Sunbyanyname

Raaga Based Song of the Day: Taqdeer ka fasaana jaakar kise sunayen….
Raag Desh, Tal Dadra

I had given you a song in Raag Desh earlier on the 15th day (Beqasi hadd se jab guzr jaaye) (Please see: ‘Raaga Based Song Of The Day #15‘). However, even at that time I had clarified that it was anything but pure Desh and indeed was a cross between Desh and Khammaj. Today’s song, however, is a fine example of Desh.

It is also signature Mohammad Rafi with his passion, outstanding voice and ability to go to high pitch with ease. Everytime I return to Mohammad Rafi, I keep thinking that there was and is no one with his calibre of singing. He was the one for whom we can use the word incomparable, doing it full justice. This one is with a forgotten music director Ramlal who gave us remarkably beautiful songs in this movie Sehra as well as in Geet Gaya Pathron Ne (both V Shantaram movies); songs such as: Tum to pyaar ho sajani, Pankh hote to udd aati, Ja ja ja re tujhe ham jaan gaye, Tere khayaalon mein ham, and Mandve tale gareeb ke do phool khil rahe hain.

We have completed sixty 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 sixtieth post or the last post was titled ‘Raaga Based Song Of The Day #60‘ and the song was a Udit Narayan and Kavita Krishnamurthy song from the 2001 S Shankar movie Nayak: The Real Hero starring Anil Kapoor and Rani Mukerji: Chalo chalen mitwa in oonchi neechi raahon mein. It is in Raag Gawati, 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 Bhairavi – Part III‘.

In the last sixty 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 and Gawati. The only five raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti and Bhairavi. That makes a total of 51 raagas so far. Today, I am repeating Raag Desh.

Today, I give you a song sung by Mohammad Rafi on the lyrics of Hasrat Jaipuri and on a composition by Ramlal. As I said, it is in  Raag Desh, Tal Dadra.

However, first, lets take up the value added learning of today. Today, we shall learn about Classification of Indian Musical Instruments.

Now that we have, over a period of time, got a smattering of Indian musical instruments, today, lets learn something about their classification.

Raag Desh or Des belongs to Khammaj Thaat. Its Jati is Audhav-Sampurna, that is five notes in Aaroha (minus Gandhar and Dhaivat) and all seven notes in Avaroha. It is sung during the second prahar of the night, that is, between 9 PM and midnight. This Raag is a very sweet melody that announces itself with the combination D s m G R – G ,N s S. The musical compositions in this Raag bear the Shadja-Pancham (S-P) and Shadja-Madhyam (S-m) Bhava and therefore very pleasing and essentially melodic.

Desh has been used in patriotic songs; the most popular being a version of Vande Mataram, the national song.

Some of the songs composed in this raag Desh are:

The song Taqdeer ka fasaana jaakar kise sunayen is from the 1963 V Shantaram movie Sehra starring his wife Sandhya with Prashant.

The song was penned by Hasrat Jaipuri and composed by Ramlal. It was sung separately by Mohammad Rafi and Lata Mangeshkar. I am giving you the Mohammad Rafi version.

Please enjoy in Raag Desh, Tal Dadra: Taqdeer ka fasaana jaakar kise sunaayen….

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. And today, on the sixty-first day, we learnt about the Classification of Indian Musical Instruments.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Chalo chalen mitwa in oonchi neechi raahon mein….
Raag Gawati, Tal Kaherava

Finally, our fifty-first raaga today: Raag Gawati, Gavati or Gavti. As you listen to the freshness of the song, you would be straightway reminded of Raag Pahadi’s songs, particularly: Tere mere honthon pe meethe meethe heet mitwa. But, we shall come to that later.

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

Our fifty-ninth post or the last post was titled ‘Raaga Based Song Of The Day #59‘ and the song was a Talat Mehmood song from the 1950 Shaheed Lateef movie Arzoo starring Dilip Kumar, Kamini Kaushal and Shashikala: Ai dil mujhe aisi jagah le chal jahan koi na ho. It is in Raag Adana, 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 Bhairavi – Part II‘.

In the last fifty-nine 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 and Gawati. The only five raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti and Bhairavi. That makes a total of 51 raagas so far. Today, I am repeating Raag Adana.

Today, I give you a duet sung by Udit Narayan and Kavita Subramaniam on the lyrics of Majrooh Sultanpuri and on a composition by Anil Biswas. As I said, it is in  Raag Gawati, Tal Kaherava.

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

In Hindustani Classical Music notes are often sung in the vowel “Aa” in the form of alaap or taan etc. Therefore when notes are sung in vowel “Aa” it ia called Aakaar.

Now here, we have a major difference between singing normally and singing in Hindustani classical music. Most people are used to singing songs with lyrics, which contain both consonants and vowels. Consonants play the role of stabilizing the voice and helping it transition from one note to another, so it is much easier to sing tunefully when you use consonants. Take the consonants out, and suddenly you are left without a crutch, the notes seem to merge into each other and become blurry. The challenge is to train your voice to sing each note with precision and clarity without the consonants. Serious students must eventually practice singing in all of the pure vowel sounds – a (the schwa sound), ā, i, u, e and o, as well as the nasal consonants n and m, because the voice behaves differently with different vowels. Some notes are harder to hit with certain vowels.

One of the reasons it is important to learn to sing clearly in aakaar is because when you are singing rapid note patterns at dizzying speeds, a pure vowel sound is all there is time for. You cannot afford the luxury of consonants and lyrics at those speeds. Another reason is that Hindustani classical music requires the artist to improvise melody, and singing in aakaar allows the artist to focus on and freely explore melody. Apart from all this, there is the very important fact that melody can be experienced at its purest when no distractions in the form of lyrics are present.

I am sure, next time you listen to a vocalist of Hindustani classical music, you will understand the melody and its bhaav better by the sheer pleasure of listening rather than having to concentrate on lyrics.

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

There is some discussion about whether Raag Gawati belongs to Khammaj or Kafi Thaat. It is because Raag Bheem is also called Raag Gawati. My study shows that some distinguish the two by adding to the latter a vivadi komal gandhar in the tar saptaka. However, this Bheem is not the same as that of the Kafi thaat.

