Month: September 2017

Raaga Based Song of the Day: Toote huye khwabon ne….
Raag Darbari Kanada, Tal Kaherava

Today, 05 Sep, happens to be the death anniversary of Salil Chowdhury. A song by him, coming at the heels of the last post wherein we took up a delightful song in Raag Gara composed by Sachin Dev Burman and sung by Mohammad Rafi for Dev Anand, is only apt. Some of you would recall that Bimal Roy had asked SD Burman to compose songs for his 1958 movie Madhumati. However, SD Burman had told Bimal Roy that Salil da would do a much better job of accomplishing what Bimal Roy had in mind. Thus were born some of the greatest and most popular songs composed by Salil Chowdhury.

Salil da was influenced by the Western Classical collection of music with his father. His music, continued to have that metronomic Western beat, say, from Ghadi ghadi mera dil dhadake to, say, Jaaneman jaaneman tere do nayan. Eventually, we all know that Salil Chowdhury came up with a fusion music that was entirely his signature tune.

We have already taken up a song in Raag Bageshri on the 19th day: Jao jao Nand ke lala (Tal Tintal) (Please see: ‘Raaga Based Song Of The Day #19‘). This one had been sung by Mohammad Rafi and has the same metronomic swing to it that is the signature of Salil da; even though this is a sad song.

We have completed sixty-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 sixty-seventh post or the last post was titled ‘Raaga Based Song Of The Day #67‘ and the song was a Mohammad Rafi song from the 1965 Amarjeet movie Teen Devian starring Dev Anand with his three women, Simi Grewal, Kalpana and Nanda: and Balraj Sahni: Aise to na dekho. It is in Raag Gara, 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 Jhinjhoti – Part I‘.

In the last sixty-seven 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 and Manj Khammaj. The six raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti, Bhairavi and Gara. That makes a total of 55 raagas so far. Today, I am giving you a raaga that I should have given long time back but didn’t: Raag Darbari Kanada.

Today’s song has been sung by Mohammad Rafi on the lyrics of Shailendra and on a composition by Salil Chowdhury. As I said, it is in Raag Darbari Kanada, Tal Kaherava.

However, first, lets take up the value added learning of today. Today, we shall have a look at the emotions that raagas evoke.

We had taken up this subject, in brief, on the sixth day (Please see: ‘Raaga Based Song Of The Day #6‘). Today, lets embark on the subject a little more comprehensively especially due to our yesterday’s post about the health benefits of raagas.

The word Raaga means colour or hue. That’s because, it was beleived that raagas could evoke diverse emotional responses in the audiences. Neuro-surgeons have now established that indeed raagas can evoke emotional responses ranging from happy, calm, tensed and sad.

Lets have a look at the findings of the National Brain Research Centre at Manesar, Haryana and the School of Psychology and Clinical Language Sciences, University of Reading, UK:

The two institutes, for the first time, conducted a study to establish the kind of responses people experiences whilst listening to Hindustani Classical Raagas.

Playing music pieces composed by Pandit Mukesh Sharma, an eminent sarod player from New Delhi, the scientists got 122 study participants from India to rate their experiences across ‘alaap’ (slow, free flowing introductory part) and ‘gat’ (faster, rhythmic part) of twelve ragas.

“Ragas indeed evoked an entire gamut of emotional responses,” says Avantika Mathur, who conducted the study led by Nandini Chatterji Singh at NBRC.

The scientists found that emotions changed as the tempo picked up from alaap to gat. For instance, emotional ratings for ragas like Desh and Tilak Kamod shifted from ‘calm/soothing’ in the slower arrhythmic alaap to ‘happy’ in the faster rhythmic gat. Similarly, the emotional responses for Shree and Miyan ki Todi shifted from ‘sad’ to ‘tensed’.

Chatterjee Singh says specific tonic intervals also emerged as robust predictors of emotional response. “Ragas that were rated as happy and calming comprised primarily of ‘shuddh swaras’ (pure notes) but the addition of ‘komal swaras’ (softer notes) introduced sadness, longing and melancholy,” she says.

In specific, ‘komal re’ was found to be a direct predictor of aversiveness (or negative valence). The scientists suggest that ‘komal re’ with its tension and high ‘yearning’ towards the tonic may build a narrative of hope or fear, the resolution of which brings associations of tension, yearning and a release of energy.

In Hindustani music, a tonic interval is defined in terms of its relation to the tonic which is the base ‘Sa’.

Chatterjee Singh says the mood-defining qualities of Hindustani ragas have been documented in ancient Indian performing arts treatise such as the ‘Natya Shastra’ by Sage Bharat. The word ‘raaga’ originates in Sanskrit and is defined as ‘the act of coloring or dyeing’ (the mind and mood or emotions in this context) and therefore refers metaphorically to ‘any feeling or passion especially love, affection, sympathy, desire, interest, motivation, joy, or delight’.

Mathur, who wants to conduct the study on a bigger scale with musically untrained and trained people, adds that their future research will try to look at the neural networks underlying emotion perception using functional magnetic resonance imaging.

Finally, lets have a look at some of the raagas and the emotions these are known to evoke:

(Please remember that time and again I have brought out that the optimal mood of the raaga is felt when it is played at a certain time of the day)

1. Raag Bilawal

Nature of the Raga – ‘Shant’ – Serene, Quiet, Peaceful

Timing – Early hours of the morning

2. Raag Bhairav

Nature of the Raga – ‘Shant’ – Serene, Quiet, Peaceful

Timing – Morning

3. Raag Bhairavi

Nature of the Raga – ‘Gambhir’ – Serious

Timing – Evening

4. Raag Bhupali

Nature of the Raga – ‘Shant’ – Serene, Quiet, Peaceful

Timing – Early hours of the night

5. Raag Vihag

Nature of the Raga – ‘Karun’ – Sad, Compassionate

Timing – Second half of the night

6. Raag Desh

Nature of the Raga – ‘Karun’ – Sad, Compassionate

Timing – Second half of the night

7. Raag Bhim Palasi

Nature of the Raga – ‘Shant’ – Serene, Quiet, Peaceful

Timing – Third half of the day

8. Raag Peelu

Nature of the Raga – ‘Karun’ – Sad, Compassionate

Timing – Third half of the day

9. Raag Tilak Kamud

Nature of the Raga – ‘Chanchal’

Timing – Second half of the night

10. Raag Bageshri

Nature of the Raga – ‘Gambhir’ – Serious

Timing – Afternoon

11. Raag Purvi

Nature of the Raga – ‘Gambhir’ – Serious

Timing – Evening

12. Raag Vrindavani Sarang

Nature of the Raga – ‘Chanchal’

Timing – Afternoon

At INK2012, celebrated classical violinist H K Venkatram demonstrates the brilliance of Indian raga music. Watch as Venkatram illustrates how a change in one note of a raga can alter the emotions conveyed and affect the mood of the listener.

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

Raag Darbari Kanada belongs to the Asavari Thaat. We saw that Kafi Thaat has Komal Gandhar and Komal Nishad. Now, if you add Komal Dhaivat to Kafi Thaat, you get Asavari. Asavari thaat has the mood of tyaag and renunciation to it. Its Jati is Sampoorna-Sampoorna Vakra, that is all seven notes in Aaroha and Avaroha, but twisted. The time for singing this raag is third part of night, that is midnight to 3 AM. Darbari Kanada, as the name suggests, is a raaga of Carnatic music. It was brought into Hindustani stream by Miyan Tansen in the Darbar of Emperor Akbar.

