Category: Music and Cinema

Raaga Based Song of the Day: Jahan daa; daal par sone ki chidiyaan karti hain basera…
Raag Shuddha Kalyan, Tal Kaherava

Happy Independence Day!

This song was penned by Rajinder Krishan, composed by Hansraj Behl and sung by the god of songs: Mohammad Rafi. It is from the 1965 Kedar Kapoor movie Sikander-e-Azam with Dara Singh in the title role and Prithviraj Kapoor as Porus.

We have completed hundred and one days of Raaga Based Songs of the Day. Our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.

Our hundred and first post was titled ‘Raaga Based Song Of The Day #101‘ and the song was a Geeta Dutt song from the 1958 Pramod Chakravorty movie 12 O’ Clock starring Waheeda Rehman and Guru Dutt: Kaisa jaadu balam toone daara.  It is in Raag Pilu, 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 Jaijaivanti’.

In the last hundred and one days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi, Kalavati, Hamir, Bhatiyar, Gawati, Shyam Kalyan, Gorakh Kalyan, Madhamat Sarang, Manj Khammaj, Darbari Kanada, Vibhas, Shankara, Bahar, Nand, Mian Ki Malhar and Jog; making it a total of 62 raagas. The 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, Basant Mukhari, Malkauns, Bhairavi, Mand, Sohani, Madhuvanti, Shivaranjani, Adana and. Today, I am giving you a song in Raag Shuddha Kalyan for the second time.

The first time when I gave you a song in Raag Shuddha Kalyan was what is regarded by me as the best of Lata Mangeshkar: Rasil balma in ‘Raaga Based Song Of The Day #33‘.

Today, I give you a song in Raag Shuddha Kalyan, Tal Kaherava again.

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

We already know that Raaga is roughly translated into colour or hue. Raaga represents the mood of the composition. As an example, lets take Raaga Darbari Kanada. As the name suggests, it evokes majestic feelings as in a royal court. One song that comes to mind is Guzre hain aaj ishq mein hum us muqaam pe.

Mood of the Raaga is represented by Bhaav or the expression. Ras is the experience or the sentiment.

In the Bharat Natya Shastra, there were eight Ras:

1. Shrigaar (Romantic or erotic).
2. Veer (Heroic).
3. Hasya (Comic).
4. Karuna (Pathos).
5. Roudra (Wrathful).
6. Bhayanak (Terrifying).
7. Bhibhasta (Odious).
8. Adhbhut (Wondrous).

Later on, another Ras Shanti (Peaceful or calm) was added; thus making a total of nine sentiments or ras: Navras. Later on another ras called Bhakti (Devotion) became prevalent. However, many feel that Bhakti and Shanti are the same ras.

As I mentioned, today’s song is composed in Raag Shuddha Kalyan, Taal Kaherava.

Raag Shuddha Kalyan belongs to the Kalyan Thaat in Bhatkhande’s system of raagas. The raaga is to be sung during the first prahar of the night (6 PM to 9 PM); indeed, that is true for all raagas in the Kalyan Thaat. Characterised by the teevra Madhyam, the name Kalyan translates to ‘Good Luck’. It is, therefore, performed at the beginning of a concert in the evening to seek blessings. Shuddha Kalyan is one of the many variations; some of the others are Shyam Kalyan, Yaman Kalyan, Anandi Kalyan, Khem Kalyan and Savani Kalyan. The Jati of the raaga is Audhav – Sampoorna (Vakra). This raaga has notes of Raag Bhoopali in tha Aaroha and Raag Kalyan (or Yaman) in Avaroha. Because of this reason it is also referred to as Raag Bhoop Kalyan.

Some of the songs composed in Raag Shuddha Kalyan are: Chand phir niklala from 1957 movie Paying Guest, Meri mohabbat jawan rahegi from 1965 movie Jaanwar, and Ye shaam ki tanhayiyan from 1953 movie Aah.

The 1965 Kedar Kapoor film Sikander-e-Azam is set in 326 BC when Alexander the Great aka Sikander (Dara Singh) having conquered Persia and the Kabul valley descends to the Indian Border at Jhelum. King Porus (Prithviraj Kapoor) stops the advance with his troops. Sikander ignores his teacher Aristotle’s advice and falls for a Persian woman Rukhsana (Helen).Fearing for Sikander’s life she extracts a promise from Porus that he will not harm Sikander. In the battle with the Macedonian army Porus loses his son and is captured. An elaborate verbal duel follows in court when Porus is brought before Sikander. Impressed by Porus’s valor, the two kings become friends. Sikander lets Porus go and withdraws from the Jhelum.

Let me start with the Lyricist, Rajinder Krishan. Rajendra Krishan (that’s the second way his name is often written) shares his birthday with me: 6th June. He too spent his youth in Shimla. I have as many as four blog-posts on him; and not because of these coincidences or because he won Rupees 64 Lakhs as Jackpot in horse-racing (Please see: ‘The Best Songs Of Rajendra Krishan, The Richest Lyricist’, ‘Part II’, ‘Part III’ and ‘Part IV’). Some of Lata Mangeshkar’s best songs have been penned by him and composed by Madan Mohan.

The best thing about him was that he could pen both serious and sad songs such as Anarkali songs: Mohabbat aisi dhadkan hai, Ye zindagi usi ki hai, and Zindagi pyaar ki do chaar ghadi hoti hai as well as Westernised Songs, for example in Bhagwan Dada’s Albela (Shola jo bhadake, Sham dhale khidaki tale, and Dil dhadake nazar sharmaaye). His Jahan Ara songs (Main teri nazar ka saroor hoon, Teri aankh ke aansu pi jaayun, and Phir wohi shaam wohi gham wohi tanhaayi hai) and Adalat Songs (Unako ye shikayat hai hai ke ham kuchh nahin kehte, Youn hasraton ke daag mohabbat mein dho liye, and Jaana tha hamase door) are in sharp contrast with his, for example, Padosan songs (Ek chatur naar and Mere saamne wali khidaki mein). Some of my other favourites of his are in Dekh Kabira Roya (Meri veena tum bin roye, Hamase aay ana gaya, Kaun aaya mere man ke dwaare), Nagin (All songs including Jaadugar sainya), Main Bhi Ladaki Hoon (Chanda se hoga wo pyara), Manmauji (Chanda ja, and Main to tum sang nain mila ke) and Nai Roshnai (Kis tarah jeete hain ye log bata do yaaro).

The composer of this song was Hansraj Behl. He was born on 19 Nov 1916 in Ambala in British Punjab. He composed music for both Hindi and Punjabi films. One of my favourites is the 1959 Jugal Kishore Punjabi movie Bhangra starring Sunder (comedian in Hindi movies but here as hero) and Nishi. It had the following beautiful songs:

• “Rabb Na Kare”
• “Batti Bal Ke”
• “Chitte Dand Hasno Nahio Rehnde”
• “Jatt Kurhian Ton Darda Maara” (Bolian)
• “Ambiaan De Booteaan Te”
• “Been Na Wajaeen Mundia”
• “Mull Wikda Sajjan Mil Jaave”

Please enjoy Mohammad Rafi sing a composition of Hansraj Behl on the lyrics of Rajinder Krishan for the 1965 Kedar Kapoor movie Sikander-e-Azam: Jahan daal daal par sone ki chidiyaan karti hain basera….

Jahaa.N Daal-Daal par
Sone kii chi.Diyaa.n karatii hai baseraa
Vo Bharat desh hai meraa

Jahaa.N satya, ahi.nsaa aur dharm kaa
Pag-pag lagataa Deraa
Vo Bharat desh hai meraa

Ye dharatii vo jahaa.N R^ishhi muni
Japate prabhu naam kii maalaa
Jahaa.N har baalak ek Mohan hai
Aur Radhaa har ek baalaa
Jahaa.N suuraj sabase pahale aa kar
Daale apanaa pheraa
Vo Bharat desh hai meraa

Alabelo.n kii is dharatii ke
Tyohaar bhii hai alabele
Kahii.n diivaalii kii jagamag hai
Kahii.n hai.n holii ke mele
Jahaa.N raag ra.ng aur ha.Nsii khushii kaa
Chaaro aur hai gheraa
vo bhaarat desh hai meraa

Jahaa.N aasamaan se baate karate
Ma.ndir aur shivaale
Jahaa.N kisii nagar me kisii dvaar par
Koii na taalaa Daale
Prem kii ba.nsii jahaa.N bajaataa
Hai ye shaam saveraa
Vo Bharat desh hai meraa …

I have selected this song today not only because today is Independence Day. But also, as you pay attention to the lyrics you come across in the era 326 BC the golden period of Indian civilization whence we ranked far ahead of the rest of the world. Gradually, later, it was ravaged by foreign conquerors: the Mughals, the British, Portuguese and the French and we became what we are. After independence, our rulers, in the name of democratic governments, ensured that we kept becoming poorer and poorer and as far from the lyrics of this song as possible.

Lets hope we shall return to the glory of India as it used to be.

Raaga Based Song of the Day: Kaisa jaadu balam tune daara….
Raag Pilu, Tal Dadra

Remembering OP Nayyar on his Death Anniversary on 28th January and Happy Birthday to Living Legend Waheeda Rehman on 3rd February.

The purists amongst you will tell me that this song has a lot of mixing other than Raag Pilu. However, I would like to point out that the job of a composer in movies is not to stick to the purity of any music form but to give us popular tunes. I have loved this song and I love it even now.

We completed hundred days of Raaga Based Songs of the Day on the Diwali Day last year, that is, 7th of Nov 18. Our first post in the series was on the 27th of May 2017 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 hundredth post or the last post here was titled ‘Raaga Based Song Of The Day #100‘ and the song was a Zohrabai Ambalewali song from the 1944 M Sadiq movie Rattan starring Swaran Lata and Karan Dewan: Aayi Diwali, aayi diwali. It is in Raag Bhairavi, Tal Dadra.

Lets start with Omkar Prasad Nayyar first.

OP Nayyar was born on 16 Jan 1926 in Lahore (now in Pakistan). At the age of 23, OP Nayyar composed the background score for the movie Kaneez. Three years later, in 1952, he was a full fledged music director for the movie Aasman. OP Nayyar perfected songs whose beats (often horse-trot beat such as in 1957 movie Naya Daur‘s song Maang ke saath tumhaara) became so popular that people were often heard humming these everywhere. He also delved into raaga based songs although, in all humility, he claimed that he had no knowledge of classical music. Raag Peelu or Pilu, followed by Pahadi, were his favourite raagas in songs.

He didn’t like Lata Mangeshkar sing any of his songs as he didn’t find her voice sexy. Most of his female songs have been sung by Shamshad Begum, Asha Bhosle and Geeta Dutt. He depended heavily on Asha Bhosle and in a television interview he said, “She was almost like a wife to me.” OP Nayyar and Asha Bhosle parted in 1974. Soon after that, in 1974, she received Filmfare Best Female Playback Singer Award for his song: Chain se hamako kabhi aap ne jeene na diya that was intended to be used for the 1973 movie Praan Jaaye Par Vachan Na Jaaye but didn’t find a place in the final cut.

OP Nayyar paired with major lyricists Majrooh Sultanpuri and Sahir Ludhianvi. With the latter he received the Filmfare Award for 1957 movie Naya Daur. However, he also worked with lesser lyricists like SH Bihari for 1962 movie Ek Mussafir Ek Haseena, 1964 movie Kashmir Ki Kali, and as many as three movies in 1966: Sawan Ki Ghata, Yeh Raat Phir Na Aayegi, and Mohabbat Zindagi Hai, 1974 movie Pran Jaaye Par Vachan Na Jaaye, and 1978 movie Khoon Ka Badla Khoon.