Gawati, you must have already guessed, is a rare raga (Gaoti, Gawoti, Gavati, and Gavti are some of the ways in which it is called). Until about 18 years no Hindi song was ever composed in it. Why only in Hindi movies, even though it is a gem of a raag, it wasn’t very popular with the musicians.  Some sitarists such as Vilayat Khan, Imrat Khan, Nishat Khan, Shahid Parvez and Wajahat Khan and some rare vocalists made use of the raag.

There are many such gems in Indian Ragaas, forgotten and nearly extinct. And then you have a maestro like AR Rahman who revives them. The other day, we saw how well he handled Raag Bhatiyar, another rare raag.

Love for Gawati is like acquiring the taste for, say, olives; slowly it grows on you. But, you still have no idea why you like it. Another thing about Gawati is that like Pahadi it is a happy raag. However, it can also convey some of the saddest and rueful feelings.

Its Jati is Audhav-Sampurna Vakra. It is normally to be sung or performed in the third prahar of the day, that is in the afternoon.

Some of the songs composed in this raaga are: Baat meri suniye to zara (2003 movie Kuchh Na Kaho), Ek saathi aur bhi tha (2003 movie LOC Kargil), and Kariye Na (1999 movie Taal). Hence, as you can make out, it is only recently that this raag found its way into Hindi films songs.

The song Chalo chalen mitwa in oonchi neechi raahon mein is from the 2001 S Shankar movie Nayak: The Real Hero starring Anil Kapoor and Rani Mukerji.

The song was penned by Anand Bakshi and composed by AR Rahman, reused all the songs except “Mudhalvane” song, from the original film Mudhalvan. It was sung by Udit Narayan and Kavita Krishnamurthy.

Please enjoy in Raag Gawati, Tal Kaherava: Chalo chalen mitwa in oonchi neechi raahon mein….

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. And today, on the sixtieth day, we learnt about singing in Aakaar.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Ai dil mujhe aisi jagah le chal jahan koi na ho….
Raag Adana, Tal Kaherava

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

Our fifty-eighth post or the last post was titled ‘Raaga Based Song Of The Day #58‘ and the song was a Sadhana Sargam song from the 2005 Deepa Mehta movie Water starring Seema Biswas, Lisa Ray, John Abraham and Sarla Kariyawasam: Naina neer bahaye. It is in Raag Bhatiyar, 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 Bhairavi – Part I‘.

In the last fifty-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 and Bhatiyar. The only five raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti and Bhairavi. That makes a total of 50 raagas so far. Today, I am repeating Raag Adana.

Today, I give you a song sung by Talat Mehmood on the lyrics of Majrooh Sultanpuri and on a composition by Anil Biswas. As I said, it is in  Raag Adana, Tal Kaherava. The last time I gave you a song in this raag was on the 25th day when I gave you Manmohan mein ho tumhi in Tintal (Please see ‘Raaga Based Song Of The Day #25‘)

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

Alankar literally means ornaments or adornments. In India, Alankar or Alankara means ornaments or adornments. In classical music, Alankar does exactly what ornaments and adornments do to a woman; these enhance the inherent beauty.

Alankar is even more ancient than most raagas; Between 200 BC and 200 AD, there are references to Alankar in Bharata’s Natyashastra. Natyashastra has a total of 33 types of Alankars. Subsequently, these were increased to more than 60 types of Alankars in the treatises.

There are mainly two types of Alankars mentioned in the ancient texts: Varnalankar and Shabdalankar; that is, varna based or shabda (voice) based. Varna refers to the four varnas: sthayi, aaroha, avaroha and sanchari. These are arrangements of notes in a particular sequence that we learnt about fairly early and hence I am not going to repeat here. Shabda refers to the aesthetic aspect whereas varna refers to the structural aspect; it is basically related to shabd or voice of either human being or instrument. Therefore, Shabdalankar would include everything that a performer wove both melodically and rhythmically outside the periphery of the fixed composition of raaga. In other words, all the extempore variations that a performer created during a performance within the raga and tala limits could be termed as alankar, because these variations embellished and enhanced the beauty of the raga, the tala and the composition. Therefore, it is now easy to make out that great vocalists or instrumentalists always went beyond the confines of rigid structures and added their personal touch to the performances through Alankar. It is another thing, that even the process of adding these adornments or ornamentation has been elaborately defined now; making even that somewhat rigid and may only vary between, say, gharanas; which too we learnt at a fairly early stage. When we talk about alankars today, we specifically refer to embellishments to a swar or a note.

“In Indian music and especially in raga sangeet, staccato or straight isolated notes are almost unheard of. In instrumental music too, with the exception of some instruments, the notes are never static either. Each note has some link with its preceding or succeeding note. It is this extra note or grace note that lays the foundation of all alankars. The shrutis or microtones that are so important in raga sangeet demand this ‘mobile’ nature of the swaras in Indian music.”

“The alankars in common use today comprise Meend (varieties of glides linking two or more notes), Kan (grace note), Sparsh and Krintan (both dealing with grace notes – especially as applied in plucked stringed instruments), Andolan (a slow oscillation between adjacent notes and shrutis), Gamak (heavy forceful oscillations between adjacent and distant notes), Kampit (an oscillation or a vibrato on a single note), Gitkari or Khatka (cluster of notes embellishing a single note), Zamzama (addition of notes, with sharp gamaks) and Murki (a swift and subtle taan-like movement).”

