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 ¹⁄₂-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:

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. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 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. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90. 91. 92. 93. 94. 95. 96. 97. 98. 99. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109. 110.

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. 113. 114. 115. 116. 117. 118. 119. 120. 121. 122. 123. 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152.

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!