Category: Music and Cinema

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!

Raaga Based Song of the Day: Bhor bhaye tori baat takat piya…….
Raag Gujri Todi, Tal Tintal

We have completed fifty 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 fiftieth post was titled ‘Raaga Based Song Of The Day #50‘ and the song was a Lata Mangeshkar song from the 1960 Radhu Karmakar movie Jis Desh Mein Ganga Behti Hai: O basanti pavan paagal.  It is in Raag Basant Mukhari, 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 Bhimpalasii – Part I‘.

In the last fifty 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 and Basant Mukhari. 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 46 raagas so far; today’s one is 47th.

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

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

Jaltarang consists of a number of ceramic (China) or metal bowls filled with varying levels of water to produce different resonating frequencies. These are placed in front of the player in a semi-circle and the edges of the bowls are struck with beaters (wooden sticks or mallets) that causes the bowls to ring. Jaltarang is a dying art these days. However, it is one of the oldest musical instruments. The earliest mention of it is in Vatsayana’s Kamasutra; instead of bowls, though, music was made with glasses. George Harrison played the Jaltarang on the title track of his 1982 album Gone Troppo. Some of the accomplished Jaltarang players in India are: Milind Tulankar, Nemani Somayajulu, Vidushi Shashikala Dani, and Seethalakshmi Doraiswamy.

As far as Hindi movies are concerned, well Jal Tarang was actually the name of a 1949 movie with music by Husnlal Bhagatram. There is a Kishore Kumar song from 1982 movie Kamchor that has Jal Tarang played: Tumse badhkar duniya (composer Rajesh Roshan). Another popular song is from the 2003 Mani Ratnam movie Roja, a composition of AR Rahman: Dil hai chhota sa chhoti si aasha.

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

Gujri Todi belongs to Todi Thaat in Bhatkhande’s system of raagas. Though I haven’t yet taken up any songs in Raag Todi, I have taken a few in Todi Thaat; for example, Ajahun na aaye balma (Raag Madhuvanti), and Daya kar he Giridhar Gopal (Raag Multani). Its Jati is Shadhav-Shadhav, ie, six notes in Aaroha and Avaroha (the swar that is missing is Pancham or Pa); Rishabh, Gandhar and Dhaivat are Komal, Madhyam is Teevra. Rest all are Shuddha Swaras. The raag is normally to be sung on the second prahar of the day (that is, 9 AM to Noon).

The name Gugari or Gurjari suggests that it is a raaga of the Gujar or Gurjar tribe from Gujarat. Eliminating Pancham or Pa from Raag Todi results in the melody of Gujri Todi. It is a raaga full of Karuna Ras.

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: Ek tha bachpan (Tal Dadra), Jaa jaa re ai pathikwa (Tal Tintal), and Watan pe jo fida hoga (Tal Tintal).

Today’s song is from the 2009 Rakeysh Omprakash Mehra (he had earlier made Aks and Rang De Basanti) movie Delhi 6 starring Abhishek Bachchan, Sonam Kapoor, Om Puri, Waheeda Rahman, Rishi Kapoor, Atul Kulkarni, Deepak Dobriyal, Divya Dutta and Aditi Rao Hydari. The number 6 refers to the PIN (Postal Index Number) Code of Chandini Chowk in Delhi, ie, 110006. In the story Rakeysh Omprakash Mehra drew hugely on his growing up years in the same area.

Even though the movie did only averagely at the box-office, I liked the theme of common people of the area with their petty feuds and the ‘Kala Bandar’ (Black Monkey) that wreaks havoc in their lives. It turned out that the Black Monkey was actually the social and cultural biases that people had deep in their hearts, even though in Delhi it was actually in the news in the year 2000.

The movie did well to win the Nargis Dutt Award for Best Feature Film on National Integration for that year.

I was particularly impressed by the musical score of the movie by AR Rahman and the lyrics of the songs by Prasoon Joshi. Two of the songs that I still remember are Masakali and Genda Phool.

This song was earlier sung by Ustad Bade Ghulam Ali Khan. AR Rahman did well to fuze Shreya Ghosal‘s voice in it. I had heard a lot of criticism about Shreyas not matching up to the singing skill of the maestro. However, I liked it then and I like it even now. Despite all the criticism about her ‘taan sargams’ being off the mark, I would like to add that if someone of the stature of AR Rahman tried to fuze her voice with Ustad Bade Ghulam Ali Khan, it would have been deserving of that. After all, how can we forget that it was AR Rahman who made her a success in 2002 after making her sing Munbe vaa in Tamil movie Sillunu Oru Kaadhal; at the same time when Sanjay Leela Bhansali debuted her in his Devdas? Later, her rendition of Mohe rang de laal in Bhansali’s 2015 movie Bajirao Mastani had me speelbound.

Please enjoy Bade Ghulam Ali Khan and Shreya Ghoshal sing a composition of AR Rahman in Raag Gujri Todi, Tal Tintal, on the lyrics of Prasoon Joshi: Bhor bhaye tori baat takat piya….

