Raaga Based Song Of The Day #44

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

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

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

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

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

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

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

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

Bharat Ratna Bismillah Khan (Photo courtesy: Outlook India)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
On the thirty-fourth day, we learnt about Tarana.
On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
On the thirty-sixth day, we learnt about Tabla.
On the thirty-seventh day, we learnt about Kirtan.
On the thirty-eighth day, we learnt about Pakhawaj.
On the thirty-ninth day, we learnt about Hori.
On the fortieth day, we learnt about Dadra.
On the forty-first day, we learnt about Kajri.
On the forty-second day, we learnt about Chaiti.
On the forty-third day, we learnt about Sarangi.
And today, on the forty-fourth day, we learnt about Shehnai.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #43

Raaga Based Song of the Day: Daya kar he Giridhar Gopal…
Raag Multani, Tal Tintal
(by Ustad Amir Khan)

We have completed forty-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 forty-second post was titled ‘Raaga Based Song Of The Day #42‘ and the song was a Ustad Bade Ghulam Ali Khan song that he sang for 1960 K Asif movie Mughal-e-Azam: Prem jogan ban ke. It is in Raag Sohani, Tal Dipchandi.

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

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

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

(Photo courtesy: Tarang Indian Instruments)

Sarangi is a bowed string instrument that is popular both in India and Nepal. Many songs of courtesans (eg, Unako yeh shikayat hai ke ham kuchh nahin kehte from the movie Adalat) and others of nawabs (such as Unake khayal aaye to aate chale gaye from the movie Laal Patthar) have this instrument played prominently. Sarangi is an instrument that comes the closest to human voice, especially in Karuna rasa (as is the case with both songs that I have given you).

As far as the meaning of the word Sarangi is concerned, some feel that it is a combination of two Sanskrit words: Saar (summary) and Ang (form). This would mean that the instrument that can summarise every style of music or playing.

Then there are others who feel that the word sarangi is a combination of two words Seh(Persian equivalent of three) and Rangi (Persian equivalent of coloured). They feel that the term Seh-rangi represents the three melody strings. However the most common folk etymology is that sarangi is derived from sol rang (a hundred colours) indicating its adaptability to many styles of vocal music, its flexible tunability, and its ability to produce a large palette of tonal colour and emotional nuance.

Generally, you don’t come across Sarangi performances as solo. These are normally accompanied by vocal. Indeed, one hardly comes across a Sarangi player who is not well versed with the vocal lyrics of the composition. Later, in this article, you would read about Ustad Amir Khan whose father was an accomplished Sarangi player but trained his son in vocal singing when the son showed interest more in vocal than Sarangi.

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

Multani is a raaga that belongs to Todi Thaat. Its Jati is Audhav – Sampoorna, ie, five notes in Aaroha (Ni Sa ga Ma Pa Ni Sa) and and all seven notes in Avroha (Sa Ni dha Pa Ma ga re Sa). The time for performing this raaga is in the third prahar of the day, that is, from 1 to 4 PM. Multani is a very melodious Raag belonging to Todi Thaat. But, it does not have any shadow of Todi Ang. It is a Meend Pradhan Raag.

One of the other songs composed in Raag Multani is a beautiful Mohammad Rafi and Geeta Dutt song composed by SD Burman for the 1953 movie Jeevan Jyoti (Tal Dadra): Laga gayeen akhiyan.

About Tintal, I told you on the 19th day and 25th day, ie, in ‘Raaga Based Song Of The Day #19‘ and ‘Raaga Based Song Of The Day #25‘.

Ustad Amir Khan was born on 15 Aug 1912 in a musicians’ family in Indore. He died in a car accident in Calcutta on 13th Feb 1971. The same year, GoI conferred the Padma Bhushan award on him.

His father, Shahmir Khan, was a sarangi and veena player of the Bhendibazaar gharana. He served at the court of the Holkars of Indore. His grandfather, Change Khan, was a singer in the court of the last mughal emperor of India: Bahadurshah Zafar. Amir Ali’s mother died when he was nine years old. He had a younger brother, Bashir, who went on to become a sarangi player at the Indore station of All India Radio.

Even though his father initially tried to train him in sarangi playing, he was more interested in vocal and he had a rich baritone voice. After his initial failure to impress at the court of Maharaj Chakradhar Singh of Raigadh Sansthan in Madhya Pradesh (where they wanted him to sing Thumri that he wasn’t interested in), he developed his own gayaki (singing style), influenced by the styles of Abdul Waheed Khan (vilambit tempo), Rajab Ali Khan (taans) and Aman Ali Khan (merukhand). This unique style, known as the Indore Gharana, blends the spiritual flavor and grandeur of dhrupad with the ornate vividness of khayal.