Here in this song he is with Majrooh Sultanpuri. OP Nayyar composed songs written by Majrooh Sultanpuri from his third movie Baaz (1953) directed by Guru Dutt (as was 12 O’ Clock from where this song has been taken). OP Nayyar’s next movie and their next movie together was the 1954 Guru Dutt movie Aar Paar whose songs are still fondly remembered, such as: Ye lo main haari piya, Kabhi aar kabhi paar, Sun sun sun sun bewafa/zaalima and Babuji dheere chalna. That started a great association and gave us really popular and memorable songs.

As far as Waheeda Rehman (Please read: ‘Happy Birthday To Waheeda Rehman 03 February‘) is concerned she joined them for the first time in the 1956 movie C.I.D. that was a Guru Dutt production and directed by Raj Khosla. Her very first song in the movies: Jaata kahan hai deewane, penned by Majrooh and composed by OP Nayyar didn’t find a place in the final cut as it was censored due to its double entendere’. She was in the role of a golden hearted prostitute in the movie since Guru Dutt, after having picked her up from a college in Hyderabad, was preparing her for 1957 classic Pyaasa. Her first song in the movies thus happened to be: Kahin pe nigaahen kahin pe nishana sung for her by Shamashad Begum and also picturised on Bir Sakuja, the villain.

Guru Dutt had straightway signed Waheeda Rehman for five movies starting with C.I.D. but she later acted in all Guru Dutt movies that ended with Sahib Bibi Aur Ghulam.

Lets get to discuss the Raaga and the Tal of the song.

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 ninety-eight 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, Shankara, Bahar, Nand, Mian Ki Malhar and Jog; making it a total of 62 raagas. The 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, Basant Mukhari, Malkauns, Bhairavi, Mand, Sohani, Madhuvanti, Shivaranjani and Adana. Today, I am giving you a song in Raag Pilu for the third time.

Raag Pilu belongs to the Kafi thaat. Its Jati is Audhav – Sampoorna, which means it is pentatonic (five notes or swar) in Aaroha (ascending) and heptatonic (all seven notes or sawr) in Avroha (descending). The swar that are vrajay (missing) in Aaroha are Re (Rishab) and Dha (Dhaivat). The dominant note (Vadi) is Dhaivat that lends to this raaga a light and tranquil touch. The raaga is full of devotion and piety and you only have to notice the mannerism of Waheeda Rehman lip-syncing it to gauge her devotion towards Guru Dutt, the hero of the movie. The raag is well suited for the third prahar of the day; that is, early evening and that’s precisely when it is played in the movie too.

As I told you earlier, Raag Pilu was the favourite raag of Omkar Prasad Nayyar or OP Nayyar. Some of his songs (conveying the mood) of Pilu are: Jayiye aap kahan jayenge, Kabhi aar kabhi paar laaga teere nazar, Main soya akhiyan meeche, and Piya piya piya na laage mora jiya. But, I am not giving you any of these.

I am also not giving you Naushad’s jhule se pawan mein aayi bahaar (literally spring time) or SD Barman’s Ab ke baras bhej bhaiya ko babul or that beautiful Sujata number Kali ghata chhaye mora jiya tarsaaye.

The song I am giving you is from the 1958 Pramod Chakravorty movie 12 O’ Clock starring Guru Dutt and birthday girl Waheeda Rehman and with the following plot:

“At exactly 12:00 noon, two gunshots are fired at the Dadar Railway Station, Bombay. The gunshots kill Maya (Sabita Chatterji), the wife of Raimohan (Rehman). One of the assailants is none other than Maya’s sister, Bani Choudhary (Waheeda Rehman), and a gun is recovered from her handbag. The second assailant flees on a motorcycle, meets with an accident, and is instantly killed. The police charge Bani with murdering her sister. Faced with overwhelming evidence against Bani, her lawyer boyfriend, Ajay Kumar (Guru Dutt) must race against time to come to the truth behind Maya’s murder.”

The other songs of this movie are:

• Tum Jo Hue Mere Humsafar (Sung by Mohammad Rafi, Geeta Dutt)

• Kaisa Jaadoo Balam Tune (Geeta Dutt)
• Main Kho Gaya Yaheen (Mohammad Rafi)
• Saiyan Teri Ankhiyon (Shamshad Begum)
• Aji O Suno Toh (Geeta Dutt)
• Dekh Idhar Aei Haseena (Mohammad Rafi, Geeta Dutt)
• Arey tauba arey tauba (Geeta Dutt)

Ladies and gentlemen, please enjoy in Raag Pilu Tal Dadra, Geeta Dutt sing a composition of OP Nayyar on the lyrics of Majrooh Sultanpuri in the 1958 Pramod Chakravorty movie 12 O’ Clock (produced by GP Sippy) starring Guru Dutt and Waheeda Rehman: Kaisa jadu balam tune daara…..

कैसा जादू बलम तूने डारा
हो कैसा जादू बलम तूने डारा
खो गया नन्हा सा दिल हमारा
कैसा जादू बलम तूने डारा
खो गया नन्हा सा दिल हमारा
कैसा जादू

( कोई तेरी तरह दिल न छीने
हो गई मैं पसीने-पसीने ) -२
तोबा-तोबा -२
तोबा-तोबा नज़र का इशारा

खो गया नन्हा सा दिल हमारा
कैसा जादू बलम तूने डारा
खो गया नन्हा सा दिल हमारा
कैसा जादू

( डगमगाये क़दम चलते-चलते
तुमने छेड़ा तो हम क्या सम्भलते ) -२
लो चले -२
लो चले नाम ले कर तुम्हारा

खो गया नन्हा सा दिल हमारा
कैसा जादू बलम तूने डारा
खो गया नन्हा सा दिल हमारा
कैसा जादू

( होश भी थोड़ा-थोड़ा नशा भी
दर्द भी थोड़ा-थोड़ा मज़ा भी ) -२
तीर सैंयाँ -२
तीर सैंयाँ अजब तूने मारा

खो गया नन्हा सा दिल हमारा
कैसा जादू बलम तूने डारा
खो गया नन्हा सा दिल हमारा
कैसा जादू

Living Legend Waheeda Rehman continued to have the girlish looks and mannerisms until late in her career. However, in movies like C.I.D., 12 O’ Clock, and Bees Saal Baad her ladakpan was to be seen to be believed. Indeed, in Bees Saal Baad she even sang a song: Sapne suhaane ladakpan ke. To associate her with murder would be the last thing anyone would like to do. This song, itself, would convince any jury that she wasn’t the one who committed the murder.

As far as OP Nayyar is concerned, he brought out the best in the heroines in his songs, whether Madhubala (Piya, piya, na laage mora jiya) or Waheeda Rehman or Asha Parekh (Jayiye aap kahan jayenge) or Sharmila Tagore (Isharon isharon mein dil lene waale) or even Padmini (Beqasi hadd se jab guzr jaaye). He had only one requirement that Lata shouldn’t sing for them.

I hope you liked the song.

Please stay tuned for more songs in the series.

The thirty-seventh song in this series.

Na ye chand hoga na taare rahenge….

This song is from the 1954 B Mitra movie Shart (Bet). The movie starred Shyama, Deepak (Dipak), IS Johar and Shashikala. The story of the movie was written by IS Johar, Nasir Hussain and Qamar Jalalabadi and was as complex a drama (twists and turns) as movies of that era used to be:

Hiten (IS Johar) is a frustrated young man with a mad streak bordering on criminal. His late father left him huge estate that can be his if he marries Kamini (Shyama), his father’s friend’s daughter. Kamini, of course, refuses to marry him knowing about his madness.

Kamini and her stepmother Manisha (Mohana) are returning, by train, to Dehradun after attending a court case between Kamini and Manisha regarding the property of Kamini’s late father. Kamini hates her stepmother and writes in her diary that she’d rather see her dead. This diary accidentally falls in the hands of Hiten who is travelling by the same train. After Manisha is murdered, Hiten blackmails Kamini about marrying him, else he would tell the police about the diary.

Robin (Dipak), son and grandson of police officers, is travelling by the same train. In the confusion after Manisha’s murder, he comes across Kanu (Kamini’s brother) abandoned by Kamini. Robin lodges murder complaint at the nearest police station and then takes Kanu home.

When at home, Robin hears the shrieks of a young girl. He rushes to her assistance against ruffians and brings her home too. She is Kamini. She signals to her brother to keep quiet about her identity.

In the meanwhile, the police suspect that Kamini is the one who committed the murder and they offer a reward for anyone offering clue about her whereabouts. That’s the time Robin discovers her true identity. However, by this time, he is madly in love with her, having sung many songs for and with her and having been the object of many songs sung by her. These include three delightful Chand songs:

1. Na ye chand hoga sung separately by first Geeta Dutt for Shyama and then by Hemant Kumar for Dipak (penned by SH Bihari (Behari)).
2. Chand ghatne laga raat dhalne lagi by Geeta Dutt for Shyama (penned by Rajinder Krishan).
3. Dekho wo chand chhupake karta hai kya ishaare, a duet sung by Hemant Kumar for Dipak and Lata Mangeshkar for Shyama (penned by SH Bihari).

Chand songs apart, Robin, having been born in a police family, thinks of his duty first and goes to the Police Station to report about Kamini. In the meantime, Hiten (IS Johar) locates Kamini and blackmails her to leave Robin’s house with him. Once he has her, in order to get his late father’s money, he again asks her to marry him. When she declines he comes up with an alternate plan to do away with the custodian of the property, his uncle.

Where does Shart (Bet) come into it? Don’t ask me; as it is I had to see the entire movie to give you all this. I ask you a counter question: Raj Kapoor became famous for 1949 movie Barsaat, the debut movie of Shankar Jaikishan, Hasrat Haipuri, Shailendra and Nimmi. That movie was the first time Lata Mangeshkar’s name appeared on the screen as a playback singer for both Nargis and Nimmi. It had a number of songs on Barsaat (Rain). But, why was the movie titled Barsaat?

Filmistan’s production Shart premiered in Bombay at the Novelty, Palace and Rivoli theaters on 09 Apr, 1954. Lots of expectations had been raised about the movie. However, the filmgoers were disappointed except for the music and songs of the movie.

People loved complex mysteries at that time and hence that couldn’t be the cause of the movie’s failure. Shashikala as Dipak’s dancing sister added glamour to the movie and yet it failed. The likely reason must be that the movie was mauled by the censors.

Anyway, movie per se and its story and success etc are of peripheral interest to us. We are to concentrate on this iconic song in particular and other songs in general that the movie had and that became very popular. In addition to the three delightful Chand songs, there were the following:

4. Kahan se leke aayi hai (SH Bihari).
5. Piya main to hui bawari (SH Bihari).
6. Raat aayi hai mohabbat ki kahani leke (Rajinder Krishan).
7. Dil mera hai diwana (SH Bihari).
8. Mohabbat mein meri tarah jo luta ho (SH Bihari).
9. Ai mere chaman main hoon wo kali (Rajinder Krishan).
10. Chala kaafila pyaar ka (SH Bihari).
11. O na na na jana na chhod ke (SH Bihari).

Na ye chand hoga was, as I told you earlier, sung in the movie twice: once by Geeta Dutt for Shayama and once by Hemant Kumar for Dipak. It was penned by SH Behari and composed by Hemant Kumar.

Shamsul Huda Bihari (as given in the credits of the movie: SH Behari), born in Arrah, Bihar, must rank amongst the most underrated lyricists in the Hindi films industry. And yet, it is pleasantly surprising to see the range and popularity of his songs.