Aaaaa..
Bhor Bhayeee Tori Baat Takat Piya… (2)
Naina Alsaaye Ne Bhaye, Sagari Rain Ka Jaage
Bhor Bhayeee Tori Baat Takat Piya
Baat Takat Piya.. Sautan Ki Bhag Jaage
Bhor Bhayeee Tori Baat Takat Piya… (2)

Hum San Mukh Ki Badiya.. Karat Savar Tori Basak
Sautan Ki Bhag Jaage
Bhor Bhayeee Tori Baat Takat Piya… (2), Aaa Aaa,
Bhor Bhayeee Tori Baat Takat Piya, Sautan Piya, Aa Aa
Bhor Bhayeee Tori Baat Takat Piya
Takat Piya, Re Bhai Re, Aaaa…
Bhor Bhayeee Tori, Bhor Bhayeee Tori Baat Takat Piya
Bhor Bhayeee Tori Baat Takat Piya
Naina Alsaaye Ne Bhaye, Sagari Rain Ka Jaage
Bhor Bhayeee Tori Baat Takat Piya… (2)
Naina Alsaaye Ne Bhaye, Sagari Rain Ka Jaage
Bhor Bhayeee Tori Baat Takat Piya
Bhor Bhayeee Tori… (3)

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. And today, on the fifty-first day, we learnt about Jaltarang.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: O basanti pavan paagal…
Raag Basant Mukhari, Tal Kaherava

We have completed forty-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 forty-ninth post was titled ‘Raaga Based Song Of The Day #49’ and the song was a Lata Mangeshkar song from the 1963 T Prakash Rao movie Bahurani: Balma anadi man bhaaye.  It is in Raag Hemant, 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 forty-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, 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 and Hemant. The only two raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, and Maru Bihag.

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

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

At various points of time in the present series, I have told you about the Sikh Gurus’ contribution towards Indian Classical Music and on the 15th day (Please read: ‘Raaga Based Song Of The Day #15‘; also, this was the last occasion when I gave you a song pictured on Padmini: Beqasi hadd se jab guzr jaaye, which you would recall is in Raag Khammaj, Tal Dadra, an exceedingly beautiful composition by OP Nayyar), I told you about the raagas contained in Sri Guru Granth Sahib, the holy book of the Sikhs. I also told you that Raag Jaijaivanti was composed by the ninth Guru of the Sikhs: Sri Guru Tegh Bahadur.

Dilruba (literally Robber of the Heart) was created by the tenth Guru of the Sikhs: Sri Guru Gobind Singh. It was meant to replace the heaviers instrument Taus that was created by the sixth Guru: Guru Hargobind. A lighter instrument was required so as to enable it to be carried on the horseback by the marching Sikh army under Guru Gobind Singh.

In this itself you can see the transformation of the Sikhs, who were erstwhile intellectuals (Sikh literally means one who is learning/training) and music lovers into martial people when a war was forced on them by the mughals by perpetrating atrocities on the Hindus. This history is in sharp contrast to other music lovers, eg, Nawab Wajid Ali Khan, who accepted slavery lying down.

Esraj is a more modern variant of the Dilruba that was created by the Namdharis. It has been recently adopted into Rabindra Sangeet by musicians from Bengal. One of the notable Bengalis who was fond of Esraj was the famous scientist Satyendra Nath Bose. Dilruba was played by The Beatles with their song ‘Within You Without You’. One of the modern day exponents of Dilruba/Esraj is AR Rahman. Composer SD Batish also used to play Dilruba.

Please enjoy a video (collection of photos) of Pattie (George Harrison’s former wife) with the Dilruba when The Beatles visited Rishikesh on her birthday on 17th Mar 1968:

Dilruba or Esraj (there are variations between the two) is a sitar like necked instrument with 20 heavy metal frets. Dilruba player kneels whilst Dilruba is rested between the knees (it can be rested on the knee itself) or on the floor in front of the player. The neck of Dilruba is rested on the left shoulder. It is played with a bow (Gaz) with the other hand moving along the strings above the frets.

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

Basant Mukhari belongs to Bhairav Thaat in Bhatkhande’s system of raagas (Some feel it may just belong to Bhairavi Thaat). Its Jati is Sampoorna-Sampoorna, ie, all seven notes in Aaroha and Avaroha; Rishabh, Dhaivat and Nishad are Komal. Rest all are  Shuddha Swars. The raag is normally to be sung on the second prahar of the day (that is, 9 AM to Noon).

The raag Basant Mukhari (or Vasant Mukhari) is widely acknowledged as the Hindustani adaptation of the Carnatic raag Vakulabharanam. In the past too, I have given you raagas that have been adapted into Hindustani music from Carnatic and other sources. In this particular case, a raaga called Hijaz, of Persian origin, is believed to be the original raaga from which Basant Mukhari came into being, through the efforts of Acharya SN Ratanjankar, the founder principal of the Maris College of Music in Lucknow.

Some of the popular songs composed in this raaga are: Chalo sajna jahan tak ghata chale (Tal Kaherava), Dekho bijli dole (Tal Tintal), and Vaada karle sajna (Tal Kaherava).

Today’s song is from the 1960 Radhu Karmakar movie Jis Desh Mein Ganga Behti Hai starring Raj Kapoor, Padmini and Pran. I saw the movie when I was just a boy. We used to have, in our colony in the town of Mandi in Himachal, movies screened every week on a portable screen in open-air by the Block Development people. I remember having seen this and a number of other movies including V Shantaram’s Do Aankhen Barha Haath. There were nine songs in the movie. All but one were penned by Shailendra. The one song penned by Hasrat Jaipuri was O maine pyar kiya:

Such are the powers ofd retention of a young impressionable mind that after five and half decades I still remember the story of the movie:

Raj Kapoor played Raju in the movie, an orphan and a singer (he sang a song in the movie to that effect: Mera naam Raju, gharana anaam). He, of course, has high values, which gradually unfold in the movie. To start with he helps a badly wounded man who turns out to be the Sardar of a band of dacoits. One day, he is kidnapped by the same gang, who erroneously think of him as a policeman in disguise. However, when the Sardar sees him, he takes good care of him to repay him for having saved his life earlier. Sardar has a daughter Kamoo (Padmini) who falls in love with Raju.

Whereas Sardar and his gang are good dacoits (taking from the rich to give to poor), one of the gang: Raka (Pran) is actually evil. He murders the Sardar and takes over the gang. What is more, he has eyes for Kammo too. Hence, Raju decides to inform the police. It is only later that he comes to know that the police, in their devious ways, are even worse than the bandits.

