Raaga Based Song Of The Day #72

Raaga Based Song of the Day: Mushkil hai bahut mushkil chaahat ka bhula dena….
Raag Pahadi, Tal Kaherava

Am I tethered to Raag Pahadi, the raaga of my place in the hills? It appears so considering the alacrity with which I revert to this raag every now and then. This one is special not just because it is a fine example of Pahadi; but, because its lyrics are so good and apt. For example, taste this:

Ye khel nahin lekin ye khel hai ulfat kaa
Roton ko hansaa denaa hansaton ko rulaa denaa.

These remarkably beautiful lyrics have been penned by Nakshab who gave us such songs as Badi mushkil se dil ki beqraari ko qaraar aaya, Aayega aayega aanewala aayega, and Zindagi hai yaa koi toofaan hai. These were composed by Khemchand Prakash who lived between 12 Dec 1907 to 10 Aug 1950 and who gave us several unforgettable songs such as: Diya jalao jagmag jagmag, Baraso re baraso re, Ghata ghanghor ghor mor machaye shor, and Kyaa hamane bigaada hai kyun hamako satate ho.

So far, I have given you the following songs in Raag Pahadi: Aaj ki raat piya dil na todo (Tal Dadra; Please see: ‘Raaga Based Song Of The Day #7‘), Zara sun haseena-ai-nazneen (Tal Rupaktal; Please see: ‘Raaga Based Song Of The Day #8‘), Chal udd ja re panchhi (Tal Kaherava; Please see: ‘Raaga Based Song Of The Day #32‘), and O door ke mussafir (Taal Kaherava; Please see: ‘Pleaser See: ‘Raaga Based Song Of The Day #55 – A Tribute To My Late Mother‘).

We have completed seventy-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 seventy-first post or the last post was titled Raaga Based Song Of The Day #71 and the song was a Lata Manheshkar song from the 1968 Amar Kumar movie Mere Hamdam Mere Dost: Chalo sajana jahan tak ghata chale. It is in Raag Basant Mukhari, 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 seventy-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, 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, Hamir, Bhatiyar, Gawati, Shyam Kalyan, Gorakh Kalyan, Madhamat Sarang, Manj Khammaj, Darbari Kanada, Vibhas and Shankara; making it a total of 58 raagas. The seven raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti, Bhairavi, Gara and Basant Mukhari. Today, I am repeating Raag Pahadi for the fifth time.

Today’s song has been sung by Lata Mangeshkar on the lyrics of Nakshab and on a composition by Khemchand Prakash. As I said, it is in Raag Pahadi, Tal Kaherava.

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

If you remember just three days ago (Please see: ‘Raaga Based Song Of The Day #69), I told you about Raaga Quest, a mobile application for identifying raagas. Today, I tell you about another free Android application available for providing accompaniment of musical instruments whilst doing Riyaaz or even during a Concert. Here is the description:

“TaalMala provides personalized accompaniment of Tabla, Pakhawaj, Manjeera, Tanpura, SwarMandal and Lehra/Nagma on Santoor and Harmonium. Use TaalMala for your daily riyaaz or live concerts. With high-quality Tabla, Pakhawaj, Manjeera, Tanpura, SwarMandal, Santoor and Harmonium sounds sampled from real instruments, huge library of 340+ pre-composed Taals, 240+ pre-composed Lehra/Nagma compositions and 450+ SwarMandal sequences in 41 most popular Ragas, TaalMala provides a complete practising solution for any Indian musician.

With TaalMala Composer, you can compose Taals, Lehras/Nagmas and SwarMandal patterns by simply entering the notation. For example, enter “Dha Dhin Dhin Dha” and TaalMala will play those bols, 1 beat each. Enter “S R G M P M G R” and TaalMala will play those notes. With a powerful sequencer, you can compose your own sequences of fixed or randomized Taal, Lehra/Nagma and SwarMandal patterns.

If you have the Windows desktop version of TaalMala, you can import your compositions from Windows to your Android device and play them on the Android device.

TaalMala features:

– High-quality studio-recorded Tabla, Pakhawaj, Tanpura, Santoor, Harmonium and Manjeera (Zanj) sounds
– Two sets of Tabla/Dagga sounds and ability to choose and mix-match between the two sound sets
– 340+ pre-composed Taals and Taal sequences, including most popular Taals and their variations
– 240+ pre-composed Lehra/Nagma compositions and sequences in multitude of ragas and Taals
– 450+ pre-composed SwarMandal patterns and sequences in 45+ Hindustani Ragas
– New Taals, Lehras and compositions added frequently as free updates
– Automatic Manjeera/Zanj accompaniment synchronized with the Tabla/Pakhawaj Taals
– Adjustable tempo from 10 bpm to 2000 bpm for Taal and Lehra
– Pitch control (+/- 0.5 octave), with independent fine-tuning of all instruments for precise matching with your scale
– Compose your own Taals using notation for the Taal
– Compose your own Lehras/Nagmas and SwarMandal patterns using notation
– Powerful sequencer to compose fixed and automatically randomized sequences from the Taals, Lehras and SwarMandal library
– Independent volume/level balance for Tabla/Pitch, Dagga/Bass, Manjeera, Lehra/Nagma and SwarMandal
– Ability to import and use your own Tanpura sounds and loops
– Choose between chromatic or just/harmonic tuning for all instruments
– Up to 2 simultaneous Tanpura playback
– High-quality Tanpura sounds with all popular Tanpura patterns included
– Adjustable Tanpura tempo
– Adjust strumming speed of 4 Tanpura strings independently
– Option to slightly vary the Tanpura plucking delays randomly for better realism
– Tap on the screen twice to set exact tempo
– Set start beat (matra) of the Taal, particularly useful in live concert mode if your composition starts from middle of a Taal cycle OR if composition is Vilambit (slow tempo)
– Compose your own Taals using our Windows desktop application and play them on your Android device

