Raaga Based Song of the Day: Zindagi bhar gham judaai ka mujhe tadpaayega….
Raag Malkauns, Tal Rupaktal
I have told you several times that I am basically a Lyrical man. On Facebook, I run a page titled ‘Lyrical‘ as tribute to the least remembered people in the making of songs: the Lyricists. For the Birth Centenary of my favourite lyricist, Shakeel Badayuni, I did a tribute to him on my blog in six parts. This was reconstruction of my posts (three per day) on ‘Lyrical‘. Everyday, I would also take up, a lyricist with somewhat matching lyrics to those of Shakeel. I kept two of the best in the end: Asad Bhopali and SH Bihari. On the 30th, out of 31 days, it was Asad Bhopali with his best: Woh jab yaad aaye bahut yaad aaye. Today, I have for you a song that has been penned by Asad Bhopali as well as Prem Dhawan, the lyricst who gave us: Seene mein sulagate hain armaan for the 1951 movie Taraana starring Dilip Kumar and Madhubala (one of their rare movies that didn’t have songs penned by Shakeel).
Hansraj Behl composed the song in Raag Malkauns. I remember him best for two numbers: One, Jahan daal daal par sone ki chidhiyan karti hain basera; and two, one of my father’s favourites: Jab raat nahin katati, zindagi kaise kategi? I also remember those super hits that he composed for 1959 Punjabi movie Bhangara that I saw with my parents with such unforgettable songs as: Jatt kudiyan to darda maara, Batti baal ke banere utte rakhdi haan, Been na bajayin mundeya meri gutt sapani ban jaayegi, Rut hai milaapan wali chann mera door ni, Rabb na kare meri akh phadke, and that beautiful number: Mull wikda sajan mil jaave lai lavan main jind bech ke. The best part is that I saw this movie as a child and 58 years later I still remember the magic of those songs; that’s Hansraj Behl for you.
So far, I have given you just one song in Raag Malkauns, the best ever by Shakeel-Naushad-Rafi: Man tadpat Hari darsan ko aaj (Tal Tintal; Please see: ‘Raaga Based Song Of The Day #23‘).
We have completed seventy-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 seventy-second post or the last post was titled ‘Raaga Based Song Of The Day #72‘ and the song was a Lata Manheshkar song from the 1949 Kamal Amrohi movie Mahal: Mushkil hai bahut mushkil chaahat ka bhula dena. It is in Raag Basant 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 Yaman – Part II‘.
In the last seventy-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, 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 Malkauns.
Today’s song has been sung by Mohammad Rafi on the lyrics of Asad Bhopali and Prem Dhawan and on a composition by Hansraj Behl. As I said, it is in Raag Malkauns, Tal Rupaktal.
However, first, lets take up the value added learning of today. Today, we shall learn about Indian Classical Ragas, an Android application for mobile phones.
Here is the description from Google Play Store:
“Raga” is a melodic mode used in Indian classical music. It is a rhythmic expression of a mood in Indian melody. “Indian Classical Ragas” is an e-Learning application where you can learn the Ragas by knowing Aaroh, Avaroh, Vaadi, Samvaadi, Prahar and some more information. Application also displays the list of famous hindi songs based on the ragas for reference.
We are in continuous process of adding more and more songs to the application hence you can expect more frequent updates to the application. Application works very well on mobile devices as well as tablet devices.
Application shows few Devnagari letters like “Swara’s”. To view them correctly; we would recommend using the application on Android version 4.2+; though few earlier versions are able to render the application without any issues. Our recommendation to use 4.2 is because; Android has officially started supporting Indic Fonts from version 4.2″
As I mentioned, today’s song is composed in Raag Malkauns, Tal Rupaktal.
Raag Malkauns or Malkaush belongs to the Bhairavi Thaat. Bhairavi makes use of all the komal swars, Rishabh, Gandhar, Dhaivat, Nishad. When singing compositions in Bhairavi raag, the singers however take liberty to use all the 12 swars. Bhairavi raag is named after the shakti or feminine aspect of the cosmic life force, which is personified as a consort to Lord Shiva. Bhairavi is a powerful raag filled with devotion and compassion.
Malkaush is another raag dedicated to Lord Shiva like Bhairav; however, to his consort Parvati. The name Malkaush is derived from the combination of Mal and Kaushik, which means he who wears a garland of snakes; ie, Shiva. It is believed that the raaga was composed by Lord Shiva’s wife Parvati to calm him down. As a matter of interest all pentatonic raagas belong to Shaivait musical school and so does Malkaush.
Its Jati is Audhav-Audhav. The five notes used are: Sa, komal Ga, shuddh Ma, komal Dha, and komal Ni. The two notes that are totally omitted are: Re (Rishab) and Pa (Pancham).
Malkaush is a late night raaga and is calming, soothing and even intoxicating. One would use such a raaga in deep and serious meditation.