In this song Padmini is trying to stop Raju from leaving them.

The movie won the National Film Award for Best Movie as well as Filmfare Award. Raj Kapoor won Filmfare Best Actor Award.

The team of Shailendra and Shankar Jaikishan have given us delightful songs; and since the word basant occurs both in mukhada of the song as well as in the raaga, some of their best are in the 1956 movie Basant Bahar. The movie has, what I have called, the second best song sung by Lata: Jaa jaa re jaa balamwa (Raag Jhinjhoti, Tal Tintal) (Please read: ‘My Favourite Five Songs Of Lata Mangeshkar’).

Please enjoy Lata Mangeshkar sing a composition of Shankar Jaikishan Raag Basant Mukhari, Tal Kaherava, on the lyrics of Shailendra: O basanti pavan paagal….

O basa.ntI pavan pAgal, nA jA re nA jA, roko koI
O basa.ntI …

Ban ke patthar ham pa.De the, sUnI sUnI rAh me.n
JI uThe ham jab se terI, bA.nh AI bA.nh me.n
Bah uThe naino.n ke kAjal, nA jA re nA jA, roko koI
O basa.ntI …

YAd kar tUne kahA thA, pyAr se sa.nsAr hai
Ham jo hAre dil kI bAjI, ye terI hI hAr hai
Sun ye kyA kahatI hai pAyal, nA jA re nA jA, roko koI
O basa.ntI …

https://www.youtube.com/watch?v=vkWFtG5nFyI

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. And today, on the fiftieth day, we learnt about Dilruba/Esraj.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Balma anaadi man bhaye…
Raag Hemant, Tal Kaherava

Yesterday, I introduced the music instrument Veena to you but didn’t give you a song with that. The reason was that I was still giving you songs on Mukesh’s Birth Anniversary four days ago, on 22 Jul. I make up for that now and today’s is a remarkably beautiful song sung by Lata Mangeshkar.

We have completed forty-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 forty-eighth post was titled ‘Raaga Based Song Of The Day #48‘ and the song was a Mukesh song from the 1964 Ravindra Dave movie Dulha Dulhan: Hamne tujhako pyar kiya hai jitna.  It is in Raag Tilak Kamod, 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 forty-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, 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 and Tilak Kamod. The only two raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, and Maru Bihag.

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

However, first, lets take up the value added learning of today. Today, for the first time, I am repeating learning about Veena; with just one request for you: You have to identify the Veena that Mala Sinha is holding (what type of Veena is it?) and give me your answers in the comments of this post. Also, please do let me know as to why do you think I didn’t share the obvious Veena song from 1957 movie Dekh Kabira Roya: Meri veena tum bin roye composed by Madan Mohan in Raag Ahir Bhairav?

Veena is one of the oldest of Indian musical instruments. If you look at a picture of Goddess Saraswati, the goddess of learning, you see her sitting with a Veena. It is so ancient that the word Veena in Sanskrit used to genrecally mean any plucked stringed instrument. Veena is mentioned in the Rigveda, Samaveda and other Vedic literature such as the Shatapatha Brahmana and Taittiriya Samhita. In the ancient texts, the sage Narada is credited with inventing the Veena and even his pictures show him carrying Veena.

The construction of Veena varies between the Hindustani music and Carnatic Music. In Hindustani music, it is a stick zither about 3.5 to 4 feet. It has a hollow body and two large resonating gourds under each end. There are a total of seven strings; four main strings which are melody type, and three auxiliary drone strings. To play, the musician plucks the melody strings downward with a plectrum worn on the first and second fingers, while the drone strings are strummed with the little finger of the playing hand. The musician stops the resonating strings, when so desired, with the fingers of the free hand. The veena has been generally replaced with the sitar in north Indian performances.

In the Carnatic music design, Veena is a long-necked, pear shaped lute. It has a pear shaped wooden piece in place of the lower gourd of the Hindustani music Veena. It too, however, has 24 frets, four melody strings, three drone strings, and played quite similar. Unlike, in Hindustani music, Veena continues being an important and popular stringed instrument in Carnatic music.

Veena strings can produce pitches in full three octave range.

Veenas are of different types. Some of these are:

• Rudra Veena is a fretted veena, with two large equal size tumba (resonators) below a stick zephir.
• Saraswati Veena is similar to Rudra Veena with the two resonators being of different sizes. The veena is played by sitting cross-legged with the instrument held tilted slightly away from the player. The small gourd on the left rests on the player’s left thigh, the left arm passing beneath the neck (of the Veena) with the hand curving up and around so that the fingers rest upon the frets. The palm of the right hand rests on the edge of the top plank so that the fingers (usually index and middle) can pluck the strings. The drone strings are played with the little finger. The veena’s large resonator is placed on the floor, beyond the right thigh.
• Vichitra Veena does not have frets. It sounds close to humming human singer.
• Tritantri (3 string) Veena, now called Sitar (a Persian word meaning three strings).
• Saradiya Veena, now called Sarod.
• Pinaki Veena, related to Sarangi.
• Kachapi Veena, now called Kachua Sitar.
• Others such as Shatatantri Veena (Santoor), Gayatri Veena (with one string only) and Saptatantri Veena.

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

Hemant belongs to Bilawal Thaat in Bhatkhande’s system of raagas. Its Jati is Audhav-Sampoorna, ie, five notes in Aaroha (Re and Pa are excluded) and all seven notes in Avaroha. Let me see now how attentive you have been. Do you recall a week back I gave you a Shobha Gurtu song (Thumri): Yaad piya ki aaye? (Please read: ‘Raaga Based Song Of The Day #41’). Do you recall that I called that Raag Bhinna Shadja or Kaushik Dhwani? I told you that its Jati was Audhav-Audhav, that is five notes or swar each in Aaroha and Avroha. Now in Raag Bhinna Shadja or Kaushik-Dhwani when Pancham (Pa) and Rishabh (Re) are used in Avroha, Raag Hemant is conceived (this is exactly how one raag leads you to another).