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

Raag Adana belongs to Asavari Thaat. Raag Adana resembles Raag Darbari Kanada, with the difference that Gandhar is forbidden in Aaroh in Adana. This Raag is rendered mostly in Madhya and Tar Saptaks unlike Raag Darbari Kanada, which is more deep and hence is rendered in Madhya and Mandra Saptaks (Octaves). In this Raag, Komal Gandhar and Komal Dhaivat should not be repeated (oscillated) otherwise Raag Darbari Kanada makes its appearance. Like Darbari Kanada, this Raag does not employ Meend and Gamak, as this is a flittering dynamic type melodic form. Its Jati (and by now you understand this completely) is Shadhav-Smapurna Vakra. It is normally to be sung during the second prahar of the night, that is, between 9 PM and midnight. Adana was a major raga in the 17th century and a combination of the then current ragas Malhar and Kanada. In a ragamala painting from Mewar it is depicted as an ascetic man sitting on a tiger skin, however, Somanatha describes him as Kama the god of love. His Adana was quite different from the raga as it is performed today.

Some of the songs composed in this raaga are:

The song Ai dil mujhe aisi jagah le chal jahan koi na ho is from the 1950 Shaheed Lateef movie called Arzoo starring Dilip Kumar, Kamini Kaushal and Shashikala. The movie’s story was penned by Ismat Chugtai who later wrote MS Sathyu’s Garam Hawa.

The song was penned by Majrooh Sultanpuri and composed by Anil Biswas. It was sung by Talat Mehmood.

Please enjoy in Raag Adana, Tal Kaherava: Ai dil mujhe aisi jagah le chal jahan koi na ho….

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. And today, on the fifty-ninth day, we learnt about Alankar.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Naina neer bahaye….
Raag Bhatiyar, Tal Kaherava

I am giving you a new raag today that I haven’t so far given you. That makes it 50 raagas in 58 days.

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

Our fifty-seventh post or the last post was titled ‘Raaga Based Song Of The Day #57 – Final Tribute To My Late Mother‘ and the song was a Lata Mangeshkar song from the 1962 A Bhimsingh movie Main Chup Rahungi starring Meena Kumari and Sunil Dutt: Tumhi ho mata pita tumhi ho. It is in Raag Bhairavi, 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 Todi‘.

In the last fifty-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 and Bhtiyar. The only five raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti and Bhairavi. That makes a total of 50 raagas so far.

Today, I give you a song sung by Sadhana Sargam on the lyrics of Sukhwinder Singh and on the composition of AR Rahman, in Raag Bhatiyar, Tal Kaherava.

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

Shruti Box is a drone instrument like Tanpura and Swarmandal. Shruti Box resembles a harmonium in shape and provides drone both in practice sessions as well as in concert. Being a drone, it is used as an accompaniment to other instruments. It was and is widely used as an accompaniment to flute. Shruti box is used to assist in tuning voice in classical singing. These days, electronic Shruti Boxes have taken over, which can be easily tuned. These are called Shruti Petti in Tamil and Telugu and Sur Peti in Hindi.

Drone used to be produced, before the advent of Harmonium, by either Tambura or Nadaswaram. After the advent of Harmonium, one could easily open the cover and adjust the stop to produce the required drone.

Later, Harmonium was modified to have a keyless instrument to produce drone and that’s exactly what Shruti Box or Sruti Box is.

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

Raag Bhatiyar belongs to Marwa Thaat and is a combination of Raag Marwa and Raag Mand. If you recall, on the 24th Day, I gave you a song in Raag Mand: Kesariya Baalma (Tal Dadra) (Please refer to ‘Raaga Based Song Of The Day #24‘). Its Jati (and by now you understand this completely) is Sampurna-Smapurna Vakra. It is normally to be sung at the fourth prahar of the night, that is, between 3 AM to 6 AM. Having Vakra swar makes it a complex raag. Its bhaav is anxiety laden as you can guage in the accompanying song that I have selected for you. The name of this old raga is said to derive from King Bhartrhari; this may well be a good example of inventive etymology. 

Three of the other songs composed in this raaga are:

• Aayo Prabhaat Sab Mil Gaao. Film – Sur Sangam
  Year – 1985
  Music Director(s) – Laxmikant Pyarelal
  Singers – Rajan Mishra / S. Janaki
• Ek Ritu Aaye Ek Ritu Jaaye. Film – Gautam Govinda
  Year – 1979
  Music Director(s) – Laxmikant Pyarelal
  Singer(s) – Kishore Kumar
• Jaya Nandalaal.. Film – Ghar Ghar Ki Kahani
  Year – 1970
  Singer(s) – Lata Mangeshkar

The song Naina neer bahaye is from the 2005 Indo-Canadian movie written and directed by Deepa Mehta called Water. She had earlier films named after two other elements, Fire in 1996 and Earth in 1998. Instead of having a film based on a novel, later, the movie story was adapted by Bapsi Sidhwa to write a novel: Water: A Novel. The movie had screenplay by Anurag Kashyap and starred Seema Biswas, Lisa Ray, John Abraham, and Sarala Kariyawasam in pivotal roles and Kulbhushan Kharbanda, Waheeda Rehman, Raghuvir Yadav, and Vinay Pathak in supporting roles.

Salman Rushdie had this to say about the film: “Un film magnifique”. The film is set in the year 1938, nine years before India’s independence and “parallels the plight of widowed women in India under Hindu fundamentalism to that of India under British colonialism”.

The song was penned by Sukhwinder Singh and composed by AR Rahman in this complex raag. As you can see, it has been superbly done by the maestro. It was sung by Sadhana Sargam.

Please enjoy in Raag Bhatiyar, Tal Kaherava: Naina neer bahaye….

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. And today, on the fifty-eighth day, we learnt about the Shruti Box.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Chhup gayaa koi re, door se pukaar ke,
Dard anokhe haay, de gayaa pyaar ke….
Raag Jhinjhoti, Tal Kaherava

Whilst this is a great song, no doubt, I am sure this is the first time someone would have made use of the song to remember his late mother. Now, why did I do it? There are several reasons. The first one is that the lyrics (don’t forget I am a Lyrical man) are most appropriate to express my feelings after my mother has gone to reside with God. Take this, for example:

Akhiyon se neend gayi, manvaa se chain re
Chhup chhup roye mere, khoye khoye nain re…

The lyrics express exactly what I am going through.

The second is that if you can take a filmy-song tune to make a bhajan (hymn) – and in the temples there are quite a few of them – why can’t I take this superb song in remembrance of my mother?