His most successful pairing has been with OP Nayyar. My favourite songs of SH Bihari with OP Nayyar include: Bahut Shukriya Badi Meherbani, and Mujhe Dekhkar Aapka Muskurana (Ek Mussafir Ek Haseena, 1962); Diwana Huwa Badal, Hai Duniya Usi Ki, Isharon Isharon Mein Dil Lene Waale, Meri Jaan Balle, Phir Thes Lagi Dil Pe, Subhan Allah, Tarif Karun Kya Uski, Kisi Na Kisise Kabhi Na Kabhi, and Balamaa Khulii Havaa Mein (Kashmir Ki Kali, 1964); “Yehi Woh Jagah Hai, Phir Miloge Kabhi, Is Baat Ka Wada Karlo, Aap Se Maine Meri Jaan Mohabbat Ki Hai, Main Shayad Tumhare Liye Ajnabi Hoon, and Mera Pyar Woh Hai Ke (Yeh Raat Phir Na Aayegi, 1966); Zara Haulle Haulle Challo Mere Sajna, Zulfon Ko Hata Le Chehre Se, Aaj Koi Pyar Se, Meri Jaan Tum Pe Sadhke, Jo Dil Ki Tadap Na Jane, and Khuda Huzoor Ko Meri Bhi Zindagi De De (Sawan Ki Ghata, 1966); Raaton Ko Chori Chori, Na Jaane Kyon, Mehfil Mein, Tumhari Mulaqat Se, Yeh Purnoor Chehra, Nazar Nazar Se Milaao, Tum Sab Se Haseen Ho and Kyar Cheez Ho Zaalim (Mohabbat Zindagi Hai, 1966); Chain Se Hamko Kabhi Aapne Jeene Na Diya, and Ek Tu Hai Piya Jis Pe Dil Aa Gaya (Praan Jaaye Par Vachan Na Jaaye, 1974); Badan Gora Haseen Jalwe Tumko Deewaana Meri Jaan,Ghar Apna Bangaal Aur Bambai Mein Hai Sasuraal, Gham Yateemon Ke Jaisa Bhi Sansaar Main Koi Bachcha, Kisko Gale Lagaaye Dil Kiska Todiye, Pyaar Bhara Kajara Aankhiyon Mein Daal Ke, Saaqi Ki Nigaahon Seae Jee Hoga Kya Aage and Zulf Lehraayi To Saawan Ka Mahina Aa Gaya (Khoon Ka Badla Khoon, 1978).

As far as Hemant Kumar is concerned, other than this movie they were together in the 1955 Usha Kiran and Karan Diwan movie Bahu (Dekho dekho ji balam deke birah ke gam), 1956 movie Inspector starring Ashok Kumar and Geeta Bali (Dil chhed koi aisa nagma), 1957 movie Ek Jhalak starring Pradeep Kumar and Vyjayanthimala (Aaja zara mere dil ke sahare), 1957 movie Kitna Badal Gaya Insaan starring Ajit and Nalini Jaywant (Hai chaar din ki duniya, Kahe tadpaye kahe tarsaaye), 1957 movie Hill Station starring Shyama, Pradeep Kumar, Beena Roy (Nayi manzil nayi raahen naya hai mehrbaan apna), and 1956 movie Arab Ka Saudagar starring Pradeep Kumar and Shashikala (Tera hi aasra hai O do jahaan waale).

SH Bihari has, of course, also paired with Laxmikant Pyarelal (Naseeb Apna Apna, Janam Janam, Shoorveer, Jawab Hum Denge), Shankar Jaikishan (Pagla Kahin Ka, Jaane Anjane, Duniya), Ravi (Mehdi, Ghar Sansaar, Apna Banake Dekho), Bappi Lahiri (Kab Taq Chup Rahungi), Bulo C Rani (Madhur Milan), and Ram Ganguly (Gawiyaa with that beautiful song: Teri yaad ka deepak jalata hai).

Lets turn to the singer and composer Hemant Kumar:

“If God could sing, He would have a voice like Hemant Kumar’s”. This is how Salil Chowdhury described Hemant da’s singing. And we, who adore him, completely agree.

Hemant’s singing has the magical effect of carrying you – body, heart and soul – into the world of the song. Take Ye raat ye chandini phir kahan; and you realise that the Jaal (Net or Trap) is not just cast by Dev Anand for Geeta Bali, but that you yourself are caught in it like a struggling fish. When he goes on to sing… Taaron ki chhaon mein keh le kahaniyan…, you don’t have to imagine the scene; it unfolds before your eyes with his each word. Let’s take just one more illustrative song, a Waltzing number: Chup hai dharti chup hai chaand sitaare, mere dil ki dhadkan tujhako pukaare. Suddenly, you experience an enchanting silence wherein only thing that is awake is your soul.

Interestingly, Hemant da has sung and composed more songs on Chand and Chup than any other. The atmosphere of moonlit night is to be enjoyed in silence and not in crescendo. For example, Lehron pe lehar, kismat hai jawan; Raaton ki sehar, chali aao yahan; Sitaare  timtimaate hain to aaja aaja, Machalti jaa rahi hai ye hawaayen aaja aaja.

Hemant Kumar was a singer and composer who came alive, gently and heart warmingly at Raat (Night): Raat haseen, ye chand haseen, tu sabase haseen mere dilvar; Aur tujhase haseen tera pyaar.

Is it, therefore, any surprising that he sang one of his best for a movie called Sannata (Complete Calm): Bas ek chup si lagi hai? Is it also surprising that his own film production of 1969 (he had Asit Sen (the famous director and not the comedian) directing it) was called Khamoshi (Silence)?

Raat, Khamoshi, Chandini are the themes that one can associate with Hemant Kumar: Jaadugar sainya, chhod mere bainya, ho gayi aadhi raat, ab ghar jaane de (from Hemant Kumar’s music direction Nagin), we would want to sing to him, trying to get back home. And Hemant da, in his characteristic baritone would sing back: Ek raat hoke nidar, mujhe jeene do. Life, for him, came alive, at night, like Wordsworth’s Lucy Gray:

“The stars of midnight shall be so dear,
For her and she shall lean her ear,
In many a secret place;
Where rivulets dance their wayward round,
And beauty born of murmuring sound,
Shall pass into her face.”

Chand is one of the reasons the song is dear to me. It is my favourite theme in songs. My very first post on songs was on Chand songs. The very first Songs Fest that I attempted on Facebook had the theme Chand.

This song is not a duet; it has been sung separately by Lata Mangeshkar and Hemant Kumar. I am giving you both the versions.

Please enjoy this iconic song from the 1954 B Mitra movie Shart starring Shyama and Dipak, IS Johar and Shashikala, song having been penned by SH Bihari, composed by Hemant Kumar and sung by Geeta Dutt and Hemant Kumar: Na ye chand hoga….

Geeta Dutt

न ये चाँद होगा न तारे रहेंगे
मगर हम हमेशा तुम्हारे रहेंगे
न ये चाँद होगा…

नज़र ढूँढती थी जिसे पा लिया है
उम्मीदों के फूलों से दामन भरा है
ये दिन हमको सब दिन से प्यारे रहेंगे
न ये चाँद होगा…

कहूँ क्या मेरे दिल का अर्मान क्या है
तुम्हें हर घड़ी चूमना चाहता है
कहाँ तक भला जी को मारे रहेंगे
न ये चाँद होगा…

सहारा मिले जो तुम्हारी हँसी का
भुला देंगे हम सारा ग़म ज़िन्दगी का
तुम्हारे लिये हैं तुम्हारे रहेंगे
न ये चाँद होगा…

Hemant Kumar

आ…, न ये चाँद होगा, न तारे रहेंगे
मगर हम हमेशा, तुम्हारे रहेंगे
न ये चाँद होगा…

बिछड़कर चले जाएं तुमसे कहीं
तो ये ना समझना मुहब्बत नहीं
जहाँ भी रहे हम तुम्हारे रहेंगे
न ये चाँद होगा…

ज़माना अगर कुछ कहेगा तो क्या
मगर तुम न कहना हमें बेवफ़ा
तुम्हारे लिये हैं तुम्हारे रहेंगे
न ये चाँद होगा…

Besides the two reasons that I have given you for this being amongst my favourites: One, that one of the two singers singing it is Hemant Kumar and the composer being Hemant Kumar (some of the best songs of Hemant Kumar are on his own composition (such as Ye nayan dare dare, Ya dil ki suno duniyawaalo, Beqraar karke hamen youn na jayiye, Tum pukaar lo tumhaara intezaar hai, and Zindagi kitani khoobsurat hai) and two, that it is a Chand song, there is one basic reason for this song tugging at my emotions. It is a song that talks of eternal love. It equates Love to God: it would stay even after the moon and stars are no more.

And like all Hemant Kumar songs, it brings home this point quietly; like a silent resolve.

The overall effect is a song that transports one into another world; the world of total love and commitment.

I hope you enjoyed it too.

Please await the next song in the series.

Raaga Based Song of the Day: Aayi diwali, aayi diwali…. Raag Bhairavi, Tal Dadra Finally on the day of the Diwali today, 07 Nov 2018, I have the hundredth song in my Raaga Based Songs series. This song is from the 1944 movie Rattan that was an Abdul Rashid Kardar production that was directed by M Sadiq and starred Swaran Lata and Karan Dewan. Here is the story in brief to understand the song: Govind (Karan Dewan) and Gauri (Swaran Lata) are childhood friends and are in love. But both are from different castes and hence their marriage is not possible in those social times. One day Gauri is married off to a person who is much older to her, by keeping him in dark. Gauri is seen pining for Govind in this song. This is the ninth time I am taking up a song in this raaga. We have completed ninety-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 ninety-eighth post or the last post here was titled ‘Raaga Based Song Of The Day #99‘ and the song was a Mohammad Rafi song from the 1963 Brij movie Ustadon Ke Ustad starring Praddep Kumar, Shakila, Ashok Kumar and Sheikh Mukhtar: Sau baar janam lenge sau baar fanaa honge. It is in Raag Kaushik Kanada, 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 Jhinjhoti – Part I‘. In the last ninety-eight 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, Shankara, Bahar, Nand, Mian Ki Malhar and Jog; making it a total of 62 raagas. The 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, Basant Mukhari, Malkauns, Bhairavi, Mand, Sohani, Madhuvanti, Shivaranjani and Adana. Today, I am giving you a song in Raag Bhairavi, the Queen of all Raagas for the ninth time. The song, as I said earlier, is from the 1944 movie Rattan, an Abdul Rashid Kardar production directed by M Sadiq, which starred Swaran Lata and Karan Dewan. The song Aayi Diwali, Aayi Diwali was penned by DN Madhok and composed by Naushad. The songs of the movie made Naushad so famous that he started charging Rupees 25000 per movie. This was about one third of the production cost of the movie at that time. It is another fact that Swaran Lata, in an interview with Pakistan Television, claimed that the composition of this song was done by DN Madhok himself. The songs of the movie also made both the female playback singers Zohrabai Ambalewali and Amirbai Karnataki very famous. Here is a list of songs of the movie; the last song (duet) was equally popular:

• “Akkhiyan Milake ” – Zohrabai Ambalawali
• “Rimjhim Barse Badarwa” – Zohrabai Ambalawali
• “Hindustan Ke Hum Hain” – Mohammad Rafi
• “Milke Bichhad Gayii Akkhiyan” – Amirbai Karnataki
• “Jab Tum Hi Chale Pardes Laga Kar Theis” -Karan Dewan
• “O janewale Balamwa” – Amirbai Karnataki and Shyam Kumar
• “Jab Tum Hi Chale Pardes Laga Kar Theis”
• “Pardesi Balma Baadal Aaya”
• “Sawan Ke Baadalo Unn Se Yeh Jaa Kaho”- Zohrabai Ambalewali and Karan Dewan

Zohrabai Ambalewali was from Ambala in Punjab. She was a classical singer of Hindustani Music trained under Ghulam Hussain Khan and Ustad Nasir Hussain Khan. Subsequently, she joined the Agra Gharana. She started singing at All India Radio at the age of 13.  Eventually she made her Hindi film debut as a playback singer with film Daku Ki Ladki (1933) with music by Pransukh Nayak. After initial years in Lahore-based film industry, she shifted to Bombay. As already mentioned, the movie Rattan’s songs made her famous. Some of the popular songs of Zohrabai Ambalewali are: Aankhon mein intezaar ki duniya liye huye (Caravan 1944), Ho meri baali umariya saanwariya (Nateeja 1947), Pardesi baalma saawan aaya (Rattan 1944), Rut rangeeli aayi chandini chhayi (Mirza Sahiban 1947), Shayad woh jaa rahe hain chhupkar meri nazar se (Mela 1948, Shakeel Badayuni), Suno ji pyaari kayaliya bole (Sanyasi 1945, also with Naushad), Udhan khatole pe udh jaayun (Anmol Ghadi 1946, Naushad), Ye raat phir na aayegi (with Rajkumari Dubey in Mahal 1949).