Hemant, as you can make out, is a very melodious raag and creates a deep and soothing atmosphere (just listen to the song and you will know). The time for playing this is second prahar of the night (9 PM to midnight).

Some of the popular songs composed in this raaga are: Rooth ke tum to chale gaye (Tal Dadra), Sudh bisar gayi aaja (Tal Jhaptal), Tum bin jeevan kaisa jeevan (Tal Punjabi Theka), and Jaane kaise sapno mein kho gayi akhiyan (beautiful song from the movie Anuradha).

Today’s song is from the 1963 T Prakash Rao movie Bahurani starring Guru Dutt, Mala Sinha and Feroze Khan. The movie had really exquisite songs penned by Sahir Ludhianvi and composed by C Ramchandra:

1. Umr hui tumase mile (Hemant Kumar and Lata Mangeshkar).
2. Ye husn mera ye ishq tera rangeen to hai badnam nahin (Asha Bhosle).
3. Main jaagun sari rain sajan tum so jaayo (Lata Mangeshkar).
4. Kaam krodh aur lobh ka maara (Mahendra Kapoor).
5. Etal ke ghal mein tital bahar achha ya bheetar (Hemant Kumar).
6. Kab gham ki ghatayen (Lata Mangeshkar).
7. Bane aisa smaaj (Lata Mangeshkar, Asha Bhosle, Manna Dey).

The story could be that of Ram Aur Shyam and Seeta Aur Geeta except that no one has double role. It is Mala Sinha as Padma who prepares a simpleton Guru Dutt as Raghu to stand up to his oppressors: his step-brother Feroze Khan as Vikram and his father, the Zamindar’s (Nazir Hussain’s) second wife Lalita Pawar as Rajeshwari. Mala Sinha marries Guru Dutt accidentally but later falls in love with him and his simple ways. This song depicts the beginning of transformation of Guru Dutt.

Please enjoy a delightful Veena song composed by C Ramchandra in Raag Hemant, Tal Kaherava, on the lyrics of Sahir Ludhianvi, and sung by Lata Mangeshkar for Mala Sinha: Balma anaadi man bhaye….

Balma anadi man bhaye balma anadi man bhaye
Ka karu samjh na aaye ka karu samjh na aaye
Haye Ram, balma anadi man bhaye
Man bhaye balma anadi man bhaye

Mose prem se puche prem ka matlab
Jane na kuch puche sab hum se
Jane na kuch puche sab hum se
Uljhan badhti jaye uljhan badhti jaye
Haye Ram, balma anadi man bhaye
Balma anadi man bhaye balma anadi man bhaye
Man bhaye balma anadi man bhaye

Honth hile to bat na jane honth hile to bat na jane
Nain mile to ghat na jane nain mile to ghat na jane
Nis din jee tarsaye nis din jee tarsaye
Haye Ram, balma anadi man bhaye

Neha laga aise preetam se neha laga aise preetam se
Bin karan jo ruthe hamse bin karan jo ruthe hamse
Samjhe na samjhaye samjhe na samjhaye
Haye Ram, balma anadi man bhaye
Balma anadi man bhaye bhaye balma anadi man
Bhaye bhaye balma anadi man bhaye
Man bhalye balma man bhaye
Balma anadi man bhaye balma anadi man bhaye

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. And today, on the forty-ninth day, we repeated our learning of Veena with a small excitement added.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Hamne tujhako pyar kiya hai jitna…
Raag Tilak Kamod, Tal Kaherava

The other day, commenting on my post on Mukesh, a friend remarked that he hasn’t sung many raaga based songs. This is not really correct. Shankar Jaikishan have composed hundreds of raaga based songs and in most of these the male voice has been that of Mukesh. These also include their (Jaikishan’s) favourite raaga: Bhairavi. I checked up this raag, Tilak Kamod, that is. It appears that many of the songs in this raaga have been sung by Mukesh.

We have completed forty-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 forty-seventh post was titled ‘Raaga Based Song Of The Day #47‘ and the song was a Lata Mangeshkar song from the 1955 Amiya Chakravarty movie Seema: Man mohana bade jhoothe.  It is in Raag Jaijaiwanti, Tal Ektal.

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

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

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

Veena is one of the oldest of Indian musical instruments. If you look at a picture of Goddess Saraswati, the goddess of learning, you see her sitting with a Veena. It is so ancient that the word Veena in Sanskrit used to genrecally mean any plucked stringed instrument. Veena is mentioned in the Rigveda, Samaveda and other Vedic literature such as the Shatapatha Brahmana and Taittiriya Samhita. In the ancient texts, the sage Narada is credited with inventing the Veena and even his pictures show him carrying Veena.

The construction of Veena varies between the Hindustani music and Carnatic Music. In Hindustani music, it is a stick zither about 3.5 to 4 feet. It has a hollow body and two large resonating gourds under each end. There are a total of seven strings; four main strings which are melody type, and three auxiliary drone strings. To play, the musician plucks the melody strings downward with a plectrum worn on the first and second fingers, while the drone strings are strummed with the little finger of the playing hand. The musician stops the resonating strings, when so desired, with the fingers of the free hand. The veena has been generally replaced with the sitar in north Indian performances.

In the Carnatic music design, Veena is a long-necked, pear shaped lute. It has a pear shaped wooden piece in place of the lower gourd of the Hindustani music Veena. It too, however, has 24 frets, four melody strings, three drone strings, and played quite similar. Unlike, in Hindustani music, Veena continues being an important and popular stringed instrument in Carnatic music.

Veena strings can produce pitches in full three octave range.