This is a trial version of the application with following limitations:

– Playback restricted to 5 minutes every hour
– Trial expires after 14 days from first use. To continue use after 14 days, you must purchase the licensed edition of the application.
– Trial period resets 74 days after the date of first installation, in case you had tried an older version and want to install and try the upgraded version now.
– To unlock full functionality and remove the time-limit, click “Upgrade” option on the main screen and purchase a license.

Web-site: http://www.taalmala.com

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

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 beautiful raag. 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’.

Today, once again, I take recourse to being resigned to the painful parting ordained by destiny, another beautiful facet of Pahadi.

Pahadi is a very popular raag for composing songs in Hindi movies. Some of the other songs composed in Raag 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 MeraJane 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

Mere Mundere Na Bol
Aao Mil Jaayen
Saanjh Bhayee Nahin Aaye
Neela Aasma So gaya
Ih hawaon Mein
Main Tulsi

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

Shagun
Dosti
Aakhri Khat
Anmol Ghadi
Babul
Chaudhavi Ka Chand
Neel Kamal
Baiju Bawara
Aapki Kasam
Barsaat
Dulari
AndaazShola 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

Parwana
Prem Geet
Shama Parwana
Silsila
Gumrah
Main Tulsi Tere Aangan Ki

Soutan
Aarti
Hare Rama Hare Krishna
Road To Sikkim
Door Ka Rahi
Anmol Ghadi
Kashmir Ki Kali

Rafi, Suman Kalyanpur
Rafi
Lata
Noorjahan
Shamshad
Rafi
Rafi
Shamshad, Lata, Rafi
Kishore, Lata
Lata
Rafi
LataRafi
Jagjeet Kaur
Lata
Lata, Rafi
Lata
Lata
Rafi
Lata, Rafi
Lata, Bhupendra
Bhupendra
Lata, Mukesh
Rafi, Suman, Mukesh
Lata, Nitin Mukesh
Lata
Rafi

Suraiya
Suresh Wadekar, Anuradha
Nirmala Devi
Lata & Amitabh
Mahendra, Asha
Lata

Lata
Lata
Kishore, Lata
Mukesh
Kishore
Noorjahan, Surendra
Rafi, Asha

The song Mushkil hai bahut mushkil chaahat ka bhula dena is from the 1949 Kamal Amrohi movie Mahal starring Ashok Kumar and Madhubala. One other song from the movie that became super-hit was: Aayega aayega aane wala aayega.

Please enjoy in Raag Pahadi, Tal Kaherava: Mushkil hai bahut mushkil chaahat ka bhula dena…….

Mushkil hai .a .a

Mushkil hai bahut mushkil chaahat kaa bhulaa denaa
Aasaan nahii.n dil kii ye aag bujhaa denaa

Ye khel nahii.n lekin ye khel hai ulfat kaa
Roto.n ko ha.Nsaa denaa ha.Nsato.n ko rulaa denaa
Mushkil hai bahut mushkil …

Dilavaalo.n kii duniyaa me.n hai rasm ke jab ko_ii
Aa_e to
Aa_e to qadam lenaa, jaa_e to duvaa denaa
Mushkil hai bahut mushkil …

Ulajhan hai bahut phir bhii ham tum ko naa bhuule.nge
Tum ko naa bhuule.nge
Mumakin to nahii.n lekin tum ham ko bhulaa denaa
Mushkil hai bahut mushkil …

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. On the fifty-seventh day, we learnt about Swarmandal.
  58. On the fifty-eighth day, we learnt about the Shruti Box.
  59. On the fifty-ninth day, we learnt about Alankar.
  60. On the sixtieth day, we learnt about singing in Aakaar.
  61. On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
  62. On the sixty-second day, we learnt a little about Carnatic Music.
  63. On the sixty-third day, we learnt about Natya Shastra.
  64. On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
  65. On the sixty-fifth day, we learnt about Riyaaz.
  66. On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
  67. On the sixty-seventh day, we learnt about the health benefits of raagas.
  68. On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
  69. On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
  70. On the seventieth day, we learnt about Melakarta Raagas.
  71. On the seventy-first day, we learnt about Sangita Makarand.
  72. And today, on the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.

There is much more still to be learnt and enjoyed.

Please stay tuned!

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