The third, of course, is that the raag happens to be Jhinjhoti, a raag named after an apsara and my most favourite song in Hindi movies happens to be in this raag; which I have always decided, for emotional reasons, never to put up: Mere mehboob tujhe meri mohabbat ki kasam. If you recall, my first post in the series was in Raag Jhinjhoti 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.

The fourth is that I am very fond of Hemant Kumar and this song has his composition as a music director.

Last, but not the least is that it has been sung by Lata Mangeshkar and my fondness for her singing is already well-known (Please read: ‘My Favourite Songs Of Lata Mangeshkar‘). My mom used to say that in me (being the middle child between my elder sister and younger brother) she obtained both a son and a daughter since, whilst looking after all those things that only a man can, I never shied from working in the kitchen or doing those things too that women do so well. Hence, it is not inappropriate for me to select a Lata Mangeshkar song to express my sentiments.

My last post, that is, the fifty-fifth post was also a tribute to my late mother who suddenly passed away on 09 Aug 17. It was titled ‘Raaga Based Song Of The Day #55‘ and the song was a Mohammad Rafi song from the 1955 SU Sunny movie Udan Khatola: O door ke musaafir, hamko bhi saath le le re, ham reh gaye akele. It is in Raag Pahadi, Tal Kaherava.

This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: ‘The Best Raaga Based Songs in Hindi Movies – Raaga Pilu – Part I‘.

In the last fifty-five days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi, Kalavati and Hamir. The only three raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag and Raag Kirwani. That makes a total of 49 raagas so far; today’s one too I am repeating: Raag Jhinjhoti.

Today, I give you a song, in Raag Jhinjhoti, Tal Kaherava, one of the best of Lata Mangeshkar.

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

Just like Veena, Santoor is an ancient instrument of India. It was origibnally called Shata-tantri Veena which means a Veena of shata or hundred strings. I already brought out to you in an earlier post that Veena wasn’t a specific instrument at one time; any string instrument used to be called Veena at one time. I had already brought out that the first of these was called Pinaki-Veena (Please refer to ‘Raaga Based Song Of The Day #48‘). Interestingly, Pinaki Veena was created from the idea of bow and arrow; as the latter was released from the bow, it made a sound. It is similar to Western instrument Harp. Its miniature version is called Swarmandal, that we shall take up later.

Santoor is a hollow box made of walnut. Atop the box are 25 bridges, each having four strings resting on it. Two wooden mallets, one each balanced in each hand are used to paly Santoor.

The most populzar image of Santoor player is that of Pandit Shivkumar Sharma; I have listened to him live many times. It was actually his father Pandit Umadutt Sharma who brought this instrument from Kashmir wherein it was used with Sufi music and introduced it into Indian classical music.

Shivkumar Sharma was initiated into classical music at the age of five as a vocalist and tabla player. He later became so adept at playing Santoor that the name Shivkumar Sharma and Santoor became inseparable. Indeed, he improved its tonal quality, its playing technique, in the range and bhaav of music.

The modified Santoor which Shivkumar Sharma plays now has got 31 bridges, with a total number of 91 strings. It has got a range of 3 octaves and chromatic tuning.

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

Raag Jhinjhoti is a raag of Khammaj Thaat. Its Jati is Audhav-Sampurna, that is five notes ascending (Aaroha) and all seven notes in descending (Avaroha). The time for the raag is second Prahar of the night (nine PM to midnight). Jhinjhoti is regarded as a light raag. Nevertheless it is practised in both dhrupad and khayal tradition by vocalists as well instrumentalists. The raag is commonly used in semi-classical genres of tappa and thumri that I have already told you about.

Most songs in Hindi movies that have been composed in Raag Jhinjhoti have an element of self-pity about them. Some of the songs composed in this raaga are:

As far as Tal Kaherava is concerned, I have already told you enough about this most popular Tal.

Of course, I have made use of the song in memory of my late mother. The song, originally, is from the 1957 Nandlal Jaswantlal movie Champakali starring Bharat Bhushan, Suchitra Sen and Pran. The song was penned by Shimla man Rajinder or Rajindra (he used both spellings) Krishan that has my mom’s name in part (Harkrishan). Rajinder Krishan was the richest lyricist in Hindi movies and my mom was thje richest person at heart that I know of.

Please enjoy in Raag Jhinjhoti, Tal Kaherava: Chhup gaya koi re door se pukaar ke, Dard anokhe haay de gaya pyaar ke….

Chhup gayaa koii re, duur se pukaar ke
Dard anokhe haay, de gayaa pyaar ke
Chhup gayaa …

Aaj hai.n suunii suunii, dil kii ye galiyaa.N
Ban gaI.n kaa.NTe merii, khushiyo.n kii kaliyaa.N
Pyaar bhii khoyaa maine, sab kuchh haar ke
Dard anokhe haay, de gayaa pyaar ke
Chhup gayaa …

A.Nkhiyo.n se nii.nd gaI, manavaa se chain re
Chhup chhup roe mere, khoe khoe nain re
Haay yahii to mere, din the si.ngaar ke
Dard anokhe haay, de gayaa pyaar ke
Chhup gayaa …

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. And today, on the fifty-sixth day, we learnt about Santoor.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Yaad na jaaye beete dinon ki….
Raag Kirwani, Tal Kaherava

Today is the death anniversary of the greatest Indian playback singer: Mohammad Rafi. Yesterday I had brought out that the best of old Hindi songs featured Mohammad Rafi, Shakeel Badayuni, Naushad and Dilip Kumar together (Please read: ‘The Best Of Old Hindi Songs: Rafi, Shakeel, Naushad and Dilip Kumar Together‘). However, the fact is that Mohammad Rafi, the god of songs, sang equally well songs of other lyricists and composers. Take this one for example – put together by Shailendra and Shankar Jaikishan; Rafi made this into one of the most memorable Yaad songs ever.

Is this the song that we would want to sing about Mohammad Rafi, telling him that the Yaad of those days when he used to sing would never die?