Veenas are of different types. Some of these are:

• Rudra Veena is a fretted veena, with two large equal size tumba (resonators) below a stick zephir.
• Saraswati Veena is similar to Rudra Veena with the two resonators being of different sizes.
• Vichitra Veena does not have frets. It sounds close to humming human singer.
• Tritantri (3 string) Veena, now called Sitar (a Persian word meaning three strings).
• Saradiya Veena, now called Sarod.
• Pinaki Veena, related to Sarangi.
• Kachapi Veena, now called Kachua Sitar.
• Others such as Shatatantri Veena (Santoor), Gayatri Veena (with one string only) and Saptatantri Veena.

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

Tilak Kamod belongs to Khammaj Thaat in Bhatkhande’s system of raagas. Its Jati is Shadava-Sampoorna, ie, six notes in Aaroha (Dha is excluded) and all seven notes in Avaroha. All the notes are shuddha except Ni which is sometimes Komal. Indeed, use of Komal Ni is the characteristic of Khammaj Thaat.

Raag Desh has some similarities with Tilak Kamod, especially when the latter also includes flat Ni.

A large number of compositions are based on this raag. These include compositions in genres such as: dhrupad, dhamar, sadra, khayal as well as semi-classical genres such as thumri and dadra and popular forms like ghazal.

Some of the popular songs composed in this raaga are:

Today’s song is from the 1964 Ravindra Dave movie Dulha Dulhan starring Raj Kapoor and Sadhana. The movie had beautiful songs penned by Indeevar and composed by Kalyanji Anandji:

The story revolves around Chanda (Sadhana) who lives a wealthy lifestyle in Jaipur along with her father, Thakur Dharam Singh (KN Singh), and mom. Since she is of marriageable age, her dad wants her to get married to a wealthy male of his choice, but she dislikes him. Arguments ensue at home and her dad slaps her, she falls down and passes out. When she regains her senses she finds herself in a hospital in Bombay with her dad at her bedside, who tells her that she was unconscious for 3 days, apologizes and promises never to pressurize her to get married. She forgives him and they return home. A few days later she gets a visitor, a male Akashwani singer by the name of Raj Kumar (Raj Kapoor), who claims to be her husband, calls her by the name of Rekha, and wants her to accompany him back to Bombay where he lives in a Chawl along with a two-bit Bollywood actor, Bansi (Agha).

Please enjoy Mukesh sing a song composed by Kalyanji Anandji in Raag Tilak Kamod, Tal Kaherava, on the lyrics of Indeevar: Hamne tujhako pyar kiya hai jitna….

Hamane tujhako pyaar kiyaa hai jitanaa
Kaun karegaa itanaa -2

Aa.Nkh churaaii Thes lagaaii dil bhii tuune to.Daa
Laakh chhupaayaa tuune daaman ham ne saath na chho.Daa
Tere karam ko tere sitam ko sahate rahe.n ham jitanaa
Kaun karegaa itanaa…

Tuu hii tuu hai in aa.Nkho.n me.n aur nahii.n koii duujaa
Tujh ko chaahaa tujh ko saraahaa aur tujhe hii puujaa
Tere dar ko maan ke ma.ndir jhukate hai.n ham jitanaa
Kaun karegaa itanaa…

Tere jaisaa saathii jisame.n tere jaisaa dil hai
Taakh burii ho duniyaa phir bhii jiine ke qaabil hai
Tere saath jiine kii khaatir miTate rahe ham jitanaa
Kaun karegaa itanaa…

Ham ne tujh ko pyaar kiyaa
Ham ne tujh ko pyaar kiyaa hai jitanaa
(kaun karegaa itanaa)-2

Roye bhii to dil hii dil me.n, mahafil me.n musakaaye
Tujh se hii ham teraa ye Gam, baraso.n rahe chhupaaye
(Pyaar men tere chhupake chhupake)-2
Jalate rahe ham jitanaa
(Kaun jalegaa itanaa)-2
Ham ne tujh ko pyaar kiyaa hai jitanaa
(Kaun karegaa itanaa)-2

Pyaar pe mere naaz tumhe thaa, yaad karo vo nazaaraa
Haath pe apane likh lete the, jab tum naam hamaaraa
(Terii adaa ke bhole pan pe)-2
MiTate rahe ham jitanaa
(Kaun miTegaa itanaa)-2
Ham ne tujh ko pyaar kiyaa hai jitanaa,
(Kaun karegaa itanaa)-2

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. And today, on the forty-eighth day, we learnt about Veena.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Manmohana bade jhuthe…
Raag Jaijaiwanti, Tal Ektal

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

Our forty-sixth post was titled ‘Raaga Based Song Of The Day #46‘ and the song was a Mukesh and Lata Mangeshkar song from the 1967 Adurthi Subba Rao movie Milan: Sawan ka mahina pawan kare sor.  It is in Raag Pahadi, Tal Kherava.

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

In the last forty-six days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani and Patdeep. The only two raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, and Maru Bihag.

Today, I give you a song in Raag Jaijaiwanti, Tal Ektal.

However, first, lets take up the value added learning of today. Today, we shall learn about two things: firstly, since this is the first song that we are taking up with Ektal, I shall tell you a little more about Ektal; secondly, the accompanying musical instrument with this song pictured on Nutan is Tanpura. So, I shall tell you about Tanpura.

Ektal, a popular tal in Indian classical music, is commonly used in classical music style such as Khayal and semi-classical style such as Rabindra Sangeet. Ektal has 12 matras divided into six vibhags:

clap, 2, wave, 2, clap, 2, wave, 2, clap, 2, clap, 2

Now, you are bound to ask me: “That makes it four claps; then why is it called Ektal?” Guess what? I have studied varied literature and couldn’t find an answer to it. If you have the answer, please educate all of us in the comments below.