Lets take up the lyricist DN Madhok at this stage. Just as Zohrabai Amablewali was one of the first generation of female playback singers, Dina Nath Madhok was amongst the first generation of lyricists (1930s to 1950s). Kidar Sharma and Kavi Pradeep were the others. So fine was his art that he earned himself the sobriquet of Mahakavi Madhok. He started his career with the 1932 movie Radhey Sham and ended up penning about 800 songs. In addition he wrote screenplays and directed about 17 films including Baghdad Ka Chor (1934), Mirza Sahiban (1939), Biwamangal (1954) and Naata (1955). Here are some of my favourite songs penned by him: Aa ja balmaa raat andheri dar laage and Mere mundere na bol (Suraiya in 1947 movie Parwana), Aayi diwali aayi diwali (Zohrabai Ambalewali in 1944 movie Rattan), Beimaan tore nainva nindiya na aaye (Lata Mangeshkar in 1951 movie Taraana), Ham aankh macholi khelenge (Noorjahan, Khandan 1942), Ishq ka dard sohana (Vatsala Kumthekar, Ishaara 1942), Jab tum hi chale pardes laga ke thes (Karan Dewan, Rattan 1944), Jhuthe hain sab sapne suhaane (Manju, Rattan 1944), Kaagaz ki meri naav aur duur kinaara hai (Mukesh Suraiya, Do Dil 1947), Khamosh nigaahen ye sunaati hain kahaani (SD Batish, Daasi 1944), Madhukar Shyam hamare chor, Nis din barsat nain hamaare and Rain gayi ab huaa savera (KL Saigal, Bhakt Surdas 1942), Madhur Madhur ga re manwa and Panchhi bawra (Khursheed, Bhakt Surdas 1942), Meri zindagi mein tum kyun aaye (Suraiya, Goonj 1952), Mohe mera bachpan laa de (With Shakeel Badayuni in Kajal 1948; song sung by Suraiya), More sainya ji ne bheji chunari (Zohrabai Ambalewali, Pehle Aap 1944), Mohabbat ne kaise diye hamako dhokhe (Lata Mangeshkar, Oot Pataang 1955), Naa thamate hain aansu naa rukte hain naale (Mohammad Rafi, Meena Bazaar 1950), Naino mein naina mat dalo, and Pardesi baalma baadal aaya (Zohrabai Ambalewali, Jeewan 1944), O jaanewale baalmwa laut ke aa (Shaam Kumar and Amirbai Karnataki, Rattan 1944), Panghat pe more Shyam bajaaye muraliya (CH Atma, Bilwamangal 1954), Rum jhum barse baadarva (Amirbai Karnataki, Rattan 1944), Sawan ke baadlo unase ye jaa kaho (Zohrabai Ambalewali, Rattan 1944), Taare wahin hain chand wahin hai (Lata Mangeshkar, Anmol Ratan 1950), Tuut gaye sab sapne mere (KL Saigal, Parwana 1947), and Wo din kahan gaye bataa (Lata Mangeshkar, Taraana 1951).

Naushad Ali, the composer, lived between 25 Dec 1919 to 05 May 2006. He won only one Filmfare Award, for the music and songs of the 1952 Vijay Bhatt movie Baiju Bawra. However, he could have won many including for Mughal-e-Azam. Eventually, he was conferred with the highest, that is, Dadasaheb Phalke Award in 1982 and Padma Bhushan in 1992. He is credited with having brought in Raaga Based Songs in the movies and Baiju Bawra is a fine example of that. Various singers and lyricists (especially Shakeel Badayuni) looked up to him as a guide and mentor. For example, he encouraged Mukesh to have his distinctive style of singing rather than imitate KL Saigal. He launched the careers of quite a few of them such as Zohrabai Ambalewali and Uma Devi. As far as my favourite songs of Naushad are concerned, I have penned volumes in this blog on them. As an example, just go through: ‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad and Dilip Kumar Together’.

Before we take up the song, lets learn a little about Abdul Rashid Kardar, the producer of this movie from where the song has been taken. He was the pioneer in establishing film industry in Bhati Gate, Lahore (later Pakistan). In 1924, the first silent film (11 years after Dadasaheb Phalke made his first silent movie: Raja Harishchandra), The Daughters of Today was released in Lahore at a time when the city only had nine operational cinema houses. Most of the films shown in theatres in Lahore were either made in Bombay or Calcutta, besides ones made in Hollywood or London. The Daughters of Today was the brain-child of GK Mehta, a former officer with the North-Western Railway, who had imported a camera into the country for this very project from London. He asked Kardar to assist him as an assistant director on the project and ended up giving Kardar his début role in his film as an actor. Muhammad Ismail, his friend and fellow calligraphist, accompanied Kardar in the making of the film. Kardar shifted to Calcutta in 1930 and after working in various production houses, he made his own Kardar Studios in 1940 (he shifted to Bombay in 1937) and started making films under the banner Kardar Productions. His 1946 film Shahjehan starred KL Saigal and the songs were by Majrooh (debut movie) and Naushad Ali. He worked with Naushad in a number of movies including the unforgettable Dil Diya Dard Liya starring Dilip Kumar, Waheeda Rehman and Pran.

M Sadiq, the director of the highly successful movie Rattan from where this song has been taken was born on 10 Mar 1910 in Lahore and died on 03 Oct 1971 in Lohore. He was a director, writer and producer. Some of the other movies that he directed are: Jeewan (1944), Dak Bangla (1947), Anmol Ratan (1950), Shabaab (1954), Chaudhvinh Ka Chand (1960), Full Moon (1961), Taj Mahal (1963), Bahu Begum (1967) and Noorjehan (1967).

Swaran Lata, the actress on whom this song is picturised, was born in a Siyal Khatri Sikh family in Rawalpindi. Her debut movie was the 1942 movie Awaaz. She married Nazir Ahmed, a famous actor, director and producer at that time. She converted to Islam at that time and assumed the name of Saeeda Bano. At the time of partition of India in 1947, she migrated to Pakistan with her husband after leaving everything they owned in Bombay. They started the Pakistani Film Industry from a scratch. By the time she shifted to Pakistan, in five years she had acted in as many as 16 Hindi movies. Her first movie in Pakistan was the 1948 movie Sachai. She was known as the Tragedy Queen much before Meena Kumari was so dubbed. This was mainly due to her emotional dialogue delivery. It is a delight to see her enact the song: Aayi Diwali Aayi Diwali. This song, as I told you, is in Raag Bhairavi, Tal Kaherava. Raag Bhairavi is the basic raag of 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. Its Jati is Sampurna – Sampurna, which means all seven swar (heptatonic) both in Aaroha and Avaroha. I have already told you that in a concert Bhairavi is usually the concluding raaga since it is supposed to cure mistakes of the earlier performances. Hence, if a concert has started at night (which is usually the case), Bhairavi would be played in the wee hours of the morning. A pleasant sobering atmosphere full of love and piety is created with this raag and one feels so close to the Supreme. Its compositions include several Thumris, Bhajans, Ghazals, Songs etc. Since it is an ocean of immense possibilities the melodic combinations can include all the twelve notes with skill. I am not giving you again a list of songs composed in Raag Bhairavi as I have given this adequate number of times. As far as Tal Dadra is concerned, Tal Dadra derives its name from Dadra style of singing prevalent in Dadra. It is a six or three beat Tal: Clap, 2, 3, Wave, 2, 3; that is two vibhags of three matras each. The theka is: Dhaa Dhin Naa Dhaa Tin Naa I gave you a song in this Tal and Raag Bhimpalasi as m 3rd song in the series: Maine chand aur sitaaron ki tamanna ki thi. After that I have given you several songs in the Tal such as: Tere sur aur mere geet (Bihag), Aaj ki raat piya dil na todo (Pahadi), Beqasi hadd se jab guzr jaay (Desh and Khammaj), Dukh bhare din beete re bhaiya (Megh Malhar), Kesariya Balma (Nand), Kuchh aur zamaana kehta hai (Gaur Sarang), Taqdeer ka fasaana (Desh), Bhooli hui yaadon (Kalyan), Benuravvat bewafa (Shankara), Jhumati chali hawa (Sohani), Dil Ke jharokhe mein (Shivaranjani), and Paan khaayo sainya hamaro (Kalyan). However, in the eight songs based on Raag Bhairavi that I have given you, there has never been one in this Tal; most of these have been in Tal Kaherava. Before we actually take up the song, first, lets take up the value added learning of today. From the last eighteen times we started learning about some of the leading personalities in Indian Classical Music or Shastriya Sangeet. The first one that we took up was Ustaad Asad Ali Khan, the finest Rudra Veena player in the country. Then we took up Pandit Hari Parsad Chaurasia, the greatest Bansuri player in the country. Then we talked about Ali Akbar Khan, the greatest Sarod player in the country. Then we took up Pandit Ravi Shankar, the greatest Sitar player in the world. Then we took up the greatest classical singer in the country (of Carnatic tradition): MS Subbulakshmi. Then, we took up the greatest classical singer in the country (of Hindustani tradition): Pandit Bhimsen Joshi. Then, we learnt about the Shehnai maestro Ustad Bismillah Khan. Then, we learnt about Annapurna Devi, a great Surbahar (bass sitar) player of Hindustani Classical Music. Thereafter, we took up Pandit Shiv Kumar Sharma, the grestest Santoor player in the country. Then we learnt a little more about Ustaad Alla Rakha Qureshi or simply Alla Rakha, the Tabla Maestro and father of Ustaad Zakir Hussain. Then we learnt about the master and one of the pioneers of fusion: Anand Shankar. Then we learnt about a Veena player who was also a great filmmaker: Sundaram Balachander. Then we learnt about Sarod Player Ustad Amjad Ali Khan. And then we learnt about Ustaad Zakir Hussain, the Tabla maestro. Then we learnt about Sitar Player and Composer Anoushka Shankar. And then we covered vocalist Pandit Jasraj. We then covered violinist L Subramaniam followed by Sitarists Ustaad Vilayat Khan and Nikhil Banerjee. Tonight, we shall take up the great vocalist Kishori Amonkar. She lived between 10 Apr 1931 and 03 Apr 2017. She was a leading Indian vocalist of the Jaipur Gharana. She was a performer of the classical genre khyal and the light classical genres thumri and bhajan. Amonkar trained under her mother, classical singer Mogubai Kurdikar also from the Jaipur gharana, but she experimented with a variety of vocal styles in her career. Amonkar’s later work in light music reformed her classical singing and she modified her Jaipur gharana performance style by applying features from other gharanas. She has been both praised and criticized for pushing the boundaries of the Jaipur tradition. She was a romanticist and her approach prioritized emotional expression over tradition, so she often departed from the Jaipur gharana’s rhythmic, melodic, and structural traditions. Amonkar received several of India’s national awards and civilian honours, including the Padma Bhushan, in 1987, and Padma Vibhushan in 2002. She was awarded the Sangeet Natak Akademi Award for 1985 and the Sangeet Natak Akademi Fellowship for 2009. She was awarded the prestigious Dr. T. M. A. Pai Outstanding Konkani Award in 1991. In 2016, she was one of seven recipients of the M.S. Subbulakshmi Award for classical music. Returning to the song now. The song, as I told you, is from the 1944 M Sadiq movie Rattan that proved the genius of one of Hindi movies greatest music directors: Naushad Ali. He is the one who for the first time introduced Raaga based songs in Hindi movies. His selection of Bhairavi here is masterly: an atmosphere of total love and piety. M Sadiq has followed it up with the lamps and lamp-bearing female dancers. However, there is emptiness in the eyes of Swaran Lata when she asks who should he dance with since her consort (Karan Dewan) is not there. She mourns about life slipping by without them being together. The matching lyrics rendered by DN Madhok do touch your heart and would apply to anyone of us. Ladies and gentlemen, please enjoy in Raag Bhairavi Tal Dadra, Zohrabai Ambalewali sing a composition of Naushad on the lyrics of DN Madhok in the 1944 M Sadiq movie Rattan (produced by AR Kardar) starring Swaran Lata and Karan Dewan: Aayi diwali, aayi diwali…..