Some of the songs composed in Raag Darbari Kanada are:

The song Toote huye khwabon ne is from the 1958 Bimal Roy movie Madhumati starring Dilip Kumar, Vyjayanthimala, Pran and Johnny Walker. Most of the movie’s songs became super-hits. These were penned by Shailendra and composed by Salil Chowdhury:

One has to hand it to God of Songs: Mohammad Rafi for having sung a song for the hero Dilip Kumar and comedian Johnny Walker in the same movie; talks highly of his versatility.

Please enjoy in Raag Darbari Kanada, Tal Kaherava: Toote huye khwabon ne…

TuuTe hue Kvaabo.n ne, hamako ye sikhaayaa hai
Dil ne, dil ne jise paayaa thaa, aa.Nkho.n ne ga.nvaayaa hai
TuuTe hue Kvaabo.n ne

Ham Dhuu.NDhate hai.n unako, jo milake nahii.n milate
RuThe hai.n na jaane kyuu.N, (mehamaan mere dil ke – 2)
Kyaa apanii tamannaa thii, kyaa saamane aayaa hai
Dil ne, dil ne …
TuuTe hue …

LauT aaI sadaa merii, Takaraa ke sitaaro.n se
Uja.Dii huI duniyaa ke, (sunasaan kinaaro.n se – 2)
Par ab ye ta.Dapanaa bhii, kuchh kaam na aayaa hai
Dil ne, dil ne …
TuuTe hue …

https://www.youtube.com/watch?v=xkjfF11k7ls

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. And today, on the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Aise to na dekho ke hamako nasha ho jaaye….
Raag Gara, Tal Dadra

Sachin Dev Burman had a great affinity for his Dev Anand; so much so that the former used to say that his middle name Dev was for his favourite star, Dev Anand.

I have given another song in Raag Gara, Tal Kaherava earlier: my second song at that: Unake khayal aaye to aate chale gaye (Please see: ‘Raaga Based Song Of The Day #2‘).

We have completed sixty-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 sixty-sixth post or the last post was titled ‘Raaga Based Song Of The Day #66‘ and the song was a Lata Mangeshkar song from the 1960 Hrishikesh Mukherjee movie Anuradha starring Leela Naidu and Balraj Sahni: Kaise din beete kaise beeti ratiya. It is in Raag Manj Khmmaj, 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 Jaijaivanti‘.

In the last sixty-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, Hamir, Bhatiyar, Gawati, Shyam Kalyan, Gorakh Kalyan, Madhamat Sarang and Manj Khammaj. The only five raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti and Bhairavi. That makes a total of 55 raagas so far. Today, I am repeating Raag Gara.

Today’s song has been sung by Mohammad Rafi on the lyrics of Majrooh Sultanpuri, the only lyricist to have been awarded the highest: Dadasaheb Phalke Award, and on a composition by Sachin Dev Burman. As I said, it is in Raag Gara, Tal Kaherava.

However, first, lets take up the value added learning of today. Today, we shall have a look at use of raagas for good health as well as for treatment of diseases.

For a long time, ancient Indians believed that music had value much more than just the entertainment value of it. Music was considered a powerful tool to make us come closer to our inner selves and God. At a fairly early stage, I told you about the season and the time of day and night that a certain raag could be played to derive maximum benefit from it. Both were considered important to get into the emotion (bhaav) of the raaga to obtain the optimum that the raaga had to offer.

The health benefits of listening to specific raaga at a specific time have been proved to the extent that lately there is renewed interest in it. There are, now, a number of institutes that treat you with music either by itself or as a supplement to medicine. From the reading of ancient texts, it has been derived that singing a particular raaga has even more benefits than merely listening to it.

Right vibes? Well, Indian civilization was, in ancient times, already experimenting with the vibrations with therapeutic value that certain music produced.

Don’t believe me? Well, read about Nada Yoga, for example. Nada Yoga is all about the impact that music has on body and mind (ancient Indians thought of both being seamless) and in uplifting one’s level of consciousness. What do received vibrations from music do? Well, they can cause resonance in one’s mind and synchronise it to the mood of the raaga. As I said, either that by itself could have health benefits or as a supplement.

Do you remember when I told you about the moods that raagas could induce? Well, now imagine how raagas could intensify joys, positivity, peace etc in the listener or the singer. Therefore, it is easy to guess that only certain types of raagas could have health benefits.

Lets now think about the origin of raagas itself in ancient India. Please remember what I told you about the chanting of Vedic mantras in praise of God or gods and goddesses and how that was used to get positive benefits to individuals as well as to remove disharmony in either self or society. Gradually, we had a stream called Raaga Chikitsa (Raaga as a Doctor). Just to give an example, Haridas Swamy, who was Tansen’s Guru in the court of Emperor Akbar, had actually treated one of the queens with only music and she recovered.

Legend has it that Saint Thyagaraja brought a dead person back to life with his Bilahari composition Naa Jiva Dhaara. Muthuswamy Dikshitar’s Navagriha Kriti is believed to cure stomach ache. Shyama Sastry’s composition Duru Sugu uses music to pray for good health.

Raaga Chikitsa was an ancient manuscript, which dealt with the therapeutic effects of raaga. The library at Thanjavur is reported to contain such a treasure on raagas, that spells out the application and use of various raagas in fighting common ailments.

So, in addition to just the acoustic vibrations, in  Raaga Therapy, it is believed that they relied on magnetic and electro-magnetic energy too with concomitant effect on physiological and psychological components.

According to an ancient Indian text, Swara Shastra, the seventy-two melakarta raagas (parent raagas ) control the 72000 important nerves (nadis) in the body. It is believed that if one sings with due devotion, adhering to the raaga lakshana (norms) and sruti shuddhi (pitch purity), the raga could affect the particular nerve in the body in a favourable manner.

I am sure, by now, I have evoked adequate interest in health benefits of raagas. Here is just an example in real terms now (there is much more to be studied):

1. Raga Pooriya Dhansari (Hamsanandi-Kamavardini ) – evokes sweet, deep, heavy, cloudy and stable state of mind and prevents acidity..

2. Raga Bageshri – arouses a feeling of darkness, stability, depths and calmness. This raga is also used in treatment of diabetes and hypertension.

3. Raga Darbari (Darbari Kanada) – is considered very effective in easing tension. It is a late night raga composed by Tansen for Akbar to relieve his tension after hectic schedule of the daily court life.

4. Raga Todi – give treamendous relief to patients of high blood pressure.

5. Raga Ahir-Bhairav (Chakravakam) – is supposed to sustain chords which automatically brings down blood pressure.

6. Raga Malkauns – helps to cure low blood pressure.

7. Raga Bhairavi – Provides relief T.B, Cancer, Severe Cold, Phlegm, Sinus, toothache .

8. Raga Malhar – Useful in the treatment of asthma and sunstroke.

9. Raga Todi– Provides relief from cold and headache.

10. Raga Hindol & Marava – These ragas are useful in blood purification.

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

Raag Gara belongs to the Khammaj Thaat. Its Jati is Shadhav-Sampoorna, that is six notes in Aaroha (five notes except Rishab) and has all seven notes in Avaroha. The time for singing this raag is second part of morning. Khammaj Thaat’s pictorial description is sensuous and raagas derived from it have a certain degree of flirtatious mood about it. Listen to the song that I have selected for you and you will know what I mean.