It has a characteristic pattern of bols (theka) which goes as follows:

Some of the popular Hindi movies songs in Ektal are: Ja re beimaan tujhe jaan liya (Raag Bageshri), Jago re jago prabhat aaya (Raag Todi), Ketaki, gulab, juhi, champak bana phule (Raag Basant Bahar from the movie Basant Bahar, song sung by Bhimsen Joshi on composition by Shankar Jaikishan, on the lyrics of Shailendra), and Tori jai jai kartaar (a song sung by Ustad Amir Khan for the 1952 movie Baiju Bawra, a composition of Naushad on Shakeel Badayuni’s lyrics).

That brings us to Tanpura. Tanpura is called a drone because this musical instrument doesn’t provide melody but supports the melody of another instrument or a singer by constantly providing a continuous harmonic bourdon or drone. It is therefore easy to guess that it doen’t change throughout the performance. Watch the accompanying song and you will know.

The meaning of the name Tanpura is contained in two words: Tan or Taan (that is, a musical phrase); and Pura, that is complete. Carnatic musicians refer to Tanpura as Tambura or Tanpuri. Tanpuras come in different sizes and pitches: larger ‘males’, smaller ‘females’ for vocalists, and a yet smaller version is used for accompanying sitar or sarod, called tamburi.

It is not an ancient instrument like Bansuri and has no mention of it before the early seventeenth century. Its construction is similar to Sitar except that it has no frets. Its strings (four or five) are always plucked at full length in a continuous unchanging pattern.

Tanpuras are designed in three different styles:

• Miraj style: the favourite form of tanpura for Hindustani performers.
• Tanjore style: this is a south Indian style of tambura, used widely by Carnatic music performers.
• Tanpuri: small-scale instruments, used for accompanying instrumental soloists such as with Sitar, Sarod and Sarangi.

As I mentioned, today’s song is composed in Raag Jaijaiwanti, Tal Ektal.

Jaijaiwanti is a complex Raaga devised by the ninth Guru of the Sikhs: Guru Tegh Bahadur ji. His son, the tenth Guru, Gobind Singh, introduced this Raaga in Sri Guru Granth Sahib ji. Surprisingly though, it is not mentioned in the Raagmala on the last two pages of SGGS.

It is a combination of two other Raagas in SGGS: Raag Bilawal and Raag Sorath. It belongs to Kafi Thaat. Its Jati is Audhav Sampurna (Vakra). Gandhar & Dhaivat are Varjya in Aaroh, Both Gandhars & Both Nishads. Rest all Shuddha Swaras.

The Raaga is meant to be sung during the second prahar of the night, ie, between 6 to 9 pm.

Some of the popular songs composed in this raaga are:

Today’s song is from the 1955 Amiya Chakravarty movie Seema starring Nutan and Balraj Sahni. The story centres around Gauri played by Nutan who is ill treated by her paternal uncle and his wife who undertake to look after her after her parents pass away. She has to work as a maid-servant and her uncle and aunt use her money. She is framed of theft and she beats up the person accusing her and runs away. She finally lands up with Shree Satyanand Anathalaya, an orphanage run by a compassionate Manager, Ashok, played by Balraj Sahni. He tries to get justice for her and she doesn’t run away anymore.

Nutan, the great actress she was, received the Filmfare Best Actress Award for her role in this movie too. Shankar Jaikishan used both their lyricists: Shailendra and Hasrat Jaipuri to create the following songs:

Please enjoy Lata Mangehskar a song composed by Shankar Jaikishan in Raag Jaijaiwanti, Tal Ektal, on the lyrics of Shailendra: Man mohana bade jhoothe….

Manamohanaa ba.De jhuuThe
Haar ke haar nahii.n maane
Manamohanaa …

Bane the khilaa.Dii piyaa
Nikale anaa.Dii piyaa
Mose beimaanii kare
Mujhase hii ruuThe
Manamohanaa …

Tumharii ye baa.Nsii kaanhaa
Banii galaa phaa.Nsii
Taan sunaake meraa
Tan man luuTe
Manamohanaa …

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. And today, on the forty-seventh day, we learnt about Ektal and Tanpura.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Sawan ka mahina pawan kare sor…
Raag Pahadi, Tal Kaherava

Yesterday was the Birth Anniversary of singer Mukesh (this post was meant to be published on 23rd Jul but I broke my reading glasses!) and I gave you one of his best raaga based songs; in Raag Maru Bihag, Tal Kaherava: Matwali naar thumak thumak chali jaaye, a song put together by all the greats: Shailendra, Shankar Jaikishan and Mukesh.

Mukesh, of course, was the singer who won the first ever Filmfare Award for a Singer with his song Sab kuchh seekha hamane na seekhi for the 1959 Raj Kapoor movie Anari with the same team.

And today, I am back with another song that he sang for the 1967 Adurthi Subba Rao movie Milan. Coincidentally, the song has been pictured on Sunil Dutt again, this time with Nutan.

Why this song? Well, need you guess? It is in the raag of my home-station: Pahadi and this is the fourth occasion that I am giving you one composed in this raag. Normally, in order to come up with popular tunes, the composers take lots of liberties with the raag; it is not their concern to maintain purity of raag but to come up with catchy tunes. However, in this song, Laxmikant Pyarelal have stayed as close as possible to Pahadi.

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

Our forty-fifth post was titled ‘Raaga Based Song Of The Day #45‘ and the song was a Mukesh song from the 1960 Bhappie Sonie Ek Phool Chaar Kaante: Matwali naar thumak thumak chali jaaye.  It is in Raag Maru Bihag, Tal Kherava.