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

Our fifty-third post was titled ‘Raaga Based Song Of The Day #53‘ and the song was a Mohammad Rafi song from the 1960 SU Sunny movie Kohinoor: Madhuban mein Radhika naache re. It is in Raag Hamir, Tal Tintal.

This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: ‘The Best Raaga Based Songs in Hindi Movies – Raaga Darbari Kanada – Part II‘.

In the last fifty-three days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi, Kalavati and Hamir. The only two raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, and Maru Bihag. That makes a total of 49 raagas so far; today’s one too I am repeating: Raag Kirwani.

Today, I give you a song in Raag Kirwani, Tal Kaherava.

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

This write-up about Surbahar comes to you on the heels of my telling you about Sitar yesterday. The reason is that Surbahar is closely related to Sitar but has a lower tone, two to five pitches below. In short, one can say, that it is a Bass Sitar. The technique of its playing is similar to that of Sitar and hence one can easily go from one instrument to the other. Surbahar has an advantage over Sitar in that it has a longer sustain and an ability to meend (glissando) up to an octave in a single fret.  Therefore it is possible to play complex melodies without using more than a single fret.  This instrument is very well suited to long slow alaps.

Surbahar is significantly longer than a Sitar and also has a wider neck. is over 130 cm (51 inches). It uses a dried gourd as a resonator, and has a neck with very wide frets, which allow a glissando of six notes on the same fret through the method of pulling.

Surbahar was invented by Omrao Khan Beenkar and Ghulam Mohammad was his disciple.

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

The last time I gave you a song based on Raag Kirwani, ie, Ka karun sajani, aaye na baalam (Please see: ‘Raaga Based Song Of The Day #17’), I mentioned the fact that Kirwani or Keerwani doesn’t fit into any Thaat in Bhatkhande’s system of raagas. Raga Kirwani is a South Indian raga, assumed to have originated from the Carnatic system of music. It is a sampoorna ragaa similar to ancient Raag Pilu. Songs in Kirwani raga have a melancholy, heart-rending and sentimental feel. It is a harmonic minor raaga with moods of love, devotion and sadness. Its Jati is Sampoorna-Sampoorna, ie, all seven notes in Aaroha and Avaroha.

Kirwani is to be normally sung at Midnight or Madhyaratri.

As far as Tal Kaherava is concerned, I have already told you enough about this most popular Tal.

Some of the popular songs composed in this raaga are: Aanewala pal jaanewala pal (Tal Kaherava), Aankhon se jo utari hai dil mein (Tal Kaherava), Beqraar di tu younhi gaaye ja (Tal Kaherava), Ek Radha ek Meera (Tal Kaherava), Geet gaata hoon main gungunaata hoon main (Tal Dadra), Kahe jhoom jhoom raat ye suhaani (Tal Kaherava), Kya karun sajani (Tal Kaherava), Main pyaar ka rahi hoon (Tal Kaherava), Mera dil ye pukaare aaja (Tal Kaherava), Meri bheegi bheegi si (Tal Kaherava), Neend na mujhako aaye (Kaherava), Pukarta chala hoon main (Tal Kaherava/Dadra), Tumhin mere meet ho (Tal Kaherava), Ye raat bheegi bheegi (Tal Kaherava), and Ye raaten ye mausam nadi ka kinara (Tal Dadra). You would have noticed that almost all songs are in Kaherava Tal and those which are not in Kaherava, are in Dadra.

Today’s song is widely regarded as one of the best Yaad songs in Hindi movies and is from the 1963 CV Sridhar movie Dil Ek Mandir starring Rajendra Kumar, Meena Kumari, and Raaj Kumar. I saw this movie too with my parents in our colony in the Himachal town of Mandi, on a portable screen, when I was small, and it left a deep impression on my mind.

Songs of the movie were penned by Shailendra worthy of my deep admiration, and composed by Shankar Jaikishan, the best music duo that Hindi films ever had. Shankar Jaikishan, with their team of lyricists Shailendra and Hasrat Jaipuri, always had the best match between lyrics, compositions and background music.

Please enjoy Mohammad Rafi sing a composition of Shankar Jaikishan in Raag Kirwani, Tal Kaherava, on the lyrics of Shailendra: Yaad na jaaye beete dinon ki….

Yaad na jaae, biite dino.n kii
Jaake na aaye jo din, dil kyuu.N bulaae, unhe.n
Dil kyo.n bulaae
Yaad na jaaye …

Din jo pakheruu hote, pi.njare me.n mai.n rakh detaa – 2
Paalataa unako jatan se
Paalataa unako jatan se, motii ke daane detaa
Siine se rahataa lagaae
Yaad na jaae …

Tasviir unakii chhupaake, rakh duu.N jahaa.N jii chaahe – 2
Man me.n basii ye suurat
Man me.n basii ye suurat, lekin miTe na miTaae
Kahane ko hai vo paraae
Yaad na jaae …

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. And today, on the fifty-fourth day, we learnt about Surbahar.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Madhuban mein Radhika naache re…….
Raag Hamir, Tal Tintal

Tomorrow is the death anniversary of the greatest Indian playback singer: Mohammad Rafi (Please read: ‘The Best Of Old Hindi Songs: Rafi, Shakeel, Naushad and Dilip Kumar Together‘, as is the case with this song). I have saved this song and raaga for you for this occasion. Indeed, I was tempted to give it to you day before yesterday when I told you about Jaltarang in the value-added learning since this song has one of the best accompaniment of Jaltarang, in the end. However, I stopped myself since Jaltarang wasn’t played by the lead actor: Dilip Kumar. I shall, therefore, tell you about Sitar today, which is what he is seen playing in the song.

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

Our fifty-second post was titled ‘Raaga Based Song Of The Day #52’ and the song (qawwali) was a Mohammad Rafi, Asha Bhosle song from the 1977 Nasir Husaain movie Hum Kisise Kum Nahin: Hum kisise kum nahin. It is in Raag Kalavati, 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 I‘.

In the last fifty-two days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi and Kalavati. The only two raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, and Maru Bihag. That makes a total of 48 raagas so far; today’s one is 49th.