आई दीवाली, आई दीवाली – २ दीपक संग नाचे पतंगा मैं किसके संग नाचूँ बताजा आई दीवाली, आई दीवाली … (बचपन जवानी संग नाचके चला गया अब नाचे जवानी बुढ़ापे संग वो दिन आ गया ) – २ अब नाचे जवानी बुढ़ापे संग वो दिन आ गया बिछड़े हुए साथी ज़रा आ मैं किसके संग नाचूं बताजा आई दीवाली, आई दीवाली … (किसको गुमान था वो दिन भी गुज़र जायेंगे और एक बार जाके वो फिर लौट के ना आयेंगे ) – २ बिछड़े हुए साथी ज़रा आ मैं किसके संग नाचूँ बताजा (आई दीवाली, आई दीवाली ) – २ दीपक संग नाचे पतंगा मैं किसके संग नाचूँ बताजा आई दीवाली, आई दीवाली …

https://youtu.be/rSRPU_yXOx4

https://youtu.be/rSRPU_yXOx

We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
25. On the twenty-fifth day, we learnt about Tintal.
26. On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
27. On the twenty-seventh day, we learnt about Lehar.
28. On the twenty-eighth day, we learnt about the history of the Hindustani Music.
29. On the twenty-ninth day, we learnt about Dhrupad.
30. On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
31. On the thirty-first day, we learnt about Khayal.
32. On the thirty-second day, we learnt about Thumri.
33. On the thirty-third day, we learnt about Tappa.
34. On the thirty-fourth day, we learnt about Tarana.
35. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
36. On the thirty-sixth day, we learnt about Tabla.
37. On the thirty-seventh day, we learnt about Kirtan.
38. On the thirty-eighth day, we learnt about Pakhawaj.
39. On the thirty-ninth day, we learnt about Hori.
40. On the fortieth day, we learnt about Dadra.
41. On the forty-first day, we learnt about Kajri.
42. On the forty-second day, we learnt about Chaiti.
43. On the forty-third day, we learnt about Sarangi.
44. On the forty-fourth day, we learnt about Shehnai.
45. On the forty-fifth day, we learnt about Sarod.
46. On the forty-sixth day, we learnt about Bansuri.
47. On the forty-seventh day, we learnt about Ektal and Tanpura.
48. On the forty-eighth day, we learnt about Veena.
49. On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
50. On the fiftieth day, we learnt about Dilruba/Esraj.
51. On the fifty-first day, we learnt about Jaltarang.
52. On the fifty-second day we learnt about Qawwali.
53. On the fifty-third day, we learnt about Sitar.
54. On the fifty-fourth day, we learnt about Surbahar.
55. On the fifty-fifth day, we learnt about Harmonium.
56. On the fifty-sixth day, we learnt about Santoor.
57. On the fifty-seventh day, we learnt about Swarmandal.
58. On the fifty-eighth day, we learnt about the Shruti Box.
59. On the fifty-ninth day, we learnt about Alankar.
60. On the sixtieth day, we learnt about singing in Aakaar.
61. On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
62. On the sixty-second day, we learnt a little about Carnatic Music.
63. On the sixty-third day, we learnt about Natya Shastra.
64. On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
65. On the sixty-fifth day, we learnt about Riyaaz.
66. On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
67. On the sixty-seventh day, we learnt about the health benefits of raagas.
68. On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
69. On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
70. On the seventieth day, we learnt about Melakarta Raagas.
71. On the seventy-first day, we learnt about Sangita Makarand.
72. On the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.
73. On the seventy-third day, we learnt about Indian Classical Ragas, an Android application for mobile phones.
74. On the seventy-fourth day, we learnt about Saregama Classical, another application for Classical Raagas.
75. On the seventy-fifth day, we learnt about a free online service available to learn Indian Classical Music.
76. On the seventy-sixth day, we learnt about List of Hindustani Classical Musical Festivals in India and Abroad.
77. On the seventy-seventh day, we learnt about List of Carnatic Musical Festivals in India and Abroad.
78. On the seventy-eighth day, we learnt about Jhaptal.
79. On the seventy-ninth day, we learnt about Ektal.
80. On the eightieth day, we learnt about Tivra Tal.
81. On the eighty-first day, we learnt about the greatest Rudra Veena player ever: Ustaad Asad Ali Khan.
82. On the eighty-second day, we learnt about the greatest Bansuri player alive: Pandit Hariprasad Chaurasia.
83. On the eighty-third day, we learnt about the best Sarod player in the country: Ustaad Ali Akbar Khan.
84. On the eighty-fourth day, we learnt about the greatest Sitar player in the world: Pandit Ravi Shankar.
85. On the eighty-fifth day, we learnt about the greatest Indian vocalist of Carnatic tradition: MS Subbulakshmi.
86. On the eighty-sixth day, we not just learnt about the greatest vocalist of Hindustani tradition: Pandit Bhimsen Joshi but also learnt about Tal Hinch.
87. On the eighty-seventh day, we learnt about the Shehnai maestro Ustaad Bismillah Khan.
88. On the eighty-eighth day, we learnt about Annapurna Devi, the greatest Surbahar player in India.
89. On the eighty-ninth day, we learnt about Pandit Shiv Kumar Sharma, the greatest Santoor Player in the country.
90. On the ninetieth day, we learnt about Ustaad Alla Rakha, the Tabla maestro.
91. On the ninety-first day, we learnt about Anand Shankar, the great fusion musician from Bengal.
92. On the ninety-second day, we learnt about Sundaram Balachander, the great Veena player and film-maker.
93. On the ninety-third day, we learnt about Ustaad Amjad Ali Khan, the great Sarod player.
94. On the ninety-fourth day, we learnt about the Tabla maestro: Ustaad Zakir Hussain.
95. On the ninety-fifth day, we learnt about the Sitar player and Composer: Anoushka Shankar.
96. On the ninety-sixth day, we learnt about the Vocalist Pandit Jasraj.
97. On the ninety-seventh day, we learnt about the great violinist L Subramaniam.
98. On the ninety-eighth day, we learnt about one of the greatest sitarists: Ustaad Vilayat Khan.
99. On the ninety-ninth day, we learnt about another great sitarist: Nikhil Banerjee.
100. And today, on the hundredth day, we learnt about the great vocalist: Kioshori Amonkar.

There is much more still to be learnt and enjoyed. Please stay tuned!

Raaga Based Song of the Day: Sau baar janam lenge….
Raag Kaushik Kanada, Tal Kaherava

The ninety-ninth song; one more to go before I reach hundred. The average length of these blogs is about four thousand words – the amount in which average bloggers write about eight to ten posts. Each one of these is a product of hours (if not days) of research and gives you compendium of information that you would cherish.

This song is from the 1963 movie Ustadon Ke Ustad directed by Brij and starring Pradeep Kumar and Shakeela. Recently, I gave you a song: Woh jab yaad aaye bahut yaad aaye that was penned by Asad Bhopali for the 1963 movie Parasmani. Well, this song too has been penned by him and composed by Ravi. It was sung by Mohammad Rafi.

Lets look at the story-line to see how the song cane about in the movie:

Pradeep Kumar plays Dinesh, a poor engineer in love with a rich woman Nita (Shakila). He is apprehended by the police after they suspect him of being a bank robber. In the police cell he meets dacoit Mangal Singh (Sheikh Mukhtar). The latter plans an escape so as to sell Dinesh to a violent gang.

After their escape Dinesh tells Mangal that not just police he is in trouble with a vindictive gang of thieves hell bent on killing him for having identified Rita (Helen), the dancer, who was involved in a theft. This makes Mangal think of a plan to sell Dinesh to the gang leader for a bigger sum of money.

Mangal’s plan fails. Saaya (Ashok Kumar) follows Mangal’s people to a hiding place where Dinesh is locked up. After his escape from dacoit Mangal, Dinesh makes another escape attempt from the hideout, this time with attempted suicide near a waterfall. This is where Nita comes searching for him and he feigns being a ghost. This is where this lovely song is sung as a mystery song.

The story takes another twist when Saaya (everyone thought he was a police officer in disguise) betrays Dinesh. Nita is still searching for Dinesh and Mangal assists her by becoming her brother. The story takes some more twists and turns and has a happy ending when the lovers are united and the bad man Saaya (Ashok Kumar) is killed. Rita (Helen) is killed too.

This is the first time I am taking up a song in this raaga.

We have completed ninety-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 ninety-eighth post or the last post here was titled ‘Raaga Based Song Of The Day #98‘ and the song was a Yesudas and Hemlata song from the 1976 Basu Chatterjee movie Chitchor starring Amol Palekar, Zarina Wahab and Vijayendra: Tu jo mere sur mein sur mila le. It is also in Raag Pilu 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 ninety-eight 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, Shankara, Bahar, Nand, Mian Ki Malhar and Jog; making it a total of 62 raagas. The 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, Basant Mukhari, Malkauns, Bhairavi, Mand, Sohani, Madhuvanti, Shivaranjani and Adana. Today, I am giving you a new Raag Kaushik Kanada for the first time.

I have already given you the story of the movie and where exactly the song fits into the plot. Let me just add that this plot was found by audiences as of riveting interest and the movie is still remembered as highly watchable. Here is the list of songs in the movie:

All these songs were penned by Asad Bhopali. He was born as Asadullah Khan on 10 Jul 1921 in Bhopal.

Asad Bhopali wrote two songs for Fazli Brothers’ Duniya (1949): Rona hai to chupke chupke (sung by Mohammad Rafi) and Armaan lute, dil toot gaya (sung by Suraiyya). The next year, he wrote songs for a couple of films; these songs were sung by Lata Mangeshkar and Shamshad Begum. Bhopali’s big break was BR Chopra’s Afsana (1951), for which he wrote 5 songs.