Some of the songs composed in Raag Gara are:

The song Aise to naa dekho is from the 1965 Amarjeet movie Teen Devian starring Dev Anand with his three women: Simi Grewal, Kalpana and Nanda. The movie had remarkably beautiful songs penned by Majrooh Sultanpuri and composed by SD Burman: Are yaar meri tum bho ho gazab, Kahin bekhayal ho kar mujhe chhu liya kisine, Khwaab ho tum ya koi haqeeqat, and Likha hai teri aankhon mein.

Please enjoy in Raag Gara, Tal Kaherava: Aise to naa dekho ke hamako nasha ho jaaye….

Aise to na dekho, ke hamako nashaa ho jae
Khuubasuurat sii koI hamase Kataa ho jaae (2)
Aise to na dekho

Tum hame.n roko phir bhii ham naa ruke.n
Tum kaho kaafir phir bhii aise jhuke.n
Qadam-e-naaz pe ik sajadaa adaa ho jaaye
Aise to na dekho

Yuu.N na ho aa.Nkhe rahe.n kaajal ghole.n
Ba.Dh ke bekhudii ha.nsii.n gesuu khole.n
Khul ke phir zulfe.n siyaah kaalii balaa ho jaaye
Aise to na dekho

Ham to mastii me.n jaane kyaa kyaa kahe.n
Lab-e-naazuk se aisaa na ho tumhe.n
Beqaraarii kaa gilaa ham se sivaa ho jaaye
Aise to na dekho

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. And today, on the sixty-seventh day, we learnt about the health benefits of raagas.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Kaise din beete kaise beeti ratiyan….
Raag Manj Khammaj, Tal Kaherava

This song is from the 1960 Hrishikesh Mukherjee movie Anuradha. The movie had songs composed by Pandit Ravi Shankar on the lyrics of Shailendra. So important was this raag to Pandit Ravi Shankar that he composed two of the five songs of the movie in this raag. All were sung by Lata Mangeshkar. Please listen to Pandit Ravi Shankar performing this raag live at Woodstock Festival:

Also, you may like to listen to his daughter Anoushka Shankar performing this raag:

I have given you enough songs in Khammaj Thaat. I have given you a song in Raag Khammaj, the basic raag of this thaat: O sajana barkha bahaar aayi (Please see: ‘Raaga Based Song Of The Day #12‘).

We have completed sixty-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 sixty-fifth post or the last post was titled ‘Raaga Based Song Of The Day #65‘ and the song was a Mukesh and Lata Mangeshkar song from the 1967 SN Tripathi movie Rani Roopmati starring Nirupa Roy and Bharat Bhushan: Aa laut ke aaja mere meet. It is in Raag Madhamat Sarang, 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 Darbari Kanada – Part III‘.

In the last sixty-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, 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 and Madhamat Sarang. The only five raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti and Bhairavi. That makes a total of 54 raagas so far. Today, I am giving you a song in a new raag Manj Khammaj. That makes it 55 raagas so far.

Today, I give you a song sung by Lata Mangeshkar on the lyrics of Shailendra and on a composition by Pandit Ravi Shankar. As I said, it is in Raag Manj Khammaj, Tal Kaherava.

However, first, lets take up the value added learning of today. Today, we shall have a look at the list of raagas in Hindustani Classical Music that have been taken up separately in Wikipedia. I am doing so only to satisfy your curiosity, especially of those who have commented that we seem to be having any number of raagas. The raagas that we have already taken up from this list in Wikipedia are in blue:

• Alhaiya Bilaval
• Amritvarshini
• Asa
• Asavari
• Bageshri
• Bahar
• Bairagi
• Bairari
• Barwa
• Bhairav
• Bhairavi
• Bhatiyar
• Bhimpalasi
• Bhinnashadaja
• Bhoopeshwari
• Bhopali
• Bhupal Todi
• Bibhas
• Bihag
• Bihagara
• Bilaskhani Todi
• Bilaval
• Brindavani Sarang
• Darbari Kanada
• Deepak (Poorvi Thaat)
• Desh
• Desi
• Dhanashree
• Durga
• Gauri
• Gond
• Gurjari
• Hameer
• Hem Bihag
• Hindol
• Jaijaivanti
• Jaitsri
• Jaunpuri
• Jhinjhoti
• Jog
• Jogiya
• Kafi
• Kalavati
• Kalyani
• Kedar
• Khammaj
• Kirwani
• Lalit
• Madhukali
• Madhuvanti
• Malgunji
• Malhar
• Malkaush
• Marva
• Megh
• Megh Malhar
• Multani
• Nat Bhairav
• Patdeep
• Pilu
• Puriya
• Puriya Dhanashree
• Purvi
• Rageshree
• Ramkali
• Sahana
• Sarpada
• Shankara
• Shivaranjani
• Shree
• Sindhu Bhairavi
• Sohni
• Sorath
• Suhi
• Todi
• Vasant
• Yaman
• Yaman Kalyan
• Zeelaf

You would notice that only 37 of the 55 raagas that we have taken up have been mentioned in the list. Also, that from the above list 42 raagas haven’t yet figured in our Raaga Based Songs Of the Day! And here is a clincher: the other raagas, not in the list of those in Wikipedia and belonging to Hindustani Classical Music are (once again I those that have been taken up here are in blue):

