Raaga Based Song Of The Day #44

Raaga Based Song of the Day: Saaz ho tum awaz hoon main…
Raag Patdeep, Madhuwanti, Kafi; Tal Tintal, Punjabi Theka (Sitarkhani), and Kaherava

We have completed forty-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 forty-third post was titled ‘Raaga Based Song Of The Day #43’ and the song was a Ustad Amir Khan that he sang for 1954 M Sadiq movie Shabaab: Daya kar he Giridhar Gopal.  It is in Raag Multani, 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 Todi’.

In the last forty-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, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani and Multani. The only raag that has been repeated so far is Pahadi, the raaga of my home place in the Himalayas.

Today, I give you a song in three different raagas and tals: Raag Patdeep, Madhuwanti, Kafi; Tal Tintal, Punjabi Theka (Sitarkhani), and Kaherava.

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

Shehnai is a variation of music instrument been or pungi used for snake-charming. It is similar to oboe, made of wood, and measures about 12 to 20 inches in length. The origin appears to be two words: Sur (Tone or tune) and Nal (Pipe or reed). This Sur-nal has a metal or flared bell at one end and a double-reed (two pieces of cane to produce resonation) as a mouth-piece. Melodies are produced by manipulating 6 to 8 keyless finger-holes (like in a flute). The range of Shehnai is two octaves. It is a difficult instrument to master as one has to become expert at fingering techniques as also in blowing into the instrument. The world-renowned Shehnai

 player of India has been Bharat Ratna (India’s highest award) recipient Ustad Bismillah Khan. At a very early stage in the present series I gave you a song in Raag Bihag, Tal Dadra from the movie Goon Uthi Shehnai (Please go through ‘Raag Based Song Of The Day #6‘). The song and the movie has extensive Shehnai-vaadan by Bismillah Khan.

Shehnai is a popular instrument in India, Pakistan and Bangladesh. Its sound is believed to be auspicious and hence it is used extensively in weddings and commencement of functions.

To the credit of composer Naushad Ali, Shehnai is used in the composition of the song that I am giving you today. Indeed, Joy Mukherjee is seen playing it in the accompanying video.

As I mentioned, today’s song is composed in three different raagas and tals: Raag Patdeep, Madhuwanti, Kafi; Tal Tintal, Punjabi Theka (Sitarkhani), and Kaherava.

We have already taken up a song in Raag Madhuwanti on 5th day: Ajahun na aaye (Please go through: ‘Raaga Based Song Of the Day #5‘) as also in Raag Kafi on the 26th day: Ye raat ye chandini phir kahan (Please go through ‘Raaga Based Song Of The Day #26‘). These two raagas are represented in Antaras 2 and 3 of the song that I have selected for you. Hence, I need only to tell you about Raag Patdeep, which is in the Mukhada and first Antara.

Patdeep is a raaga that belongs to Kafi Thaat. Its Jati is Audhav – Sampoorna, ie, five notes in Aaroha (Ni Sa ga Ma Pa Ni Sa) and and all seven notes in Avroha (Sa Ni dha Pa Ma ga re Sa). The time for performing this raaga is in the third prahar of the day, that is, from 1 to 4 PM. Patdeep is a flitting light melody and its bhaav is eagerness, pangs of separation and intrigue. If you take Raag Bhimpalasi and use Shuddha Nishad, it would become Patdeep. However the Vadi swar for Bhimpalasi is Madhyam (Ma) whereas for Patdeep it is Pancham (Pa).

One of the other songs composed in Raag Patdeep is a beautiful song put together by Neeraj as lyricist, SD Burman as composer and Lata mangeshkar as singer. It is from the 1971 movie Sharmilee; Raag Patdeep, Tal Rupaktal: Megha chhaye aadhi raat.

About Tintal, I told you on the 19th day and 25th day, ie, in ‘Raaga Based Song Of The Day #19‘ and ‘Raaga Based Song Of The Day #25‘. About Tal Punjabi Theka (Sitarkhani) I told you on the 13th day, ie, in ‘Raaga Based Song Of The Day #13‘. About Tal Kaherava, I told you on several days, two of these being 2nd and 5th day, ie, in ‘Raaga Based Songs Of The Day #2‘ and ‘Raaga Based Song Of The Day #5‘.

Today’s song is from the 1966 Subodh Mukherji movie Saaz Aur Awaaz starring his nephew Joy Mukherjee and Saira Bano. The song was penned by Khumar Barabankwi, Barabanki being merely 300 Kms from Badayun in Uttar Pradesh from where his contemporary and my favourite lyricist Shakeel Badayuni hailed from. One has to handover to Naushad Ali for having composed the song so well and to Mohammad Rafi for his superb singing that both of them covered for Joy Mukherjee‘s lack of understanding of classical based music (and gestures) and for Saira Bano‘s almost complete lack of dancing skills. The movie had another beautiful song sung by Mohammad Rafi: Dil ki mehfil saji hai chale aayiye.

Please enjoy in Raag Patdeep, Madhuwanti and Kafi; and Tal Tintal, Punjabi Theka (Sitarkhani), and Kaherava: Saaz ho tum awaaz hoon main…….

SAz ho tum AvAz hU.N mai.n, tum bInA ho mai.n hU.N tAr
Rok sako to rok lo apanI, pAyal kI jha.nkAr
SAz ho tum …

Mere gIt ko gIt ne samajho, pyAr kI hai saragam
Mere rAg ke har ek sur pe, ghu.NgharU bole chham chham
PrIt kI lay par jhUm ke nAcho, ab na karo inakAr
Rok sako to rok lo apanI, pAyal kI jha.nkAr
SAz ho tum …

Prem tarAnA ra.ng pe AyA, rUp ne lI a.nga.DAI
TAl pe man kI jhA.njhar jhanakI, patalI kamar balakhAI
Sudh-budh khokar besudh hokar, nAch uThI gulanAr
Rok sako to rok lo apanI, pAyal kI jha.nkAr
SAz ho tum …

Tan man jhUme gagan to chUme, prIt huI matavAlI
Aj milA jIvan se jIvan, pyAr ne ma.nzil pAI
Dil kI bAjI jIt ke mai.nne, jIt liyA sa.nsAr
Rok sako to rok lo apanI, pAyal kI jha.nkAr
SAz ho tum …

https://www.youtube.com/watch?v=7oVnC2kXj8U

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. And today, on the forty-fourth day, we learnt about Shehnai.

There is much more still to be learnt and enjoyed.

Please stay tuned!