One of his early songs that really made him famous was ‘Woh jab yaad aaye bahut yaad aaye’ for the 1963 movie Parasmani (the debut movie of Laxmikant Pyarelal) (Please see: ‘Songs That Tug At Your Emotions #36‘).

He received his only Filmfare Award for Best Lyricist very late for the 1989 movie Maine Pyar Kiya’s song: Dil deewana bin sajna ke maane na.

I am fond of Music Director Ravi Shankar Sharma or simply Ravi, not just because he is my namesake. First of all, he was the discovery of my favourite Hemant Kumar. Together with Kalyanji, he was assistant to Hemant da in the 1954 movie Naagin. The film included thirteen tracks, including the hit ‘Man Dole Mera Tan Dole’, whose ‘Been Music’ was performed by Kalyanji on clavioline and by Ravi on harmonium. I am also fond of Ravi for having got two of the three Filmfare Awards for Best Lyricist: Chaudhvin ka chand ho and Husn waale tera jawaab nahin. The instrument Sitar figured in many of Ravi’s songs, just like the one that I have selected for you tonight. Ravi was known for bringing poignancy of some of his songs to the fore through his excellent compositions. The song that comes to mind is Shakeel Badayuni’s Do Badan song picturised on Asha Parekh and sung by Lata Mangeshkar: Lo aa gayi unaki yaad woh nahin aaye.

Asad Bhopali and Ravi came together for the 1962 Nisar Ahmad Ansari movie Tower House starring Ajit and Shakila. The movie had very good songs:

1. Ai mere dil-e-nadaan tu gham se na ghabrana.
2. Main khushnaseeb hoon mujhako kisi ka pyar mila.
3. Aaj ki raat andhera bhi hai tanhai bhi.
4. Mausam hai jawan noor mein dube hain nazaare.
5. Ye sitam kya hai hamako bana kar deewana chale.
6. Zara bach ke shikari shikar karna.

And then there was this movie whose songs list I have already given you.

Surprisingly, for someone who learnt music mostly by himself Ravi was well rooted in raagas. His favourite raaga appears to be Bhopali or Bhupali. In the 1963 BR Chopra movie Ravi had two out of the seven songs composed in this raaga: Ye hawa ye fiza, and Tujhako mera pyar pukaare. One of the best songs in Raag Kedar: Darshan do Ghanshyam has also been composed by Ravi. Nobody can ever forget his Chaudhvinh ka chand ho in Raag Pahadi and Ye raatein ye mausam nadi ka kinara in Raag Kirwani.

This song, as I told you, is in Raag Kaushik Kanada, Tal Kaherava.

Raag Kaushik/Kaushi/Kausi Kanada belongs to the Asawari thaat. Its Jati is Shadhav – Sampurna Vakra, which means it is hexatatonic (six notes or swar) in Aaroha (ascending) with Re (Rishab) and Pa (Pancham) varjay. All seven swar (heptatonic) in Avroha (descending). Gandhar, Dhaivat and Nishad are Komal. Rest all swar are Shuddha. The raaga is well suited for the third prahar of the night (Midnight to 3 AM).

Other than this song there are no notable songs in Hindi movies composed in Kaushik or simply Kaushi/Kausi Kanada.

I have, at various places earlier, told you about the Kaherava Tal and hence don’t feel the need to repeat it here.

Before we actually take up the song, first, lets take up the value added learning of today. From the last sixteen times we started learning about some of the leading personalities in Indian Classical Music or Shastriya Sangeet. The first one that we took up was Ustaad Asad Ali Khan, the finest Rudra Veena player in the country. Then we took up Pandit Hari Parsad Chaurasia, the greatest Bansuri player in the country. Then we talked about Ali Akbar Khan, the greatest Sarod player in the country. Then we took up Pandit Ravi Shankar, the greatest Sitar player in the world. Then we took up the greatest classical singer in the country (of Carnatic tradition): MS Subbulakshmi. Then, we took up the greatest classical singer in the country (of Hindustani tradition): Pandit Bhimsen Joshi. Then, we learnt about the Shehnai maestro Ustad Bismillah Khan. Then, we learnt about Annapurna Devi, a great Surbahar (bass sitar) player of Hindustani Classical Music. Thereafter, we took up Pandit Shiv Kumar Sharma, the grestest Santoor player in the country. Then we learnt a little more about Ustaad Alla Rakha Qureshi or simply Alla Rakha, the Tabla Maestro and father of Ustaad Zakir Hussain. Then we learnt about the master and one of the pioneers of fusion: Anand Shankar. Then we learnt about a Veena player who was also a great filmmaker: Sundaram Balachander. Then we learnt about Sarod Player Ustad Amjad Ali Khan. And then we learnt about Ustaad Zakir Hussain, the Tabla maestro. Then we learnt about Sitar Player and Composer Anoushka Shankar. And then we covered vocalist Pandit Jasraj in the last post. We then covered violinist L Subramaniam. And finally we learnt about Sitarist: Ustaad Vilayat Khan.

Tonight, we shall take up another great sitarist: Nikhil Banerjee. He was born on 14 Oct 1931 in Calcutta. His father, Jitendranath Banerjee, was an amateur sitarist and Banerjee was fascinated by his father’s playing. Initially, his father didn’t encourage Nikhil becoming a sitarist but relented when he was five. The initial training of the young child was at the hands of his father. He became a child prodigy. He won an all-India sitar competition and became the youngest musician employed by All India Radio at the age of nine. Around 1946 Nikhil Banerjee met the great khyal singer Amir Khan through the master’s teaching of Nikhil Banerjee’s sister, and his enthusiasm for his music was reinforced by hearing him in concert a couple of years later.

In 1947 Banerjee met Ustad Allauddin Khan, who was to become his main guru along with his son, Ali Akbar Khan. Both were sarod players. Banerjee went to Allauddin Khan’s concerts and was desperate to have him as his teacher. Allauddin Khan did not want to take on more students, but changed his mind after listening to one of Banerjee’s radio broadcasts. Allauddin Khan was Banerjee’s main teacher, after he left Maihar he also learned from Ali Akbar Khan, the son of Allaudin Khan, for many years.

Ustad Allauddin Khan passed on to Nikhil not only playing technique but the musical knowledge and approach of the Maihar gharana. After Maihar, Banerjee embarked on a concert career that was to take him to all corners of the world and last right up to his untimely death on 27 Jan 1986. All through his life he kept taking lessons from Ustad Allauddin Khan and his children, Ustad Ali Akbar Khan and Smt. Annapurna Devi. Perhaps reflecting his early upbringing, he always remained a humble musician, and was content with much less limelight than a player of his stature could have vied for. Even so, in 1968, he was decorated with the Padma Shri, and in 1974 received the prestigious Sangeet Natak Akademi Award.

Today, he is commonly regarded as one of the greatest sitarists of the 20th century and is often spoken of as being on a level with the other two masters Ravi Shankar and Vilayat Khan.

Returning to the song now. The song, as I told you, is from the 1963 Brij movie Ustadon Ke Ustad. It is a soft melody in Raag Kaushik or Kaushi/Kausi Kanada that lends to the song a certain enigma that goes well with the vapour that rises from the water-fall. In that respect the song is in line with – though with better lyrics and picturisation – than such songs as Gumnaam hai koi.

Ladies and gentlemen, please enjoy in Raag Kaushik Kanada Tal Kaherava, Moahammad Rafi sing a composition of Ravi on the lyrics of Asad Bhopali in the 1963 Brij movie Ustadon Ke Ustad starring Pradeep Kumar, Shakila, Ashok Kumar and Sheikh Mukhtar: Sau baar janam lenge, sau baar fana honge…..

सौ बार जनम लेंगे, सौ बार फ़ना होंगे
ऐ जान-ए-वफ़ा फिर भी, हम तुम न जुदा होंगे

क़िस्मत हमे मिलने से, रोकेगी भला कब तक
इन प्यार की राहों में, भटकेगी वफ़ा कब तक
क़दमों के निशाँ खुद ही, मंज़िल का पता होंगे

ये कैसी उदासी है, जो हुस्न पे छाई है
हम दूर नहीं तुम से, कहने को जुदाई है
अरमान भरे दो दिल, फिर एक जगह होंगे

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

We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
25. On the twenty-fifth day, we learnt about Tintal.
26. On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
27. On the twenty-seventh day, we learnt about Lehar.
28. On the twenty-eighth day, we learnt about the history of the Hindustani Music.
29. On the twenty-ninth day, we learnt about Dhrupad.
30. On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
31. On the thirty-first day, we learnt about Khayal.
32. On the thirty-second day, we learnt about Thumri.
33. On the thirty-third day, we learnt about Tappa.
34. On the thirty-fourth day, we learnt about Tarana.
35. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
36. On the thirty-sixth day, we learnt about Tabla.
37. On the thirty-seventh day, we learnt about Kirtan.
38. On the thirty-eighth day, we learnt about Pakhawaj.
39. On the thirty-ninth day, we learnt about Hori.
40. On the fortieth day, we learnt about Dadra.
41. On the forty-first day, we learnt about Kajri.
42. On the forty-second day, we learnt about Chaiti.
43. On the forty-third day, we learnt about Sarangi.
44. On the forty-fourth day, we learnt about Shehnai.
45. On the forty-fifth day, we learnt about Sarod.
46. On the forty-sixth day, we learnt about Bansuri.
47. On the forty-seventh day, we learnt about Ektal and Tanpura.
48. On the forty-eighth day, we learnt about Veena.
49. On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
50. On the fiftieth day, we learnt about Dilruba/Esraj.
51. On the fifty-first day, we learnt about Jaltarang.
52. On the fifty-second day we learnt about Qawwali.
53. On the fifty-third day, we learnt about Sitar.
54. On the fifty-fourth day, we learnt about Surbahar.
55. On the fifty-fifth day, we learnt about Harmonium.
56. On the fifty-sixth day, we learnt about Santoor.
57. On the fifty-seventh day, we learnt about Swarmandal.
58. On the fifty-eighth day, we learnt about the Shruti Box.
59. On the fifty-ninth day, we learnt about Alankar.
60. On the sixtieth day, we learnt about singing in Aakaar.
61. On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
    
62. On the sixty-second day, we learnt a little about Carnatic Music.
63. On the sixty-third day, we learnt about Natya Shastra.
64. On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
65. On the sixty-fifth day, we learnt about Riyaaz.
66. On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
67. On the sixty-seventh day, we learnt about the health benefits of raagas.
68. On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
69. On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
70. On the seventieth day, we learnt about Melakarta Raagas.
71. On the seventy-first day, we learnt about Sangita Makarand.
72. On the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.
73. On the seventy-third day, we learnt about Indian Classical Ragas, an Android application for mobile phones.
74. On the seventy-fourth day, we learnt about Saregama Classical, another application for Classical Raagas.
75. On the seventy-fifth day, we learnt about a free online service available to learn Indian Classical Music.
76. On the seventy-sixth day, we learnt about List of Hindustani Classical Musical Festivals in India and Abroad.
77. On the seventy-seventh day, we learnt about List of Carnatic Musical Festivals in India and Abroad.
78. On the seventy-eighth day, we learnt about Jhaptal.
    