Today, I give you a song in Raag Hamir, Tal Tintal.

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

Sitar is a later variation of the Indian instrument Veena and that is the reason I am giving it to you after having told you about the ancient instrument Veena (Please read: ‘Raaga Based Song Of The Day #49‘). When I gave you the history of the Hindustani Music (Please read: ‘Raaga Based Song Of The Day #28‘), I told you how the old Sanskrit/Hindi music was fuzed with the Persian in Mughal Courts. Sitar came about to conform to Persian instrument Setar (three strings). Sitar, therefore, flourished from 16th century onwards in our sub-continent. However, there was one person who made this into a global phenomenon and that was Pandit Ravi Shankar. Some of us who followed this phenomenon in the 1950s and 60s saw even the Western groups employing Sitar in their music. The most prominent of them were The Beatles, The Rolling Stones and The Doors.

Typically measuring about 1.2 metres (4 feet) in length, the Sitar has a deep pear-shaped gourd body; a long, wide, hollow wooden neck; both front and side tuning pegs; and 20 arched movable frets. Its strings are metal; there are usually five melody strings, one or two drone strings used to accentuate the rhythm or pulse, and as many as 13 sympathetic strings beneath the frets in the neck that are tuned to the notes of the raaga (melodic framework of the performance). The convex metal frets are tied along the neck, which enables them to be moved as needed. The sitar often has a resonating gourd under the pegbox end of the neck; this balances the weight of the instrument and helps support it when it is not being played. Musicians hold the sitar at a 45° angle on their laps while seated. They pluck the strings with a wire plectrum worn on the right forefinger while the left hand manipulates the strings with subtle pressure on or between the frets and with sideways pulls of the strings.

Some of the memorable songs in Hindi movies (there are many indeed) with Sitar are: Tora man darpan kehlaaye (Movie Kaajal, Raag Darbari Kanada, Tal Kaherava, composition of Ravi on Sahir Ludhianvi’s lyrics), Ham tere pyaar mein saara alam (Movie Dil Ek Mandir, composition of Shankar Jaikishan on the lyrics of Hasrat Jaipuri), and Man re kaahe na dheer dhare (Movie Chitralekha, composition of Roshan on the lyrics of Sahir Ludhianvi, Raag Kalyan, Tal Kaherava.

As far as international scene is concerned, I am giving you just one song (from scores of them). This is the popular Rolling Stones song: Paint It Black:

As I mentioned, today’s song is composed in Raag Hamir, Tal Tintal.

Hamir belongs to Kalyan Thaat in Bhatkhande’s system of raagas. Its Jati is Audhav-Sampoorna Vakra, ie, five notes in Aaroha (with the exception of Rishab and Pancham) and all seven in Avaroha, except that some of them are crooked and not in ascending or descending order. At this stage, I also wish to point out that Aaroha and Avroha merely tell us about the Swars employed and their approximate sequence. These do not entirely reflect the constitution of the raaga. To this, I also want to add that Raaga-Thaat association is also just a standard linkage and many raagas, such as this one (some say, this raaga reflects some of Bilawal ang), show linkages with more than one Thaat.

Raag Hamir is known to project a vigorous, dramatic mien and hence in the Veer Rasa. It is occasionally referred to as Hamir  Kalyan (not to be confused with Hamir Kalyani of the Carnatic paddhati, which is the equivalent of the Hindustani Kedar). This enthusiastic raaga reflects vivacity and you would see it in the song that I have selected for you.

One finds in Hamir a variety of old Dhrupad, Dhamar and Khayal compositions. Just as Nand is a staple of the Agra/Atrauli diet, so it is with Hamir and the musicians of the Gwalior Gharana.

Hamir is to be normally sung during the second prahar of night, ie, 9 PM to Midnight.

As far as Tintal is concerned, I have already told you enough on the 19th and 25th days.

Two of the popular songs composed in this raaga are: Shri Ramchandra kriplu bhaja mana (Tal Rupaktal), and Sur ki gati main kya jaanu (Tal Kaherava).

Today’s song (qawwali) is from the 1960 SU Sunny movie Kohinoor starring Dilip Kumar, Meena Kumari, Leela Chitnis and Kumkum.

Songs of the movie were penned by my favourite lyricist Shakeel Badayuni and composed by Naushad. Mohammad Rafi sang this delightful song to the accompaniment of many Indian classical musical instruments such as Tabla, Jaltarang, Sitar, Tanpura, Sarangi, Sarod, Rudra Veena and Mridangam. Hats off to Naushad Ali for having included virtually all important Indian Classical Music instruments in this song. Dilip Kumar won the Filmfare Best Actor award for the movie. The movie was devised so as to give the lead actor Dilip Kumar a break from tragedy roles because of which he had gone into depression.

Half the length of the accompanying video is vocal music to the accompaniment of instruemnts. The other half is pure instrumental sargam and alaap. Kumkum dances on the song, being one of the most accomplished dancers in Hindi movies of that era.

Please enjoy Mohammad Rafi sing a composition of his mentor Naushad Ali in Raag Hamir, Tal Tintal, on the lyrics of Shakeel Badayuni: Madhuban mein Radhika naache re….