• Aarabi
• Abheri Todi
• Abhogi Kanada
• Achob
• Adambari Kedar
• Adana Bahar
• Adana Malhar
• Adbhut Kalyan
• Adbhut Ranjani
• Ahimohini
• Ahir Kanada
• Ahir Lalat
• Ahiri Malhar
• Ahiri Todi
• Alahiya Bilawal
• Alamgiri
• Amba Manohari
• Ambika Sarang
• Ananda Bhairav
• Ananda Malhar
• Anandi kedar
• Anandi
• Anjani Kalyan
• Anjani Todi
• Anuranjani
• Araj
• Arun Malhar
• Asa Bhairav
• Asa Mand
• Asa Todi
• Averi Bhairavi
• Badhamsa Sarang
• Bageshri Bahar
• Bageshri Kanada
• Bahaduri Todi
• Bairagi Bhairav
• Bairagi Todi
• Bakul Bhairav
• Bangal Bhairav
• Bangal Bilawal
• Barari (Marwa aang)
• Barari (Purvi aang)
• Barathi Todi
• Barhams Sarang
• Basant Bahar
• Basanta Mukhari
• Basanti Kanada
• Basanti Kauns
• Basanti Kedar
• Bayati
• Beehad Bhairav
• Bhairav Bahar
• Bhairav Bhatiyar
• Bhankhar
• Bhankhari
• Bhaskali
• Bhatiyar (Marwa aang)
• Bhatiyar (Purvi aang)
• Bhatiyari Bhairav
• Bhavmat Bhairav
• Bhavsakh
• Bhawani Bahar
• Bhawani
• Bhilalu
• Bhim (Kafi thaat)
• Bhinna Bhairav
• Bhinna Kauns
• Bhinna Lalat
• Bhinna Rageshri
• Bhinna Shadaja
• Bhoopal (Bhairavi thaat)
• Bhoopal Todi
• Bhup Bilawal
• Bhup Nat
• Bhupawali
• Bhupkali
• Bhuplai
• Bibhas (Marwa aang)
• Bibhas (Purvi aang)
• Bihagada (with N)
• Bihagada (with n, N)
• Bihari
• Bilaskhani todi
• Bilawal Malhar
• Bilawali
• Birju ki Malhar
• Chaiti Bhup
• Chakradhar
• Chalnat
• Champak bilawal
• Champak
• Champakali
• Chanchalsas Malhar
• Chandani Bihag
• Chandani Kalyan
• Chandani Kedar
• Chandra Bhairav
• Chandra Bhankar
• Chandrakauns (Agra Gharana)
• Chandrakauns (Bageshree aang)
• Chandrakauns
• Chandramouli
• Chandranandan
• Chandraprabha
• Charju ki Malhar
• Charukauns
• Charukeshi
• Chhaya bihag
• Chhaya Gaud Sarang
• Chhaya Hindol
• Chhaya Kalyan
• Chhaya Tilak
• Chhaya
• Chhayanat
• Dagori
• Dayabati
• Deepak (Bilawal Thaat)
• Deepak Kedar
• Deepawali
• Deepranjani
• Deosakh
• Desh Malhar
• Deshi Tilang
• Deshkar (Purvi aang)
• Deshkar
• Dev Gandhar (Jogia aang)
• Dev Gandhar
• Devaranjani
• Devata Bhairav
• Devgiri Bilawal
• Devkauns
• Dhan Basanti
• Dhanakoni Kalyan
• Dhanashri (Bhairavi aang)
• Dhanashri (Kafi aang)
• Dhanashri (Khamaj aang)
• Dhanawarchi Kalyan
• Dhani
• Dhanikauns
• Dhanya Dhaivat
• Dhulia Malhar
• Dhulia Sarang
• Dinka Shankara
• Dinki Puriya
• Durga (Khamaj thaat)
• Durga Kedar
• Durgeshwari 1
• Durgeshwari 2
• Enayatkhani Kanada
• Gagan Vihang
• Gandhari 1
• Gandhari 2
• Gandhari 3
• Gandhi Malhar
• Ganeshwari
• Gara Bageshri
• Gara Kanada
• Gara
• Gaud Bahar
• Gaud Bilawal
• Gaud Malhar
• Gaud Sarang
• Gaudgiri Bahar
• Gaudi Lalat
• Gauri (Bhairav thaat)
• Gauri (Kalingada aang) (2 M’s)
• Gauri (Marwa aang)
• Gauri Basant
• Gavati
• Gawati
• Gopika Basant
• Gorakh Kalyan
• Govardhani Todi
• Gujari Todi
• Guna Kalyan
• Gunakali (Bilawal thaat)
• Gunakali Jogia
• Gunakree
• Gunaranjani
• Gunji Kanada
• Gunjikauns
• Gurjari todi
• Guru Kalyan
• Gyankali
• Hamir Bahar
• Hamir Kalyan
• Hamir Kedar
• Hamir
• Hamiri Bilawal
• Hansanarayani (Purvi thaat)
• Hanskinkini
• Hansvinod
• Harikauns
• Haripriya
• Hem Bihag
• Hem Kalyan
• Hem Lalat
• Hem Nat
• Hemant
• Hijaj Bhairav
• Hindol Bahar
• Hindol Basant
• Hindol Hem
• Hindol Kalyan
• Hindol Pancham
• Hindolita
• Hussaini Kanada 1
• Hussaini Kanada 2
• Hussaini Kanada 2
• Hussani Bhairavi
• Imratkauns
• Indumati
• Jaijaiwanti
• Jaij Bilawal
• Jait Kalyan
• Jait
• Jaladhar Basanti
• Jaladhar Desa
• Jaladhar Kedar
• Janasammohini
• Jangla Purvi
• Jangula (Asavari aang)
• Jaunkali
• Jaunpuri Bahar
• Jaunpuri Todi
• Jayajawanti (Desh aang)
• Jayajawanti Kanada
• Jayajawanti Todi
• Jayajawanti
• Jayet
• Jetashree
• Jhanjh Malhar
• Jog Bahar
• Jogeshwari
• Jogi Bhairavi
• Jogi Mand
• Jogia Kalingada
• Jogia
• Jogiya Asavari
• Jogkauns
• Jogwanti
• Joun Bhairav
• Kabir Bhairav 1
• Kabir Bhairav 2
• Kafi Bahar
• Kafi Kanada
• Kafi Malhar
• Kalahans
• Kalaranjani
• Kalashree
• Kalawati
• Kalingada
• Kamal Shree
• Kamalaranjani
• Kameshwari
• Kamod Nat
• Kamod
• Kamodwanti
• Kanada Bahar
• Kapar Gauri
• Kedar Bahar
• Kedar Bhairav
• Kedar Bhankar
• Kedar Mand
• Kedar Nand
• Kesari Kalyan
• Khamaj Bahar
• Khambavati
• Khammaji Bhatiyar
• Khat Dhanashree
• Khat Todi
• Khat
• Khem Kalyan
• Khemb
• Khemdhwan
• Khokar
• Kiranranjani
• Klawanti
• Komal Bageshri
• Lachari Todi
• Lachchasakh
• Lagan Gandhar
• Lajwanti
• Lakshmi Todi
• Lalat Bahar
• Lalat Pancham
• Lalat
• Lalit Bhatiyar
• Lalit Bilas
• Lalita Gauri (Bhairava aang)
• Lalita Sohani
• Lalitdhwani
• Lalitkali
• Lankeshri 1
• Lankeshri 2
• Lankeshri Kanada
• Lankeshwari
• Lom
• Madha Kalyan
• Madhukauns
• Madhasuraja
• Madhu Basant
• Madhu Kalyan
• Madhu Malhar
• Madhu Sarang
• Madhu Saraswati
• Madhukauns
• Madhumadh Sarang
• Madhumalati
• Madhuranjani
• Madhusurawali
• Madhyamad Sarang
• Malagunji
• Malashree
• Malati Basant
• Malati Bihag
• Malati
• Malava
• Malavi (Marwa thaat)
• Malavi (Purvi thaat)
• Malawa Bihag
• Malawati
• Malayalam
• Maligaura (d)
• Maligaura (d, D)
• Malini Basant
• Malkauns Bahar
• Malkauns Pancham
• Maluha Bihag
• Maluha Kalyan
• Maluha Kedar
• Maluha Mand
• Manavi
• Mand Bhairav
• Mand Bhatiyar
• Mand
• Mangal Bhairav 1
• Mangal Bhairav 2
• Mangal Todi
• Mangaldhwani
• Mangalgujari
• Mangiya Bhusan
• Manjari Bihag
• Manjari
• Marga Bihag
• Maru Basant
• Maru Bihag
• Maru Kalyan
• Maru Khamaj
• Maru Sarang
• Marwa Shree
• Medhavi
• Meghranji
• Mehkali
• Mirabai ki Malhar
• Miyan ki Malhar
• Miyan ki Todi
• Mohankauns
• Motaki
• MotakiTodi
• Mrig Savani
• Mudrika Kanada
• Multani dhanashree
• Nagaswaravali
• Nanad
• Nanak Malhar
• Nand Basant
• Nand Kauns
• Nand
• Narayani
• Nat Bihag
• Nat Bilawal
• Nat Kamod
• Nat Kedar
• Nat nagari
• Natachandra
• Natahams
• Natnarayani 1
• Natnarayani 2
• Nayaki Kanada
• Neelambari
• Nindiyari
• Niranjani Todi
• Pahadi
• Palas Kafi
• Palasi
• Pancham (Basant aang)
• Pancham (Hindol aang)
• Pancham Malkauns
• Pancham se Gara
• Pancham
• Paraj Basant
• Paraj Kalingada
• Paraj
• Parameshwari
• Pat Bihag
• Pat Kafi
• Pat Ranjani
• Patdeepak
• Patmanjari 2
• Patmanjari 3 (Talwandi Gharana)
• Phulashree
• Poorbya
• Prabhakali
• Prabhat Bhairav
• Prabhateshwari
• Pradeepaki
• Pratapvarali
• Priya Kalyan
• Purabi Kalyan
• Purva (Purvi thaat)
• Purva Kalyan
• Purvi Bihag
• Rageshri Bahar
• Rageshri Kanada
• Rageshri Kauns
• Rahi
• Raja Kalyan
• Rajani Kalyan
• Ram Gauri
• Ram Kalyan
• Ramdasi Malhar
• Ramsakh
• Rangeshwari
• Rasia
• Rasranjani Rasavati
• Rati Bhairav
• Rayasa Kanada
• Rewa (Purvi aang)
• Rupawati Kalyan
• Rupkali
• Rupmanjari Malhar
• Sagera
• Sagunaranjani
• Saheli todi
• Saindhavi
• Sajan
• Salagvarali
• Salang Sarang
• Samanta Sarang
• Sampurna Bageshri
• Sampurna Hindol
• Sampurna Kedar
• Sampurna Malkauns
• Sandhya Shree
• Sanjani
• Sanjh Barari
• Sanjh Sarawali
• Sanjh Tarini
• Sanjh
• Santuri Todi
• Sar Nat
• Sarang Kauns
• Saraswati Kalyan
• Saraswati
• Savani 1
• Savani 2
• Savani Barwa
• Savani Bhatiyar
• Savani Bihag
• Savani Bilawal
• Savani Kalyan
• Savani Nat
• Saveri Todi
• Sazgiri
• Sehra by Sultan Khan
• Shahana Bahar
• Shamvati
• Shankara Bihag
• Shankara Kalyan
• Sharada
• Shiv Abhogi
• Shiv Kauns
• Shivmat Bhairav
• Shivranjani
• Shobhavari
• Shree Kalyan 1
• Shree Kalyan 2
• Shreetanki
• Shuddha Barari
• Shuddha Basant
• Shuddha Bhairavi
• Shuddha Bihag
• Shuddha Dhanashree
• Shuddha Kalyan
• Shuddha Kedar
• Shuddha Lalat
• Shuddha Malhar (Bilawal thaat)
• Shuddha Malu
• Shuddha Nat
• Shuddha Sarang
• Shuddha Shyam
• Shukla Bilawal
• Shyam Kalyan 1
• Shyam Kalyan 2
• Shyam Kalyan
• Shyam Kauns
• Shyam Kedar
• Shyam Sarang
• Shyam Shree
• Simhendramadhyam
• Sindhura Bahar
• Sindhura Kafi
• Sindhura
• Sohani Bhatiyar
• Sohani Pancham
• Sorath Malhar
• Sourashtra
• Shuddha Bahar
• Sugandh
• Sugharai
• Suha Adana
• Suha Kanada
• Suha Malhar
• Suha Sughrai
• Suha Todi
• Suha
• Sujani Malhar
• Sukhiya Bilawal
• Sukul Bilawal
• Sur Malhar
• Swanandi
• Swarparda
• Tanseni Madhuwanti
• Tilak Bihag
• Tilak Des
• Tilak Kedar
• Tilak Shyam
• Tirbhukti
• Triveni Gauri
• Triveni
• Utari Gunakali
• Vasanta Carnatic
• Vibhas
• Vibhavari
• Vihang
• Vijayaranjani
• Vikram bhairav
• Vinod
• Virat Bhairav
• Viyogvarali
• Vrindavani Sarang
• Vyjayanti
• Yamani Basant
• Yamani Bilawal
• Yamani Hindol
• Zeelaf (Bhairav aang)