79. On the seventy-ninth day, we learnt about Ektal.
    
80. On the eightieth day, we learnt about Tivra Tal.
81. On the eighty-first day, we learnt about the greatest Rudra Veena player ever: Ustaad Asad Ali Khan.
82. On the eighty-second day, we learnt about the greatest Bansuri player alive: Pandit Hariprasad Chaurasia.
83. On the eighty-third day, we learnt about the best Sarod player in the country: Ustaad Ali Akbar Khan.
84. On the eighty-fourth day, we learnt about the greatest Sitar player in the world: Pandit Ravi Shankar.
85. On the eighty-fifth day, we learnt about the greatest Indian vocalist of Carnatic tradition: MS Subbulakshmi.
86. On the eighty-sixth day, we not just learnt about the greatest vocalist of Hindustani tradition: Pandit Bhimsen Joshi but also learnt about Tal Hinch.
87. On the eighty-seventh day, we learnt about the Shehnai maestro Ustaad Bismillah Khan.
88. On the eighty-eighth day, we learnt about Annapurna Devi, the greatest Surbahar player in India.
89. On the eighty-ninth day, we learnt about Pandit Shiv Kumar Sharma, the greatest Santoor Player in the country.
90. On the ninetieth day, we learnt about Ustaad Alla Rakha, the Tabla maestro.
91. On the ninety-first day, we learnt about Anand Shankar, the great fusion musician from Bengal.
92. On the ninety-second day, we learnt about Sundaram Balachander, the great Veena player and film-maker.
93. On the ninety-third day, we learnt about Ustaad Amjad Ali Khan, the great Sarod player.
94. On the ninety-fourth day, we learnt about the Tabla maestro: Ustaad Zakir Hussain.
95. On the ninety-fifth day, we learnt about the Sitar player and Composer: Anoushka Shankar.
96. On the ninety-sixth day, we learnt about the Vocalist Pandit Jasraj.
97. On the ninety-seventh day, we learnt about the great violinist L Subramaniam.
98. On the ninety-eighth day, we learnt about one of the greatest sitarists: Ustaad Vilayat Khan.
99. And today, on the ninety-ninth day, we learnt about another great sitarist: Nikhil Banerjee.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Dil se re….
Raag Jog, Tal Kaherava

Today, we turn to living-legend and genius AR Rahman, the winner of more Filmfare Awards (Ten) than any other Music Director in history. Even though I have posted a song by him Tu hi re in my other songs series (Please see: ‘Songs That Tug At Your Emotions #22‘) I haven’t given you any of his songs in the present series on Raaga Based Songs.

After this post, I have just two to go before I finish a hundred posts in the present series before Diwali.

If the earlier AR Rahman song was from a Mani Ratnam movie Bombay, this song is from another Mani Ratnam film: the 1998 movie Dil Se in which for the production Ram Gopal Verma and Shekhar Kapur joined hands with Mani Ratnam. It was penned by Gulzar, composed by AR Rahman and sung by AR Rahman, Anuradha Sriram, Anupama & Febi Mani. Pink Floyd bass guitarist Guy Pratt played bass in this song.

This is the first time I am taking up a song in this raaga.

We have completed ninety-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 ninety-seventh post or the last post here was titled ‘Raaga Based Song Of The Day #97‘ and the song was a Yesudas and Hemlata song from the 1976 Basu Chatterjee movie Chitchor starring Amol Palekar, Zarina Wahab and Vijayendra: Tu jo mere sur mein sur mila le. It is also in Raag Pilu 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 ninety-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, Manj Khammaj, Darbari Kanada, Vibhas, Shankara, Bahar, Nand and Mian Ki Malhar; making it a total of 61 raagas. The 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, Basant Mukhari, Malkauns, Bhairavi, Mand, Sohani, Madhuvanti, Shivaranjani and Adana. Today, I am giving you a new Raag Jog for the first time.

Today’s song is from the 1998 film Dil Se that was produced (together with Ram Gopal Verma and Shekhar Kapur) and directed by Mani Ratnam and also written by him together with Tigmanshu Dhulia. The film starred Shahrukh Khan, Manisha Koirala and Preity Zinta.

The movie won AR Rahman one of his ten Filmfare Awards and Gulzar one of his twenty Filmfare Awards (of course for the song Chaiya Chaiya (for which Sukhwinder Singh won the Best Male Playback Singer Award. The movie won two National Awards and Six Filmfare Awards including one for Preity Zinta for Best Female Debut.

Lets understand the story-line to see where the song fits in the movie:

Shahrukh Khan plays Amarkant Varma, a programme executive for All India Radio. Whilst covering festivities in Assam, Amar has a chance encounter with Meghna (Manisha Koirala) at Haflong railway station. He doesn’t know her name but she keeps appearing in his life (for example in Lumding where she denies having met him earlier). He is of course much fascinated by her and  describes his encounter with her on the radio. She hears this and next he sees her at the Post Office.

And now she intervenes telling him to leave her alone but he stalks her and tells her that he is in love with her. She tells him she is married and gets him beaten up by two men. He comes to know later that she feigned marriage and the men are probably her brothers.

Once again she does the vanishing trick and he searches for her. He learns from a Public Call Office owner that she used to make calls to Ladakh. Amar travels to Leh to find her. Here a suicide bomber is chased to death by the army and Amar spots her again. This time she feigns to be his wife when a search is going on for suspected terrorists in the bus by which they travel.

For the first time he learns her name: Meghna. She again vanishes. It is later revealed that Meghna is part of a Liberationists group which plans multiple suicide attacks in New Delhi at the upcoming Republic Day celebrations).

Amar returns to his home in Delhi, where his family has found Preeti Nair (Preity Zinta) from Kerala as a potential bride for him. Amar agrees to marry Preeti because he has no hope that he will ever meet Meghna again.

On a date with Preeti, Amar spots one of Meghna’s associates, Kim. Amar chases him down to Connaught Place, where the man kills himself with a cyanide pill after being stopped by local police. The case is handed over to CBI.

Amar is a prime suspect. This time Meghna visits Delhi to get a job at All India Radio and stay with him to escape scrutiny by security forces. He learns that her real name is Moina and she is a rape victim of the army. Her mission, with her associates, is to target the Republic Day Parade and the President of India.

He tries to prevent all this claiming that his only motive is that he is in love with her. He embraces her whilst she is armed as a suicide bomber and they are both blown to smithereens.

He was in love with her Dil Se and she was seeking revenge with government of India Dil Se for being a rape victim as a child.

That’s the significance of this song in the movie. It is the title song and tells the story of the movie in a flash. 

The song has been penned by Gulzar. Lets talk a bit about Gulzar, the most versatile Lyricist that we have had in Hindi films: He has been poet, lyricist, director, dialogue, story and screen-play writer. He was awarded Padma Bhushan, the third-highest civilian award, the Sahitya Akademi Award and the Dadasaheb Phalke Award — the highest award in Indian cinema. He has won several Indian National Film Awards, 20 Filmfare Awards, one Academy Award and one Grammy Award.

He was born as Sampooran Singh Kalra on 18 Aug 1943 in Dina, Jhelum District (now in Pakistan). After Partition Sampooran’s family shifted to Bombay. In his early boyhood and manhood days, he eked out a living by taking up various odd jobs including as a mechanic at a garage. He was fond of writing poetry and assumed the name of Gulzar Deenvi and later Gulzar.

He started his career as a songwriter with the music director Sachin Dev Burman for the Bimal Roy movie Bandini (1963) penning just one song: Mora gora rang layle whilst Shailendra penned the rest.

From that day on wards there has never been any looking back.

Gulzar has won the Filmfare Awards the maximum number of times: twenty; eleven of these have been for Best Lyricist. The next in the line is AR Rahman who has one fifteen Filmfare Awards including ten as Best Music Director.

The song belongs to its composer Allah Rakha Rahman more than to anyone else. Just as, the other day, we took up Surbahar player Annapurna Devi (Please see: ‘Raaga Based Song Of The Day #88‘) who became a Hindu after having been born a Muslim as Roshana Khan, AR Rahman was born a Hindu, Dileep Shekhar, on 06 Jan 1967 and converted to Islam in 1989, at the age of 22. In recent past, no other composer and music director has occupied space in our hearts and minds more than Rahman. Rahman’s films career started with the 1992 Tamil movie Roja, also a Mani Ratnam movie and also starring Arvind Swamy, though with Madhoo and not Monisha Koirala. Roja not just won the National Award for Best Film on National Integration but was later dubbed in Hindi, Marathi, Telugu and Malyalam. In 2009, when AR Rahman won two Oscars (for Best Song (Jai ho)) and Best Original Score (together with Gulzar)(Slumdog Millionaire) many of us felt that the Roja songs and music were better than the Slumdog Millionaire. His first film Roja won him the National Award for Best Music Director. One of the songs from the movie is a favourite: Bharat hamako jaan se bhi pyaara hai. As of 2016, Rahman has garnered four National Film Awards, 15 Filmfare Awards and 16 Filmfare Awards South, a record for an Indian composer.

Gulzar and AR Rahman started together with this movie. They have worked together in twelve movies as Lyricist and Music Director.

Some of the popular songs of Gulzar with AR Rahman are: Chaiya chaiya, Jiya jale, Ai ajnabee and Satrangi re (Dil Se, 1998); Saathiya, Chupke se, Mera yaar mila de, and Chori pe chori (Saathiya, 2002); Jiya jale and Dil se re used again in 7 1/2 Phere (2005); Barso re megha megha, Jaage hain der tak, Maiyya and Aye hairati aashqi jaga mat (Guru, 2007); Main hoon yuvraaj, Shanno shanno, Tu meri dost hai, Mastam mastam and Dil ka rishta (Yuvraaj, 2008); Jai ho (Slumdog Millionaire, 2009 Both of them won Oscar); Ranjha Ranjha kardi ve, Behne de mujhe behne de and Thok de killi (Raavan, 2010); Saans mein teri saans mili to, Heer Heer na aakho adiyo, Saans, Jiya jaiya re jiya, and Jab taq hai jaan (Jab Tak Hai Jaan, 2012).

AR Rahman is so well versed with raagas that he has tried songs in raagas that were hitherto untried. Some of  his most memorable numbers are: Taal se taal mila (Bhairavi), Piya Haji Ali (Maand), Columbus (Madhyamaavathi), Karite na (Maru Bihag/Hemant), Hai Rama (Puria Dhanashree) (Please see: ‘Raaga Based Song Of The Day #40‘), Deem tadare dhani (Megh Malhar), Anjali Anjali (Maand), Jiya jale (Misra Bhairavi), Boondon se baaten (Misra Kirwani), Ni main samajh gayi (Ahir Bhairavi), Mitwa (Bhupeshree or Vasanthi), Radha kaise na jale (Bhimpalasi), Chalo chalo (Chala Nathai), Mujhe rang de (Charukeshi), Chhodo meri bainyan (Patdeep), Jhoola bahon ka (Peelu), Ruth aa gayi re (Puria Dhanashree), Monalisa (Gawati), and Ghanan ghanan (Kafi). 

This song, as I told you, is in Raag Jog, Tal Kaherava.

Raag Jog belongs to the Kafi thaat. Its Jati is Audhav – Audhav, which means it is pentatonic (five notes or swar) in Aaroha (ascending) and  in Avroha (descending). The swar that are vrajay (missing) are Re (Rishab) and Dha (Dhaivat). Rishab is Komal and both (Shuddha in Aaroha and Komal in Avroha) Gandhars are used. Rest all swar are Shuddha. The dominant note (Vadi) is Ma or Madhyam. The raaga is a straightforward and melodious raaga. Mani Ratnam and AR Rahman have tried to contrast the soft melody against the harsh violence of terrorism. In that manner only it is somewhat similar to Louis Armstrong’s It’s A Wonderful World being used against the harsh reality of war in Barry Levinson’s 1987 movie Good Morning Vietnam starring Robin Williams. The raaga is well suited for the second prahar of the night (9 PM to Midnight).