Madhuban me.n Raadhikaa naache re -2
Giradhar kii muraliyaa baaje re -2
Madhuban me.n…

Pag me.n ghu.Ngharuu baa.Ndhake, aa…
Pag me.n ghu.Ngharuu baa.Ndhake
Ghu.NghaTaa mukh par Daal ke
Nainan me.n kajaraa lagaake re
Madhuban me.n…

Dolat chham-chham kaaminii, aa…
Dolat chham-chham kaaminii
Chamakat jaise daaminii
Cha.nchal pyaarii chhavi laage re
Madhuban me.n…

Mrida.ng baaje titakitadhuum titakitadhuum taa taa -2
Na chaka chuum chuum thaa thay thaa thay
Chaka chuum chuum chana na na chuum chuum chana na na
Kran taa kran taa kran taa dhaa dhaa dhaa
Madhuban me.n Raadhikaa naache re

Madhuban me.n Raadhikaa
NI sA re sA gA re mA gA pA mA
DhA pA nI dhA sA nI re sA
Re sA nI dhA pA mA
PA dhA nI sA re sA nI dhA pA mA
PA gA mA
DhA pA gA mA re sA

Madhuban me.n Raadhikaa naache re
SA sA sA nI dhA pA mA
PA dhA pA gA mA re sA nI re sA
SA sA gA mA dhA dhA nI dhA sA
Madhuban me.n Raadhikaa naache re
Madhuban me.n Raadhikaa

O de nA dir dir dhA nI tA dhA re dIm dIm tA nA nA
NA dir dir dhA nI tA dhA re dIm dIm tA nA nA
NA dir dir dhA nI tA dhA re dIm dIm tA nA nA
NA dir dir dhA nI tA dhA re
O de tana dir dir tana dir dir dir dir duum dir dir dir
Dhaa titakita tak duum titakita tak
Titakita titakita tA dhA nI
NA dir dir dhA nI tA dhA re …

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. And today, on the fifty-third day, we learnt about Sitar.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Hum kisi se kam nahin…….
Raag Kalavati, Tal Kaherava

We have completed fifty-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 fifty-first post was titled ‘Raaga Based Song Of The Day #51’ and the song was a Ustad Bade Ghulam Ali Khan and Shreya Ghoshal song from the 2009 Rakeysh Omprakash Mehra movie Delhi 6: Bhor bhaye tori baat takat piya. It is in Raag Gujri Todi, Tal Tintal.

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 Bhimpalasii – Part II‘.

In the last fifty-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 and Gujri Todi. The only two raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, and Maru Bihag. That makes a total of 47 raagas so far; today’s one is 48th.

Today, I give you a song in Raag Kalavati, Tal Kaherava.

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

Qawwali is a form of Sufi devotional music, having been first composed or created by the Sufi saint Hazrat Amir Khusro or Khusrau. He was a disciple of Hazrat Nizamuddin Auliya, and belonged to Chishti sect of Sufism. Qawwali, as part of the more traditional Mehfil-e-Sama, is a Chishtia Sufi practice to honour and invoke the glory of a peer. Chishtiya Sufism is a South Asian Sufi sect, where the Qawwali becomes the core of spiritual practice. Sufism represents “Ihsan” or the will “to do beautiful things”. Sufism represents the essential core of Islam and an all-embracing concept of ishq/love which links a seeker to the sought, the lover to the Beloved and the Qawwali becomes the celebratory core of this Sufi practice.

Amir Khusro trained a group of 12 resident musicians at the dargah, the Qawwal Bachche, in the art of the Qawwali, some of whom went on to form the Delhi Gharana of music. When Amir Khusrau put the Quranic hadith “Man Kunto Maula” to tune (a manqabat in praise of Hazrat Imam Ali, the first Qawwali of the Chishtiya tradition), he pioneered a musical form which would be popularised by the Sabri Brothers, Ustad Nusrat Fateh Ali Khan, Begum Abida Parveen and Fareed Ayaz/Abu Muhammad in international music cultures.

What about the language of Qawwali? Well, it is mostly in Urdu or Punjabi and is rarely in regional languages. There is mention of Qawwali in Persian in the Mughal courts.

Qawwalis are classified by their content into several categories:

• A Hamd, Arabic for praise, is a song in praise of Allah. Traditionally, a qawwali performance starts with a hamd.
• A Na`at, Arabic for description, is a song in praise of Muhammad. The opening hamd is traditionally followed by a na’at.
• A Manqabat (plural manaqib, which means characteristics) is a song in praise of either Imam Ali or one of the Sufi saints. Manaqib in praise of Ali are sung at both Sunni and Shi’a gatherings. If one is sung, it will follow right after the na’at. There is usually at least one manqabat in a traditional programme.
• A Marsiya, Arabic for lamentation for a dead person, is a lamentation over the death of much of Imam Husayn’s family in the Battle of Karbala. This would typically be sung only at a Shi’a gathering.
• A Ghazal, Arabic for love song, is a song that sounds secular on the face of it. There are two extended metaphors that run through ghazals—the joys of drinking and the agony of separation from the beloved.

In Hindi movies, Qawwalis used to be very common. One of the best composers of Qawwalis in Hindi movies has been Roshan Ali, especially with Sahir Ludhianvi as the lyricist; eg, Na to karvaan ki talaash hai/Yeh ishq ishq hai sung by Mohammad Rafi, Manna Dey, Asha Bhosle and Sudha Malhotra in Barsaat Ki Raat, Nigaahen milane ko ji chahta hai (Asha Bhosle in Dil Hi To Hai) and Chandi ka badan sone ki nazar uspe ye nazaaqat kya kahiye sung by Mohammad Rafi, Asha Bhonsle, Meena Kapoor, and Manna Dey in Taj Mahal.

My favourite lyricist Shakeel Badayuni penned some memorable ones; eg, Jab raat hai aisi matwali to subah ka aalam kya hoga (composed by Naushad for Mughal-e-Azam), and Sharma ke agar youn pardanasheen (composed by Ravi for Chaudhvin Ka Chand).

One of the Qawaalis that impressed me enormously was for the MS Sathyu movie Garam Hawa: Maula Salim Chishti sung by Aziz Ahmed Khan Warsi (of Warsi Brothers).

Some other popular qawwalis are: Jhoom barabar jhoom sharabi (5 Rifles), Parda hai parda (Amar, Akbar, Antony), Raaz ki baat keh doon to (Dharma), and Hamen to loot liya milake husn waalon ne (Al Hilal).

In more recent times, two of the qawwalis composed by AR Rahman became very popular: Khwaja mere Khwaja (Jodha Akbar) and Kun faya kun (Rockstar).