Now, you know, how difficult it would be to get to the end of this list. Also, now you would know how difficult it must have been for Pandit Vishnu Narayan Bhatkhande to include most of these in just Ten Thaats!

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

Raag Manj Khammaj belongs to the Khammaj Thaat. Its Jati is Audhav-Sampoorna, that is it is heptatonic in Aaroha (five notes except Rishad and Pancham) and has all seven notes in Avaroha. The time for singing this raag is midnight. In Manj Khammaj, Ma assumes dominance and acts as the tonic. Manj Khammaj is a raaga of recent origin, reported to have been created by Sarod maestro Allauddin Khan. And now, you will appreciate the picture of Lata Mangeshkar with Pt. Ravi Shankar that I selected for you in the beginning of the article: the picture shows Ustaad Ali Akbar Khan to extreme left. He was Ustaad Allauddin Khan’s son. The mood of the raaga is to wonder at the unpredictable nature of the world.

Two other Hindi films songs composed in this raag are: Jaane kaise sapno mein kho gayi akhiyan from the same movie Anuradha and Kanha aan padi re tere dwar from Shagird. Both songs are in Kaherava Tal.

The song Kaise din beete kaise beeti ratiyan is from the 1960 Hrishikesh Mukherjee movie Anuradha starring Leela Naidu in the title role with Balraj Sahni.  The movie had another four beautiful songs also penned by Shailendra and composed by Pandit Ravi Shankar and sung by Lata Mangeshkar: Samaa albela din hain milan ke (with Mahendra Kapoor, Manna Dey and chorus), Haay re vo din kyun na aaye, Jaane kaise sapano mein kho gayi akhiyan, and Saanvre Saanvre. Jaane kaise sapano mein kho gayi akhiyan also is in Raag Manj Khammaj

Please enjoy in Raag Manj Khammaj, Tal Kaherava: Kaise din beete kaise beeti ratiyan….

