiya
Aana Hai To Aa
Tumko Hamari Umar lag
Ae Qaatibe Taqdir
Jab Dil Hi Toot Gaya
Ek Tara Bole
Bacchhe Man Ke Sacchhe
Reshmi Salwar Kurta
Tu Pyar Kahe
Khushiyon Ke Phool
Suno Chhoti Se Gudiya
Kisi Ne Apna
Main Piya Teri
Jaise Radha Ne Maala Japi
Ae Dil Tujhe Kasam
Jeet Hi Lenge Baazi
Main Piya Teri Tu
Dil Ka Khilona
Ja Re Ud Ja Re
Baki Kuch Bachaa
Doli Chadte Hi
Beshak Mandir
Chal Chal Ae Dil
Garibon Ki Suno
Yeh Pyar Vyar Kya Hai
Chingari Koi Bhadke
Dil Aaj Shayar Hai
Kisi Baat Par Main
Ae Mere Dil Kahin
Ae Mere Dost
Bhor Bhaye Panghat Pe
April Fool
Mother India
Pardes
Shaheed
Anokhi Ada
Aashiq
Sur Sangam
Sardari Begum
Basant Bahar
Love Marriage
Kasme-Vaade
Mother India
Naya Daur
Aayee Milan Ki Bela
My Sister
Shahjahan
Yaadgaar
Do Kaliyan
Naya Daur
Dekh Kabira Roya
Mayurpankh
Seema
Patita
Basant Bahar
Tere Mere Sapne
Dulari
Shola Aur Shabnam
Basant Bahar
Goonj Uthi Shehnai
Maya
Roti Kapda Aur Makaan
Heer Ranjha
Bobby
Jheel Ke Us Paar
Dus Lakh
Darar
Amar Prem
Gambler
Bemisal
Daag
Meherbaan
Satyam Shivam Sundaram
Rafi
Lata
Lata
Rafi, Mukesh
Mukesh
Mukesh, Lata
Kavita Krishnamurti
Aarti Anklikar
Lata, Manna Dey
Lata, Rafi
Kishore
Rafi, Lata
Rafi
Lata
K. L. Saigal
K. L. Saigal
Mahendra Kapoor
Lata
Asha, Shamshad Begum
Lata
Lata
Lata
Lata
Lata
Lata
Lata
Rafi, Lata
Lata
Lata
Lata
Mukesh
Lata
Narendra Chanchal
Lata
Rafi, Asha
Abhijeet,Alka Yagnik
Kishore
Kishore
Kishore
Talat Mehmood
Rafi
Lata

As far as Tal Kaherava is concerned, I have already told you enough about this most popular Tal.

Once again, I have made use of the song in memory of my late mother. The song, originally, is from the 1962 A Bhimsingh movie Main Chup Rahungi starring Meena Kumari and Sunil Dutt. The song was penned by Shimla man Rajinder or Rajindra (he used both spellings) Krishan that has my mom’s name in part (Harkrishan). Rajinder Krishan was the richest lyricist in Hindi movies and my mom was thje richest person at heart that I know of. The song was composed by Chitragupta. As a coincidence, the song is pictured, in the movie, on Babloo and my nickname during my childhood days was Bubble.

Please enjoy in Raag Bhairavi, Tal Kaherava: Tumhi ho mata pita tumhi ho….

Tumhi ho mata pita tumhi ho
Tumhi ho bandhu sakha tumhi ho
Tumhi ho mata pita tumhi ho
Tumhi ho bandhu sakha tumhi ho

Tumhi ho saathi tumhi sahare
Koi na apna siwa tumhaare
Tumhi ho saathi tumhi sahare
Koi na apna siwa tumhaare
Tumhi ho naiyya tumhi khewayya
Tumhi ho bandhu sakha tumhi ho
Tumhi ho mata pita tumhi ho
Tumhi ho bandhu sakha tumhi ho

Jo khil sake na wo phool ham hain
Tumhaare charno ki dhool ham hain
Jo khil sake na wo phool ham hain
Tumhaare charno ki dhool ham hain
Daya ki drishti sada hi rakhna
Tumhi ho bandhu sakha tumhi ho
Tumhi ho mata pita tumhi ho
Tumhi ho bandhu sakha tumhi 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. On the thirty-seventh day, we learnt about Kirtan.
  38. On the thirty-eighth day, we learnt about Pakhawaj.
  39. On the thirty-ninth day, we learnt about Hori.
  40. On the fortieth day, we learnt about Dadra.
  41. On the forty-first day, we learnt about Kajri.
  42. On the forty-second day, we learnt about Chaiti.
  43. On the forty-third day, we learnt about Sarangi.
  44. On the forty-fourth day, we learnt about Shehnai.
  45. On the forty-fifth day, we learnt about Sarod.
  46. On the forty-sixth day, we learnt about Bansuri.
  47. On the forty-seventh day, we learnt about Ektal and Tanpura.
  48. On the forty-eighth day, we learnt about Veena.
  49. On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
  50. On the fiftieth day, we learnt about Dilruba/Esraj.
  51. On the fifty-first day, we learnt about Jaltarang.
  52. On the fifty-second day we learnt about Qawwali.
  53. On the fifty-third day, we learnt about Sitar.
  54. On the fifty-fourth day, we learnt about Surbahar.
  55. On the fifty-fifth day, we learnt about Harmonium.
  56. On the fifty-sixth day, we learnt about Santoor.
  57. And today, on the fifty-seventh day, we learnt about Swarmandal.

There is much more still to be learnt and enjoyed.

Please stay tuned!

© 2017, Sunbyanyname. All rights reserved.

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2 Comments

  1. Excellent final tribute to Mom ji with a lovely prayer song written and composed by gr8 men of art Rajindra Krishana and Chittragupt. We used to sing this in Morning Assembly of our school in seventies. Now this prayer hardly sung as many others have come into vogue. Knew first time about the instrument Sur Mandal.
    Many of the best bhajans seem to be composed in Raga Bhairavi.