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

Kalavati belongs to Khammaj Thaat in Bhatkhande’s system of raagas. Its Jati is Audhav-Audhav, ie, five notes each in Aaroha and Avaroha (the swars that is missing are Rishab (Re) and Madhyam (Ma). Nishad (Ni) is Komal. Rest all are Shuddha Swaras. The raag is normally to be sung at midnight. This raaga has come to us as a derivative of a raaga Yagapriya in Carnatic music. In the North Indian tradition, it has been popularised by stalwarts such as Chidanand Nagarkar, Roshan Ara Begum and Gangubai Hangal.

Kalavati is a simple and melodious raag. In the songs from Hindi movies that I have given you, the best qawwali ever in Hindi movies: Na to kaarvan ki talaash hai has been composed in this raag.

As far as Tintal is concerned, I have already told you enough on the 19th and 25th days.

Some of the popular songs composed in this raaga are: Kahe tarsaye jiya (Tal Tintal, Kaherava), Maike piya bulawe (Tal Punjabi Theka), Na to karwan ki talaash hai (Tal Kaherava), Sanam tu bewafa ke naam se (Tal Kaherava), Subah aur shaam kaam hi kaam (Tal Kaherava), Aayi pari rang bhari, Koi sagar dil ko behlata nahin, Kabhi to miloge, Haay re wo din kyun na aaye, Chand si mehbooba ho and Ye tara wo tara (Tal Kaherava).

Today’s song (qawwali) is from the 1977 Nasir Hussain movie Hum Kisise Kum Nahin starring Rishi Kapoor, Kaajal Kiran, Tariq Khan, Amjad Khan, Zeenat Aman, Om Shivpuri, Jalal Agha and Tom Alter.

Songs of the movie were penned by Majrooh Sultanpuri and composed by RD Burman. Mohammad Rafi sang many pop songs for the movie and won both the National and Filmfare Awards for the song Kya hua tera wada. Just before this song, at the height of their popularity, the Swedish group ABBA’s Honey Honey played in the background. Another super hit from ABBA Mama Mia inspired RD Burman to compose Mil gaya hamako saathi mil gaya:

Please enjoy Mohammad Rafi and Asha Bhosle sing a composition of RD Burman in Raag Kalavati, Tal Kaherava, on the lyrics of Majrooh Sultanpuri: Hum kisi se kam nahin….

Ra: aa.a
Hai agar dushman -2
Ko: dushman
Ra: zamaanaa Gam nahii.n, Gam nahii.n
Hai agar dushman
Ko: dushman
Ra: zamaanaa Gam nahii.n, Gam nahii.n
Ko_ii aaye e e e e
Ko_ii aaye ko_ii aaye ko_ii aaye ko_ii
Ham kisii se kam nahii.n, kam nahii.n

Hai agar dushman
Ko: dushman
Ra: zamaanaa Gam nahii.n, Gam nahii.n
Ko: ko_ii aaye ko_ii
Ham kisii se kam nahii.n, kam nahii.n
Ra: hai agar dushman
Ko: dushman
Zamaanaa Gam nahii.n, Gam nahii.n
hai agar dushman

Ra: aa.a
Kyaa kare.n dil kii jalan ko,
Is mohabbat ke chalan ko
Jo bhii ho jaaye ke ab to sar pe baa.Ndhaa hai qafan ko
Ham to diiwaane dilajale
Zulm ke saaye me.n pale
Daal kar aa.Nkho.n ko tere ruKsaaro.n pe
Roz hii chalate hai.n ham to a.ngaaro.n pe
Aa.a
Aaj ham jaise jigar waale kahaa.N
Ko: aa haa
Ra: zaKm khaayaa hai tab huye hai.n jawaa.N
Ko: aa haa
Ra: tiir ban jaaye dosto.n kii nazar
Ko: aa haa
Ra: yaa bane Ka.nzar dushmano.n kii zubaa.N

BaiThe hai.n tere dar pe to kuchh kar ke uThe.nge
Yaa tujhako hii le jaaye.nge yaa mar ke uThe.nge

Aaj ham jaise jigar waale kahaa.N
ZaKm khaayaa hai tab huye hai.n jawaa.N
Aa.a

Aaj to duniyaa
Aaj to duniyaa
Ko: duniyaa
Ra: nahii.n yaa ham nahii.n, ham nahii.n
Ko_ii aaye ko_ii
Ham kisii se kam nahii.n, kam nahii.n
Ko: hai agar dushman
Dushman
Zamaanaa Gam nahii.n, Gam nahii.n
Hai agar dushman, dushman

Ra: aa.a
Aa: aa.a

Ho lo zaraa apanii Kabar bhii
Ik nazar dekho idhar bhii
Husn waale hii nahii.n ham
Dil bhii rakhate hai.n jigar bhii
Jhuum ke rakhaa jo qadam
Rah ga_ii za.njiir-e-sitam
Kaise ruk jaaye.nge ham kisii chilaman se
Zulfo.n ko baa.Ndhaa hai yaar ke daaman se
Aa haa haa
Ishq jab duniyaa kaa nishaanaa banaa
Ko: aa haa
Aa: husn bhii ghabaraa ke diiwaanaa banaa
Ko: aa haa
Aa: mil gaye ra.ng-e-hinaa Kuun-e-jigar
Ko: aa haa
Aa: tab kahii.n ra.ngii.n ye fasaanaa banaa

Bhes majanuu kaa liyaa mai.nne jo lailaa ho kar
Ra.ng laayaa hai dupaTTaa meraa mailaa ho kar

Ishq jab duniyaa kaa nishaanaa banaa
Husn bhii ghabaraa ke diiwaanaa banaa

Aa haa haa
Aa aa aa
Ye nahii.n samajho
Ye nahii.n samajho
Ko: samajho
Aa: ke hamame.n dam nahii.n, dam nahii.n
Ko_ii aaye aa aa aa aa
Ko_ii aaye ko_ii aaye ko_ii aaye ko_ii
Ham kisii se kam nahii.n, kam nahii.n

Ko: hai agar dushman
Dushman
Zamaanaa Gam nahii.n, Gam nahii.n
Hai agar dushman
Dushman

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. And today, on the fifty-second day we learnt about Qawwali.

There is much more still to be learnt and enjoyed.

Please stay tuned!