Ha~~ay~
Kaise din biite kaise biitii ratiyaa
Piyaa jaane na
Haay

Nehaa lagaa ke mai.n pachhataa_ii
Saarii saarii rainaa nindiyaa na aa_ii
Jaan ke dekho mere jii kii batiyaa
Piyaa jaane na
Haay
Kaise din biite kaise biitii ratiyaa
Piyaa jaane na

Rut matavaalii aa ke chalii jaaye
Man me.n hii mere man kii rahii jaaye
Khilane ko tarase nanhii nanhii kaliyaa.N
Piyaa jaane na
Haay
Kaise din biite kaise biitii ratiyaa
Piyaa jaane na

Kajaraa na sohe gajaraa na sohe
Barakhaa na bhaaye badaraa na sohe
Kyaa kahuu.N jo puuchhe mose morii sakhiyaa.N
Piyaa jaane na
Haay
Kaise din biite kaise biitii ratiyaa
Piya jaane na

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. And today, on the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Aa laut ke aaja mere meet….
Raag Madhmat Sarang, Tal Kaherava

Just like Raag Kalyan, Raag Sarang has many variations. The first time I gave you a song in Raag Sarang was on the 9th day when I gave you a Shakeel Badayuni – Naushad Ali creation for the the 1966 movie Dil Diya Dard Liya: Sawan aaye ya na aaye (Please see: ‘Raaga Based Song Of The Day #9‘). Then I gave you an all-time favourite of mine penned by Shailendra: Kuchh aur zamaana kehta hai in Raag Gaur Sarang (Please see: ‘Raaga Based Song Of The Day #34‘).

Today I shall give you a song in Raag Madhmat Sarang, Tal Kaherava.

In my mind I have a long association with this song. During my childhood, when my family used to visit my maternal grandparents’ house in Punjab, from my dad’s duty station Mandi in Himachal, this song, amongst others, used to play on their Murphy radio kept in a large hall that served as sitting toom cum drawing-room. It nearly won the Binaca Geetmala that year but Haal kaisa ha janaab ka from Chalti Ka Naam Gaadi edged it out. In any case, just two years ago, song’s composer SN Tripathi had Binaca Geetmala bugle blowing for his: Zara saamne to aa o chhaliye.

Many years later, during my Higher Command Course with the Army at Mhow, near Indore in Madhya Pradesh, we visited Rani Roopmati’s palace at Mandu and the first thing that I did was to recall this song. I think Bharat Vyas, the lyricist, SN Triapthi, the composer, and Mukesh and Lata as singers made it into one of the immortal songs of that era.

We have completed sixty-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 sixty-fourth post or the last post was titled ‘Raaga Based Song Of The Day #64‘ and the song was a Lata Mangeshkar song from the 1967 Mahesh Kaul and SU Sunny movie Palki starring Rajendra Kumar and Waheeda Rehman: Dil ki kashti bhanwar mein aayi hai. It is in Raag Gorakh Kalyan, 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 Darbari Kanada – Part II‘.

In the last sixty-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, 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 and Gorakh Kalyan. The only five raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti and Bhairavi. That makes a total of 52 raagas so far. Today, I am giving you a song in a new raag Madhmat Sarang. That makes it 54 raagas so far.

Today, I give you a song sung by Mukesh and Lata Mangeshkar separately on the lyrics of Bharat Vyas and on a composition by SN Tripathi. As I said, it is in Raag Madhmat Sarang, Tal Kaherava.

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

Nothing describes the dedication that is required for honing vocal as well as instrument skill for Indian Classical Music than the Carnatic equivalent of Riyaaz: Sadhana or Sadhakam. Riyaaz or Riyaz is an Urdu term that roughly translates to this dedication or discipline in Hindustani Classical Music. You would have heard of Ghazal Singers such as Mehdi Hassan doing Riyaaz throughout the night in order to get their bandish right by morning. This is despite the fact that they were and are accomplished vocalists. Now you can imagine how much Riyaaz would be required by the students. Similar Riyaaz is required even for dance forms.

Riyaaz is indeed the bedrock of Guru-Shishya parampara until the skills of the Guru are completely imparted to the Shishya. The English tenet practice makes a man perfect is the thought behind Riyaaz. However, Riyaaz or Sadhana had been in vogue much before the English discovered their tenet.

So then, does Riyaaz translate to Practice, Far from it. An exponent Omkar Singh explains:

“Throughout my musical journey, riyaaz was a critical and important aspect towards its growth, nurturing and development.  Loosely translated, riyaaz is to create discipline with vocal/instrumental music through its daily practice and repetition.  Think of it as the act of rehearsing over and over for the purpose of mastering it, as in the phrase “practice makes perfect”.  Sure, I could agree with this when it comes to competitive sporting events where teams diligently practice their strategies, physical endurance exercises etc. so as to prepare themselves for the “big game”.  The odds are that a team that work’s as a unit and has given 100% day in and day out at practices, put themselves in a position likely to become victorious.  I believe music is entirely different.  Indeed, through daily riyaaz, one’s voice matures, becomes more refined, sophisticated, smooth, gentle, on “sur” (perfect pitch and tonality).  However, instead of saying “practice makes perfect”, in the context of the musical journey, “riyaaz makes one surrender”.  In essence, you learn about your imperfections, you are brought to your realm of humbleness.  It is through this humility that one is able to carry the momentum of riyaaz throughout their lifetime.   I am reminded of this humility by one of my early teacher’s.  His name was Giani Bishambar Das.  A legendary musician and composer who was known all over the world through his unique compositions.   Yet, no one seemed to know about this gentle man as for him, music was the ultimate expression and “prayer”.  He felt that “riyaaz” was his “true” audience and riyaaz was the instrument.  He did not seek the limelight although it seeked him whereever he travelled.  He was very humbling to my growth as a musician.  I have fond memories of having to practice a composition literally 100 times before he would let me perform it in front of a sangat or audience.  His common response was always, “Onkar, it could be better, you could have sung it with a little more feeling, expression, emotion”.  I am indebted to his brilliant way of teaching me the art of riyaaz.”

Indeed, that comment above, also is a pointer towards how Indian classical music itself is so different from the Western concept.

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

Raag Madhmat Sarang is also called Madhmad, Madhmati or Madhumadhavi Sarang. It is a raag of Kafi Thaat. Its Jati is Audhav-Audhav, that is, five notes each in Aaroha and Avroha (Gandhar and Dhaivat are Varjya (absent), Nishad is Komal. Rest all are Shuddha). It is a raaga of Early Afternoon. Indeed, all raagas of Sarang are early afternoon raagas. Being of Kafi Thaat, these have roots in folk music.

Madhmad Sarang is as sweet and playful as all the other members of the Sarang clan. As compared to Brindavani Sarang, of whose song I gave you earlier, which uses the shuddha nishadh in the ascent and the komal nishadh in descent, Madhmad uses only the komal nishadh. The hallmark of any Sarang is the rock steady and unattached shuddha rishabh (no kan permitted), which is the vaadi. The komal nishadh in Madhmad gives that extra shade of pathos.

Note that Raag Megh has exactly the same notes as Sarang, but differs vastly in its swar lagav. In Megh, Re has no independent existence. Also nishadh has that characteristic Malhar application.

Salil Chowdhury’s composition for the 1958 Bimal Roy movie Madhumati: Chadd gayo paapi bichhua sung by Lata Mangeshkar and Manna Dey, on the lyrics of Shailendra, is another fine example of Raag Madhamat Sarang, though that is in Tal Dadra.

The song Aa laut ke aaja mere meet is from the 1967 SN Tripathi (yes, the music director actually directed the movie too) movie Rani Roopmati that starred Nirupa Roy in the title role and Bharat Bhushan as baz Bahadur Khan her lover. The movie had another beautiful song also penned by Bharat Vyas and composed by SN Tripathi and sung by Mohammad Rafi: Baat chalat nai chunari rang daari. Of course, that is in Raag Bhairavi, Tintal.

Please enjoy in Raag Madhmat Sarang, Tal Kaherava: Aa laut ke aaja mere meet….