Very few Hindi films songs have been composed in this raaga, Besides the present song, Hansraj Behl composed Naina dwar se for the 1959 movie Sawan.

I have, at various places earlier, told you about the Kaherava Tal and hence don’t feel the need to repeat it here.

Before we actually take up the song, first, lets take up the value added learning of today. From the last fifteen times we started learning about some of the leading personalities in Indian Classical Music or Shastriya Sangeet. The first one that we took up was Ustaad Asad Ali Khan, the finest Rudra Veena player in the country. Then we took up Pandit Hari Parsad Chaurasia, the greatest Bansuri player in the country. Then we talked about Ali Akbar Khan, the greatest Sarod player in the country. Then we took up Pandit Ravi Shankar, the greatest Sitar player in the world. Then we took up the greatest classical singer in the country (of Carnatic tradition): MS Subbulakshmi. Then, we took up the greatest classical singer in the country (of Hindustani tradition): Pandit Bhimsen Joshi. Then, we learnt about the Shehnai maestro Ustad Bismillah Khan. Then, we learnt about Annapurna Devi, a great Surbahar (bass sitar) player of Hindustani Classical Music. Thereafter, we took up Pandit Shiv Kumar Sharma, the grestest Santoor player in the country. Then we learnt a little more about Ustaad Alla Rakha Qureshi or simply Alla Rakha, the Tabla Maestro and father of Ustaad Zakir Hussain. Then we learnt about the master and one of the pioneers of fusion: Anand Shankar. Then we learnt about a Veena player who was also a great filmmaker: Sundaram Balachander. Then we learnt about Sarod Player Ustad Amjad Ali Khan. And then we learnt about Ustaad Zakir Hussain, the Tabla maestro. Then we learnt about Sitar Player and Composer Anoushka Shankar. And then we covered vocalist Pandit Jasraj in the last post. Finally we covered violinist L Subramaniam.

Tonight, we shall take up the great sitarist: Ustaad Vilayat Khan. He turned down all awards conferred on him by the government of India: the second, third and fourth highest; ie, Padma Vibhushan, Padma Bhushan and Padma Shri on the ground that others less deserving Sitarists have been given these awards before him. His family, he rightly claimed, had originated gayaki ang of Sitar (attempt to mimic vocal music on Sitar) and it was not recognised for this. On the same grounds he turned down Sangeet Natak Akademi Award. This makes him a unique artiste who has turned down all awards conferred on him. The only titles he accepted were the special decorations of “Bharat Sitar Samrat” by the Artistes Association of India and “Aftab-e-Sitar” (Sun of the Sitar) from President Fakhruddin Ali Ahmed.

Vilayat was born on 28 Aug 1928 in Gouripur, Mymensingh in then East Bengal in British India and current Bangladesh. His father Enayat Khan was recognised as a leading sitar and surbahar (bass sitar) player of his time, as had been his grandfather, Imdad Khan, before him. He was taught in the family style, known as the Imdadkhani gharana or Etawah Gharana, after a small city close to Agra where Imdad Khan lived.

He recorded his first 78-RPM disc at the age of 8, and gave his last concert in 2004 at the age of 75. Vilayat Khan performed at All Bengal Music Conference, as his first concert, organized by Bhupen Ghosh in Kolkata with Ahmed Jan Thirakwa on tabla. His performance at the concert organized by Vikramaditya Sangeet Parishad, Mumbai in 1944 drew the headline “Electrifying Sitar”.

Vilayat composed and conducted the score for three feature films – Satyajit Ray’s Jalsaghar (1958) in Bengali, Merchant-Ivory Productions’ The Guru (1969) in English, and Madhusudan Kumar’s Kadambari (1976) in Hindi.

Returning to the song now. The song, as I told you, is from the 1998 Mani Ratnam movie Dil Se. Mani Ratnam and AR Rahman have had an abiding relationship that started with the 1992 movie Roja that was later remade into Hindi, Telugu, Malyalam and Marathi. When AR Rahman was conferred the Oscar for Jai Ho in 2009 movie Slumdog Millionaire, critics felt that the music of Roja was much better. As far as Hindi movies are concerned, both of them were together in Bombay (1995), Dil Se (1998), Guru (2007) and Raavan (2010).

Mani Ratnam directed the movie and the song very well. In the 1999 Berlin International Film Festival he won a special mention in Netpac Awards for this movie. This song was a chart topper of the year 1998 and this song’s lyrics in Urdu are said to be the finest. Its picturisation too got noticed. Santosh Sivan received Filmfare Award for Best Cinematography for the movie. The song has now achieved a cult status.

Ladies and gentlemen, please enjoy in Raag Jog Tal Kaherava, AR Rahman, Anuradha Sriram, Anupama & Febi Mani sing a composition of AR Rahman on the lyrics of Gulzar in the 1998 Mani Ratnam movie Dil Se starring Shahrukh Khan, Manisha Koirala and Preity Zinta: Dil se re…..

इक सूरज निकला था, कुछ तारा पिघला था
इक आँधी आयी थी, जब दिल से आह निकली थी
दिल से रे
दिल तो आखिर दिल है न, मीठी सी मुशकिल है न
पिया पिया, जिया जिया, पिया पिया
दिल से रे …

दो पत्ते पतझड़ के, पेड़ों से उतरे थे
पेड़ों की शाखों से, उतरे थे
फिर इतने मौसम गुज़रे, वो पत्ते दो बेचारे
फिर उगने की चाहत में, वो सहरों से गुज़रे
वो पत्तेए दिल दिल दिल थे, वो दिल थे दिल थे दिल दिल थे
दिल है तो फिर दर्द होगा, दर्द है तो दिल भी होगा
मौसम गुज़रते रहते हैं
दिल से दिल से दिल दिल से, दिल से रे
दिल तो आखिर दिल है न …

बन्धन है रिश्तों में, काँटों की तारें हैं
पत्थर के दरवाज़े, दीवारे.ब
बेलें फिर भी उगती हैं, और गुँचे भी खिलते हैं
और चलते है.ब अफ़साने
किरदार भी मिलते हैं
वो रिश्ते दिल दिल दिल थे, वो दिल थे दिल थे दिल दिल थे
ग़म दिल के बस चुलबुले हैं, पानी के ये बुलबुले हैं
बुझते हैं बनते रहते हैं
दिल से दिल से दिल दिल से, दिल से रे
दिल तो आखिर दिल है न …

We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
25. On the twenty-fifth day, we learnt about Tintal.
26. On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
27. On the twenty-seventh day, we learnt about Lehar.
28. On the twenty-eighth day, we learnt about the history of the Hindustani Music.
29. On the twenty-ninth day, we learnt about Dhrupad.
30. On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
31. On the thirty-first day, we learnt about Khayal.
32. On the thirty-second day, we learnt about Thumri.
33. On the thirty-third day, we learnt about Tappa.
34. On the thirty-fourth day, we learnt about Tarana.
35. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
36. On the thirty-sixth day, we learnt about Tabla.
37. On the thirty-seventh day, we learnt about Kirtan.
38. On the thirty-eighth day, we learnt about Pakhawaj.
39. On the thirty-ninth day, we learnt about Hori.
40. On the fortieth day, we learnt about Dadra.
41. On the forty-first day, we learnt about Kajri.
42. On the forty-second day, we learnt about Chaiti.
43. On the forty-third day, we learnt about Sarangi.
44. On the forty-fourth day, we learnt about Shehnai.
45. On the forty-fifth day, we learnt about Sarod.
46. On the forty-sixth day, we learnt about Bansuri.
47. On the forty-seventh day, we learnt about Ektal and Tanpura.
48. On the forty-eighth day, we learnt about Veena.
49. On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
50. On the fiftieth day, we learnt about Dilruba/Esraj.
51. On the fifty-first day, we learnt about Jaltarang.
52. On the fifty-second day we learnt about Qawwali.
53. On the fifty-third day, we learnt about Sitar.
54. On the fifty-fourth day, we learnt about Surbahar.
55. On the fifty-fifth day, we learnt about Harmonium.
56. On the fifty-sixth day, we learnt about Santoor.
57. On the fifty-seventh day, we learnt about Swarmandal.
58. On the fifty-eighth day, we learnt about the Shruti Box.
59. On the fifty-ninth day, we learnt about Alankar.
60. On the sixtieth day, we learnt about singing in Aakaar.
61. On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
    
62. On the sixty-second day, we learnt a little about Carnatic Music.
63. On the sixty-third day, we learnt about Natya Shastra.
64. On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
65. On the sixty-fifth day, we learnt about Riyaaz.
66. On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
67. On the sixty-seventh day, we learnt about the health benefits of raagas.
68. On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
69. On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
70. On the seventieth day, we learnt about Melakarta Raagas.
71. On the seventy-first day, we learnt about Sangita Makarand.
72. On the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.
73. On the seventy-third day, we learnt about Indian Classical Ragas, an Android application for mobile phones.
74. On the seventy-fourth day, we learnt about Saregama Classical, another application for Classical Raagas.
75. On the seventy-fifth day, we learnt about a free online service available to learn Indian Classical Music.
76. On the seventy-sixth day, we learnt about List of Hindustani Classical Musical Festivals in India and Abroad.
77. On the seventy-seventh day, we learnt about List of Carnatic Musical Festivals in India and Abroad.
78. On the seventy-eighth day, we learnt about Jhaptal.
    
79. On the seventy-ninth day, we learnt about Ektal.
    
80. On the eightieth day, we learnt about Tivra Tal.
81. On the eighty-first day, we learnt about the greatest Rudra Veena player ever: Ustaad Asad Ali Khan.
82. On the eighty-second day, we learnt about the greatest Bansuri player alive: Pandit Hariprasad Chaurasia.
83. On the eighty-third day, we learnt about the best Sarod player in the country: Ustaad Ali Akbar Khan.
84. On the eighty-fourth day, we learnt about the greatest Sitar player in the world: Pandit Ravi Shankar.
85. On the eighty-fifth day, we learnt about the greatest Indian vocalist of Carnatic tradition: MS Subbulakshmi.
86. On the eighty-sixth day, we not just learnt about the greatest vocalist of Hindustani tradition: Pandit Bhimsen Joshi but also learnt about Tal Hinch.
87. On the eighty-seventh day, we learnt about the Shehnai maestro Ustaad Bismillah Khan.
88. On the eighty-eighth day, we learnt about Annapurna Devi, the greatest Surbahar player in India.
89. On the eighty-ninth day, we learnt about Pandit Shiv Kumar Sharma, the greatest Santoor Player in the country.
90. On the ninetieth day, we learnt about Ustaad Alla Rakha, the Tabla maestro.
91. On the ninety-first day, we learnt about Anand Shankar, the great fusion musician from Bengal.
92. On the ninety-second day, we learnt about Sundaram Balachander, the great Veena player and film-maker.
93. On the ninety-third day, we learnt about Ustaad Amjad Ali Khan, the great Sarod player.
94. On the ninety-fourth day, we learnt about the Tabla maestro: Ustaad Zakir Hussain.
95. On the ninety-fifth day, we learnt about the Sitar player and Composer: Anoushka Shankar.
96. On the ninety-sixth day, we learnt about the Vocalist Pandit Jasraj.
97. On the ninety-seventh day, we learnt about the great violinist L Subramaniam.
98. And today, on the ninety-eighth day, we learnt about one of the greatest sitarists: Ustaad Vilayat Khan.