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

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

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

However, first, lets take up the value added learning of today. Today, we shall learn about – you can very well guess it – the musical instrument that goes best with Pahadi, that is, Bansuri or Flute:

Bansuri is the most loved of Indian musical instruments. And the reason is that our most adored god, Lord Krishna, used to play it. So much so that an Indian cannot think of Bansuri without relating it to Krishna and Ras Leela with Radha and Gopikas.

Bansuri used to be the instrument of choice in Hindi movies for heroes to call the heroine (in the likeness of Radhe-Krishna) and there are hundreds of songs with Bansuri, if not thousands.

During my younger days, when my brother was studying in St. Xaviers College, Mumbai, I used to attend, with him, over-night Indian Classical Music concerts. One of the most sought after items in the itinerary used to be Bansuri-Vaadan by Padma Vibushan Pandit Hari Prasad Chaurasia, the most accomplished bansuri player in the world. Just like raag Pahadi, the sound of Bansuri immediately transports you to another world.

Bansuri is an aerophone, originally made of bamboo. However, these days one sees Bansuris made of metals, fibreglass and even ivory. Bansuri’s origin is Bans (Bamboo) plus Sur (Notes or Melody). The length of the Bansuri is between 12 to 30 inches. Sound is produced by resonating air column trapped inside the Bansuri. Various swar are produced by changing the length of the air-column by opening one of the six to eight holes that are manipulated by fingers of both the hands.

In South Indian or Carnatic music, a similar flute is called Venu. Bansuri is regarded amongst the most ancient of Indian musical instruments. It is called Nadi and Tunava in the Rigveda and others. Sanskrit treatise Natya Shastra has extensive mention of Bansuri.

There are two varieties of bansuri: the transverse, and the fipple. The fipple variety is usually played in folk music and is held away from the lips like a whistle. Because of the flexibility and control it offers, the transverse variety is preferred in classical music. It is played by blowing into a hole close to the closed end of the Bansuri.

Pandit Pannalal Ghosh (1911-1960) elevated the Bansuri from a folk instrument into serious classical music. He improvised with the length and number of holes and eventually came up with longer bansuris with larger bores and a seventh hole placed 90 degrees around from the line of the other six holes. Longer bansuris provided better coverage in the lower octaves. Hence, eventually, we have Bansuris ranging from 7.5 inches to 42 inches in length.

The distance of a finger-hole from the mouth-hole, and the diameter of the finger-hole controls the note it plays. Adjustments to the diameters of various holes is made by the artisans to achieve purity of the musical notes produced. The wall thickness of the Bansuri determines the tone, range and octave tuning.

Six holes are sufficient to produce the seven basic Swaras: sa, re, ga, ma, pa, dha, and ni. When all holes are closed, it produces the bass scale, that is the root note of the Bansuri (pa). With one hole farthest from the closed end of the Bansuri open, the instrument plays the dha. Similarly, ni is produced with two farthest holes open, sa with three farthest open, ri with four, ga with five, and ma is produced with all holes open.

Every Bansuri by its design and construction has a specific key and tonal center, corresponding to sa.

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

I have already given you three songs in Pahadi: On the 7th day: Aaj ki raat piya dil na todo (Tal Dadra), on the 8th day: Zara sun haseena ai nazneen (Tal Rupaktal) and on the 32nd day: Chal udd jaa re panchhi (Tal Kaherava). If you recall, I had told you that Pahadi is as much a raag as a dhun. It belongs to Bilawal Thaat and Audhav-Audhav Jati, that is six each notes in Aaroha and Avroha. It is normally played in the first prahar of the night.

It is a very popular raaga for composing soings in Hindi movies. Some of the songs composed in this raaga are:

I have, at various places earlier, told you about the commonest Tal in raagas: Kaherava and I know that by now you know enough about it.

Today’s song is from the 1967 Adurthi Subba Rao movie Milan starring Sunil Dutt and Nutan getting born in each life, only to be tied to each other in love. In their life depicted in the movie, Sunil Dutt is Gopinath, a poor orphan and a boatman and Nutan is Radha, the daughter of a Zamindar. Gopi transports Radha everyday across the river by his boat. One day, she tells him that she has to prepare a song for her college singing competition. And, he teaches her this. He insists on calling Shor (noise) as Sor (in the local dialect) and she eventually learns to sing it in the local dialect.

Nutan received the Filmfare Best Actress Award for her role in the movie and Laxmikant Pyarelal for Best Music Director. Even though Anand Bakshi missed getting the Best Lyricist award, many feel that the songs of the movie are amongst the best penned by him:

Please enjoy Mukesh and Lata sing one of the best songs composed in Raag Pahadi (by Laxmikant Pyarelal) on the lyrics of Anand Bakshi: Sawan ka mahina pawan kare sor….

Mu: saavan kaa mahiinaa, pavan kare sor
La: pavan kare shor
Mu: pavan kare sor
La: pavan kare shor
Mu: are bAbA shor nahI.n sor, sor, sor
La: pavan kare sor

HA.n, jiyaraa re jhuume aise, jaise banamaa naache mor
Ho saavan kaa mahiinaa …

Maujavaa kare kyaa jaane, hamako ishaaraa
Jaanaa kahaa.N hai puuchhe, nadiyaa kii dhaaraa
Marazii hai tumhaarii, le jaao jis or
Jiyaraa re jhuume aise …

Raamaa gajab Dhaae, ye purava_iyaa
Na_iyaa sambhaalo kit, khoe ho khiva_iyaa
Purava_iyaa ke aage, chale naa koii zor
Jiyaraa re jhuume aise …

Jinake balam bairii, gae hai.n bidesavaa
Laa_ii hai jaise unake, pyaar kaa sa.ndesavaa
Kaalii a.ndhiyaarii, ghaTaae.n ghanaghor
Jiyaraa re jhuume aise …

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. And today, on the forty-sixth day, we learnt about Bansuri.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Matwali naar thumak thumak chali jaaye…
Raag Maru Bihag, Tal Kaherava

Today is the Birth Anniversary of singer Mukesh and even though, so far, I haven’t repeated a raaga so far except the raag of my home place: Pahadi, I am giving you Mukehs’s popular song in Raag Maru Bihag (the earlier song in Maru Bihag that I gave you was some eight days ago: Tum toh pyaar ho sajana sung by Mohammad Rafi and Lata Mangeshkar for the 1963 V Shantaram movie Sehra).