Aa lauT ke aajaa mere miit tujhe mere giit bulaate hai.n
Meraa suunaa pa.Daa re sa.ngiit tujhe mere giit bulaate hai.n

Barase gagan mere barase nayan dekho tarase hai man ab to aajaa
Shiital pavan ye lagaae agan
O sajan ab to mukha.Daa dikhaa jaa
Tuune bhalii re nibhaaii priit
Tuune bhalii re nibhaaii priit tujhe mere giit bulaate hai.n
Aa lauT…

Ek pal hai ha.Nsanaa ek pal hai ronaa kaisaa hai jiivan kaa khelaa
Ek pal hai milanaa ek pal bichha.Danaa
Duniyaa hai do din kaa melaa
Ye gha.Dii na jaae biit
Ye gha.Dii na jaae biit tujhe mere giit bulaate hai.n
Aa lauT…

https://www.youtube.com/watch?v=hyIVG9SM46Y

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. And today, on the sixty-fifth day, we learnt about Riyaaz.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Dil ki kashti bhanwar mein aayi hai….
Raag Gorakh Kalyan, Tal Kaherava

For the last two days I have been trying to cover up for not having given you adequate songs in Raag Kalyan and its variations. With yesterday’s song in Raag Kalyan, Tal Dadra, I have given you now three songs in Raag Kalyan: I had given you a song in Raag Kalyan earlier on the 14th day (Lagta nahin ahai dil mera ujade dayaar mein) (Please see: ‘Raaga Based Song Of The Day #14‘). However, the entire song was in Alaap and hence didn’t have a Tal. Then I had given you a song in Raag Shuddha Kalyan (Tal Kaherava): Rasik balma; being my #1 favourite of Lata Mangeshkar (Please see: ‘Raaga Based Song Of The Day #33‘). Yesterday I gave you a song in Shyam Kalyan: Youn neend se vo jaan-e-chaman (Tal Dadra).

Today’s song’s raaga has Kalyan only in the name and bears no resemblance to Kalyan raaga or thaat. It is in Raag Gorakh Kalyan, Tal Kaherava.

This blog has many posts on the Lyricist – Music Director combination of Shakeel Badayuni with Naushad Ali. I consider them the best pair that Hindi movie songs ever saw. Today’s song is from their 1967 movie Palki and the song was sung by Lata Mangeshkar.

We have completed sixty-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 sixty-third post or the last post was titled ‘Raaga Based Song Of The Day #63‘ and the song was a Mukesh song from the 1961 Pramod Chakravorty movie Sanjog starring Pradeep Kumar and Anita Guha: Bhooli hui yaadon mujhe itna na sataao. It is in Raag Kalyan, 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 Darbari Kanada – Part I‘.

In the last sixty-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, 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 and Shyam Kalyan. The only five raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti and Bhairavi. That makes a total of 52 raagas so far. Today, I am giving you a song in a new raag Gorakh Kalyan. That makes it 53 raagas so far.

Today, I give you a song sung by Lata Mangeshkar on the lyrics of Shakeel Badayuni and on a composition by Naushad. As I said, it is in Raag Gorakh Kalyan, Tal Kaherava.

However, first, lets take up the value added learning of today. Today, we shall learn about the evolution of musical instruments in India from ancient times (Please read this in conjunction with the Classification of Indian Musical Instruments that I had put up three days ago (Please read: ‘Raaga Based Song Of The Day #61‘).

Musical Instruments are a major part of music making in all forms of music including Indian music. Over a period of time, both in classical and folk music, varied instruments were developed. Lets have a look at them down the ages.

Vedic Music (2500 BC – 1000 BC)

Vedic literature refers to various types of musical instruments. The bow-shaped Veena with many varieties such as Godhaa, Vakraa, Alabu, Kapishirsha Veena are mentioned in Vedic texts. Other stringed instruments were Aaghaati or Kaand Veena (like todays Ektari), Gargar (like harp) and Waan (hundred string lute). The Dundubhi (drum), Bhoo-Dundubhi (earthern drum) and Talav (single drum) were percussion instruments; and Venu (flute), Tunav (like a war trumpet Tutaari), Naali (metal flute), Bakur (two piped flute), Karadhuni (conch attached to flute) were blowing instruments during Vedic period.
In the epics, Buddhist & Jain sources, many musical instruments are mentioned such as – The percussion instruments mentioned are Marduk, Dardur, Mridang, Dindim, Panaw, Anak, Adambar. Cymbals such as Patah & Zarzar are mentioned in Panini’s grammar text. The string instruments – Veena, Gargar. Blowing instruments – Venu, Vamshi, Tunaw, Shankha, Bheri.

Natya Shastra (3th century AD)

By the time of NatyaShastra, there was much development in instruments; naturally NatyaShastra mentions several musical instruments and the way they should be played. It classifies musical instruments in to four categories –

(1) Tata (lutes)

(2) Sushira (flute)

(3) Ghana (cymbals or solid bodied isntruments)

(4) Awanadhha (drums).

This classification given by Bharat became a role model of further studies and classification of instruments and which is actually valid till date.
String instruments – Chitra (seven stringed lute), Vipanchi (nine stringed lute), Ghoshaa (prototype of Tanpura) & Kachhapi Veena.
Blowing instruments – Vamsha and Venu (bamboo flutes), Shankha (coanch), Tundakini and Tutari (war trumpets),
Percussion instruments – Mridanga, Dardur, TriPushkar, Dundubhi, Panav, Dindim, Duff, Zallari.
Solid bodied instruments – Taal, Patah, Ghanta – these instruments were used to keep rhythm with showing Sam & Kaal divisions of Taal.
One can see many of these instruments in paintings in Ajanta caves & sculptures at Ellora, Sanchi, etc.

Sangeet Ratnakar (13th century AD)

In the sixth chapter ‘Waadyadhyaay’ of Sangeet Ratnakar, Sharangdeva gives explanation of classification of instruments into four categories, manufacturing and playing techniques of instruments, as following –
String instruments – Ekatantri (single stringed instrument, todays Ekatari), Tritantrika (three strings), Jantra, MattaKokila (21 stringed lute, todays Swar Mandal), Alapini Veena (a drone instruments resembling to Tanpura), Kinnari Veena (Veena with three drones), Chitra (seven stringed lute), Vipanchi (nine stringed lute), RavanHasta (todays Ravanhathha or Koka).
Blowing instruments – Venu (9 inch long and thumb shaped bamboo flute with seven holes for producing note) and Vamsha, Pawa, Murali (bamboo flutes), Kahala (metal flute), Shankha (coach), Shring, Madhukari (Horns), Tundakini and Tutari (war trumpets)
Percussion instruments – Mardal, Dundubhi, Tumbaki, Ghat, Mridanga, Dardur. There is a mention of many folk percussion instruments such as Hudukka, Kudukka, Selluka, Dhakka, Runja, Damaruk.
Solid bodied instruments – Taal, Patah, Ghanta, Kshudra Ghantika, Jaya Ghanta, Patta, Shukti. The dancer’s anklets (ghungru) were called as ‘Ghargharikaa’.