Some of the other songs composed in Raag Malkauns are:
Man Tarpat Hari
Zindagi Bhar Gam
Chhup Chhup Chhaliya
Aadha Hai Chandrama
Balma Mane Na
Saawan Ki Raat Kari
Pag Ghungaroo Bole
Meri Jhansi Nahin
Vandau Raghupati Karuna
Pag Laagan De
Chham Chham Baje Re
Yeh Kahani Hai
Sau Baar Janam Lengay
Sapna Ban Saajan
Mane Na Mane Na
Bichhua Mane Na
Badi Der Bhayee
Sur Ke Panchhi Aaye
Gori Tera Gaon
Hey Mahadev meri
Jane Bahar HusnTera
O Rimima Jhimimwa
Aaj More Ghar Aaye
|Saanjh Aur Savera
Ladki Sehyadri Ki
Birbal My Brother
Toofan Aur DiyaShokhiyan
Preet Na Jane Koi
Jasraj, Bhimsen Joshi
Bhimsen Joshi, Manna Dey
Sadhna S., Suresh Wadekar
The song Zindagi bhar gham judaai ka mujhe tadpaayega is from the 1957 Kedar Kapoor movie Miss Bombay starring Nalini Jaywant, Ajit and Rehman.
Please enjoy in Raag Malkauns, Tal Rupaktal: Zindagi bhar gham judaai ka mujhe tadpaayega…….
Badalaa to aise badalaa hai kuchh ra.ng-e-gulasitaa.N
Ik phuul pe bahaar hai ik phuul pe Kizaa.N
Zindagii bhar Gam judaa_ii kaa mujhe ta.Dapaa_egaa
Har nayaa mausam puraanii yaad lekar aa_egaa
Zindagii bhar Gam …
Hai.n vahii raahe.n vahii galiyaa.N magar sunasaan hai.n
Tuu nahii.n to dil kii saarii bastiyaa.N viiraan hai.n
Dil me.n hai jo Gam teraa vo jaan lekar jaa_egaa
Zindagii bhar Gam …
Ho.n mubaarak tujhako Kushiyaa.N aur mujhe rusavaa_iyaa.N
Tujhako teraa ghar salaamat aur mujhe tanahaa_iyaa.N
Marate-marate bhii teraa hii naam lab pe aa_egaa
Zindagii bhar Gam …
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:
- 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.
- On the second day we learnt about Tal or Taal.
- On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
- On the fourth day, we learnt about Sargam.
- On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
- On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
- On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
- On the eighth day, we learnt the parts of a composition in Indian Classical Music.
- On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
- On the tenth day, we learnt about the sources of names of Raagas.
- 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.
- On the twelfth day, we learnt about Khammaj Thaat.
- On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
- On the fourteenth day, we learnt about Alap.
- On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
- On the sixteenth day, we learnt about tips for raaga identification.
- On the seventeenth day, we learnt the basics of Gharana system.
- On the eighteenth day, we learnt about Filmi Sangeet.
- On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
- On the twentieth day, we learnt about the Kafi Thaat.
- On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
- On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
- On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
- On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
- On the twenty-fifth day, we learnt about Tintal.
- On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
- On the twenty-seventh day, we learnt about Lehar.
- On the twenty-eighth day, we learnt about the history of the Hindustani Music.
- On the twenty-ninth day, we learnt about Dhrupad.
- On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
- On the thirty-first day, we learnt about Khayal.
- On the thirty-second day, we learnt about Thumri.
- On the thirty-third day, we learnt about Tappa.
- On the thirty-fourth day, we learnt about Tarana.
- On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
- On the thirty-sixth day, we learnt about Tabla.
- On the thirty-seventh day, we learnt about Kirtan.
- On the thirty-eighth day, we learnt about Pakhawaj.
- On the thirty-ninth day, we learnt about Hori.
- On the fortieth day, we learnt about Dadra.
- On the forty-first day, we learnt about Kajri.
- On the forty-second day, we learnt about Chaiti.
- On the forty-third day, we learnt about Sarangi.
- On the forty-fourth day, we learnt about Shehnai.
- On the forty-fifth day, we learnt about Sarod.
- On the forty-sixth day, we learnt about Bansuri.
- On the forty-seventh day, we learnt about Ektal and Tanpura.
- On the forty-eighth day, we learnt about Veena.
- On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
- On the fiftieth day, we learnt about Dilruba/Esraj.
- On the fifty-first day, we learnt about Jaltarang.
- On the fifty-second day we learnt about Qawwali.
- On the fifty-third day, we learnt about Sitar.
- On the fifty-fourth day, we learnt about Surbahar.
- On the fifty-fifth day, we learnt about Harmonium.
- On the fifty-sixth day, we learnt about Santoor.
- On the fifty-seventh day, we learnt about Swarmandal.
- On the fifty-eighth day, we learnt about the Shruti Box.
- On the fifty-ninth day, we learnt about Alankar.
- On the sixtieth day, we learnt about singing in Aakaar.
- On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
- On the sixty-second day, we learnt a little about Carnatic Music.
- On the sixty-third day, we learnt about Natya Shastra.
- On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
- On the sixty-fifth day, we learnt about Riyaaz.
- On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
- On the sixty-seventh day, we learnt about the health benefits of raagas.
- On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
- On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
- On the seventieth day, we learnt about Melakarta Raagas.
- On the seventy-first day, we learnt about Sangita Makarand.
- On the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.
- And today, on the seventy-third day, we learnt about Indian Classical Ragas, an Android application for mobile phones.
There is much more still to be learnt and enjoyed.
Please stay tuned!
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