From the time Mukesh sang his first song as playback singer: ‘Dil jalata hai to jalane de’ for the 1945 Motilal (a distant relative of his) film Pehli Nazar, Mukesh came a long way off. The first song reminds you of KL Saigal‘s way of singing. However, soon, Mukesh acquired a style of his own. He did playback singing for Raj Kapoor (he was known as Raj Kapoor’s singing voice in the movies), Manoj Kumar, Feroze Khan and Sunil Dutt. He sang occassionally for Dilip Kumar and some of those songs became very popular, eg, Tu kahe agar jeevan bhar main geet sunaata jaayun in 1949 Mehboob Khan movie Andaz and Suhana safar aur ye mausam haseen in 1958 Bimal Roy movie Madhumati.

As far as Sunil Dutt, the hero of the current song is concerned, some of my favourite Mukesh songs pictured on him are for the 1967 Adurthi Subba Rao movie Milan: Saawan ka mahina pawan kare sor, Ram kare aisa ho jaaye, and Mubarak ho sabako sama ye suhaana.

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

Our forty-fourth post was titled ‘Raaga Based Song Of The Day #44‘ and the song was a Mohammad Rafi song from the 1966 Subodh Mukherji movie Saaz Aur Awaz: Saaz ho tum awaz hoon main.  It is in Raag Patdeep, Madhuwanti, and Kafi; Tal Tintal, Punjabi Theka (Sitarkhani), and Kherava.

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

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, Multani and Patdeep. 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 Raag Maru Bihag, Tal Kaherava.

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

Sarod is similar to Western instrument Lute. It is, together with Sitar, one of the most important instruments in Hindustani classical music. If you have ever listened to such great Sarod players as Amjad Ali Khan, Ali Akbar Khan, Allauddin Khan and Hafiz Ali Khan, you would know that Sarod produces deep and heavy sounds (Mujhe tumse kuchh bhi na chahiye, which too is a Mukesh song from Raj Kapoor movie Kanhaiya. Indeed, another song that comes to mind is, coincidentally, also a Mukesh song: Bhooli hui yaadon mujhe itana na satayo) as compared to light and sweet sound of Sitar (Tora man darpan kehlaaye and Hum tere pyaar mein saara aalam kho baithe hain).

The origin of Sarod is Rubab, an Afghani instrument. Many experts on Indian classical music trace Sarod’s origin to ancient Chitra Veena, Afghani Rubab and modern Sursingar. It is believed that Sarod maestro Amjad Ali Khan’s ancestor Mohammad Hashmi Khan Bangash, a musician and horse trader, came to India with the Afghan Rubab in the mid-18th century, and became a court musician to the Maharajah of Rewa (now in Madhya Pradesh). It was his descendants, notably his grandson Ghulam Ali Khan Bangash, a court musician in Gwalior, who changed the Rubab into the Sarod we know today.

Anyway, what a coincidence that we took up Sarod as a musical instrument today and found that though rarely used in Hindi songs, two of the songs that we could think of have been both sung by Mukesh, whose birth anniversary we are celebrating today.

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

Maru Bihag, as I already told you on the 37th day (Please go through ‘Raaga Based Song Of The Day #37’) is a very melodious raaga that belongs to the Kalyan Thaat. It is to be sung during the second prahar of the night: from 9 PM to midnight. Its Jati is Audhav-Sampoorna. Maru Bihag is a variation of Raag Bihag in which I gave you the song Tere sur aur mere geet from Goonj Uthi Shehnai that had Shehnai-vaadan by Ustaad Bismillah Khan. In the Sri Guru Granth Sahib, Raag Bihagara occurs on 20 pages from 537 to 557 and is similar to its modern version: Raag Bihag.

Some of the other songs composed in Raag Maru Bihag are: Tum to pyar ho sajna (Tal Kaherava), Dil jo na keh saka(Tal Kaherava), Payal wali dekhana (Tal Kaherava) and Radha jaaye na (Tal Dadra).

I have, at various places earlier, told you about the commonest Tal in raagas: Kaherava and I know that by now you know enough about it.

Today’s song is from the 1960 Bhappi Sonie movie Ek Phool Chaar Kaante, the name having come about from Waheeda Rehman, the Phool that Sunil Dutt loves. However, he has to win her over from the Chaar Kaante, her four uncles. The song was penned by Shailendra and composed by Shankar Jaikishan.

Please enjoy Mukesh sing a composition of Shankar Jaikishan in Raag Maru Bihag, Tal Kaherava, on the lyrics of Shailendra: Matwali naar thumak thumak chali jaaye…..

Matavaalii naar Thumak Thumak chalii jaaye
In kadamo.n pe kis kaa jiyaa naa jhuk jaaye
Matavaalii naar …

Phuul badan mukha.Daa yuu.N damake
Baadal me.n jyo.n bijalii chamake
Giit sunaa ke tuu chham chham ke
Lalachaaye, chhup jaaye, aay haay
Matavaalii naar …

Ye cha.nchal kajaraarii aa.Nkhe.n
Ye chitachor shikaarii aa.Nkhe.n
Gaii dil chiir kaTaarii a.Nkhe.n
Muskaaye, shaamaaye, jhuk jaaye
Matavaalii naar …

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. And today, on the forty-fifth day, we learnt about Sarod.

There is much more still to be learnt and enjoyed.

Please stay tuned!