Medieval Period & Modern Period

In the last seven centuries, there is much addition and replacements in instruments due to a vast change in performing tradition and techniques.
String instruments – There are many stringed instruments to which one can classify in different categories, such as instruments to play with bow or pluck, instruments having frets and fretless ones, instruments with skins or wooden sound post, instruments having resonating strings, etc. Tanpura became an essential drone instrument with emergence of Dhrupad and Khayal to provide base note to singer.

The ancient Veena was replaced with Been or RudraVeena with two drones and frets. There are other instruments similar to Been such as VichitraVeena, Gotaa Been, etc. Sitar, SurBahar, Kachhawa belong to a family of string instruments which have frets and played in solo style. The development of Sitar was a major phenomenon in 19th cent which made a change in instrumental styles or Gatkari formats (Alap-Jod-Jhala, Masitkhani Gat, Razakhani Gat, Tant Ang and Gayaki Ang playing).

Sarangi originated from folk music, became an important accompanying instrument by the rise of Khayal & Thumari. Solo concert status was given to Sarangi by Bundu Khan and Ram Narayan. Other instruments in the family of Sarangi are Kamaicha, Sarinda, Chikara, Ravanhathha. With combination of Sitar and Sarangi, the instruments like Dilruba, Israj, Taus, and Taar Shehnai were made.

Rabab was modified into Sarod which became a prominent solo instrument under Wazir Khan, Allauddin Khan, Hafiz Ahmed Khan, Amjad Ali Khan. SurSingar was invented with combination of Sarangi, Sarod and Sitar by Ust Allauddin Khan.

The western violin was adapted in Indian music in last century and was popularized by Pt Gajananbuwa Joshi, V G Jog, N. Rajam & D K Datar. One can find similar instruments such as Ravanhathha, Penna, Banam in folk music of India. SwarMandal or Kanun was used for tonal support while singing. Ekatari, Tuntune, Gopichand, Tingri, Anand Lahari are the single stringed instruments basically used to maintain tempo rather than providing base note.
Santoor became very popular under propagation by Pt. Shivkumar Sharma.
Along with development of this wide spectrum of stringed instruments Gharanas/Baaj of playing also developed such as Seniya/Maihar Gharana (Ust Allauddin Khan, Ust Ali Akbar Khan, Pt Ravi Shankar, Pt. Nikhil Banerji), Itawa/Gauripur Gharana (Vilayat Khan, Imrat Khan, Shahid Parvez), Jafferkhani Baaj (Abdul Halim Jaffer Khan), etc.

Blowing instruments – Many varieties of flutes were made such as Bansuri, Venu, Pawa, Pawari, Murali (bamboo flutes). Shehnai, NaagSwaram, Sundri are blowing instruments with reeds. Pungi, Shing, Kahal, Karna, Shankha, Tutari are some folk instruments in blowing category. Ust. Bismillah Khan, Pt. Pannalal Ghosh and Pt. Hariprasad Chaurasia gave concert status to Shehnai and Bansuri. Harmonium or Samvadini was derived from European church Organ and from last hundred years, it has become a main accompanying instrument for Indian music. Many Harmonium players such as Govindrao Tembe, Vithhalrao Korgaonkar, P. Madhukar, Govindrao Patwardhan, Manohar Chimote, Dr. Arawind Thatte, etc have cultivated solo playing technique and given concert status to Harmonium. (Though Harmonium is classified under key-board instruments in western music, in Indian music is falls in the category of blowing instruments because the basic sound production of Harmonium depends on air blow.)

Percussion instruments – Pakhawaj or Mridang became important percussion instruments in Dhrupad genre and Tabla were a chief instrument for Khayal genre. One can find other percussion instruments such as Khol, Dhol, Dholak, Dholaki, Sambal, Halgi, Duff, Nagara, and Tasha in folk music and Khanjira, Ghatam, Mardal, Edakka, Timil in south Indian music. Due to advent of Tabla as a solo instrument, there was emergence of many Gharanas such as Lucknow, Delhi, Benaras, Fariqabad, Ajrada etc. One can easily make a list of dozens of celebrated Tabla and Pakhawaj players in yester century, to name a few, Thirkawa, Amir Hussain Khan, Samta Prasad, Kishen Maharaj, Allarakha & Zakir Hussain, etc.

Solid bodied instruments – Taal, Morchang, Zanza, Manjira, Kartaal, Chimta, Khulkhula, Ghanta, Nupur.

There is a group of ‘Tarang’ instruments which are hybrid instruments, such as Jal-Tarang, Tabla-Tarang, Kaashtha-Tarang, Kaach-Tarang, Patti-Tarang.
Earlier there was an idiom that stated ‘Uttam Gana, Madhyam Bajana, Kanishta Nachanaa’ (vocal music is supreme, instrumental is secondary and dancing is lower form of art). But in the modern age, with concept in music been analyzed with rationality and equality, this hierarchy is outdated and all three forms of art under music are given equal status. So, in modern times, instrumental music also have flourished to a pinnacle.

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

Raag Gorakh Kalyan is not even associated with Kalyan Thaat in Bhatkhande’s syestem of raagas. The Kalyan in its name is misleading since it contains not the slightest trace of the Kalyan raag or thaat. Some suggest, perhaps apocryphally, that it is named in honour of Sant Gorakhnath. Raag Gorakh Kalyan, on the other hand, belongs to Khammaj Thaat. Its Jati is Surtar-Audhav, that is, only four notes (Swar) in Aaroha (Gandhar, Pancham  and Nishad Varjya) and five notes in Avroha (Gandhar and Pancham Vrajya). All are shuddha notes except Nishad in Avroha, which is Komal. It is sung during the second prahar of the night, that is, between 9 PM and midnight. Belonging to Khammaj thaat, Raag Gorakh Kalyan is indeed a very sweet melody. It is possible to get shades of raag Durga and Bageshri in Gorakh Kalyan. However inclusion of komal Ni and restricted use of Pa in Gorakh Kalyan helps to keep its identity distinct from both these raagas.

I do not know of any other Hindi films songs composed in raag Gorakh Kalyan. We could expect this from Naushad since the credit for introducing raaga based songs in Hindi movies goes to him.

The song Dil ki kashti bhanwar mein aayi hai is from the 1967 Mahesh Kaul and SU Sunny movie Palki that starred Rajendra Kumar and Waheeda Rehman. The movie had some very beautiful songs penned by Shakeel Badayuni and composed by Naushad such as: Dil-e-betaab ko seene se lagaana hoga, Kal raat zindagi se mulaqaat ho gayi, and Jaane waale tera khuda haafiz.

This song as a fervent appeal to Khuda would remind you of another one from Mughal-e-Azam, also sung by Lata Mangeshkar when Anarkali was chained and put in a dungeon by Emperor Akbar for the crime of being in love with Prince Salim: Beqas pe karm keejiye sarkar-e-madina.

Please enjoy in Raag Gorakh Kalyan, Tal Kaherava: Dil ki kashti bhanwar mein aayi hai….

(Note: The expression “Kamali wale teri duhayi hai” refers to Prophet Mohammad. ‘Kamali’ means a blanket and Prophet Mohammad was to be found in a black blanket; hence sometimes, he is referred to as ‘Kali kamali wale’)

https://www.youtube.com/watch?v=fKoqeorgleU

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. And today, on the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.

There is much more still to be learnt and enjoyed.

Please stay tuned!