I have already told you several times that Naushad Ali was responsible for introducing raaga based songs in the Hindi movies. In his 1952 movie Baiju Bawra all 13 songs were based on some raaga or the other. Naushad roped in Amir Khan to sing five of them:

‘Tori Jai Jai Kartar’ (Raag Puriya Dhanashree)
‘Sargam’ (Raag Darbari)
‘Langar Kankariya Ji Na Maro’ (Raag Todi, with DV Paluskar)
‘Aaj Gaawat Man Mero Jhoomke’ (Raag Desi, with DV Paluskar)
‘Ghanana Ghanana Ghana Garjo Re’ (Raag Megh)

I am, however, giving you this song from 1954 M Sadiq movie Shabaab starring Bharat Bhushan and Nutan. The songs were penned by my favourite lyricist Shakeel Badayuni. There are two other songs from the movie that are my favourites:

Mohammad Rafi’s Aaye na baalam vaada karke.
Hemant Kumar and Lata’s Chandan ka palna resham ki dori.

Of course the movie has another beautiful raaga based (Raag Bahar, with a trace of Raag Basant) song sung by Mohammad Rafi and Lata Mangeshkar: Man ki been matwari baaje, which I shall give you in due time.

I have already told you when I touched on the history of Hindustani Music (on the twenty-eighth day; please read: ‘Raaga Based Song Of The Day #28‘) that the fusion of Sanskrit and later Hindi style of music with Persian, Arabic and Sufi styles ensured that both Hindi Pandits and Muslim Ustads equally came up with songs that were to venerate gods and goddesses of each other. The most popular of these has been Lord Krishna. Indeed, many people are fond of bringing out this curious fact that the best Hindi bhajan: Man tadpat Hari darsan ko aaj has been put together by several muslims. Take this song itself: it has Shakeel Badayuni as lyricist, Naushad Ali as composer, Ustad Amir Khan as singer and it is from a movie Shabaab directed by M Sadiq. The raag Multani takes its name from the city of Multan (now in Pakistan). That’s been the beauty of our great nation: India.

Please enjoy Ustad Amir Khan sing in Raag Multani, Tal Tintal: Daya kar he Giridhar Gopal…….

Daya kar he Girdhar Gopal daya kar he Girdhar Gopal
Meera ke prabhu Nand Lal Meera ke prabhu Nand Lal
He Girdhar Gopal

Hath hai tore laaj hamari hath hai tore laaj hamari
O Mohan Banwari bigde kam sawar daya kar
Bigde kam saware he Girdhar Gopal
Daya kar he Girdhar Gopal daya kar he Girdhar Gopal
Meera ke prabhu Nand Lal Meera ke prabhu Nand Lal
He Girdhar Gopal.

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
On the thirty-fourth day, we learnt about Tarana.
On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
On the thirty-sixth day, we learnt about Tabla.
On the thirty-seventh day, we learnt about Kirtan.
On the thirty-eighth day, we learnt about Pakhawaj.
On the thirty-ninth day, we learnt about Hori.
On the fortieth day, we learnt about Dadra.
On the forty-first day, we learnt about Kajri.
On the forty-second day, we learnt about Chaiti.
And today, on the forty-third day, we learnt about Sarangi.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #42

Raaga Based Song of the Day: Prem jogan ban ke…
Raag Sohani, Tal Dipchandi
(by Ustad Bade Ghulam Ali Khan)

We have completed forty-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 forty-first post was titled ‘Raaga Based Song Of The Day #41’ and the song was a Shobha Gurtu Thumri that she sang for 1991 Nana Patekar movie Prahaar: Yaad piya ki aaye. It is in Raag Bhinna Shadja, Tal Kaherava.

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

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

Today, I give you a song in Raag Sohani, Tal Dipchandi.

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

Girija Devi, the most popular Chaiti singer in India (Pic courtesy: Wikimedia)

Chaiti is another semi classical genre of Hindustani music. You would recall that at a fairly early stage in the present series I had told you that Indian raagas are season and time of the day specific. Chaiti is to be sung in the Hindu month of Chait, roughly corresponding to March and April. This is exactly the time of Ram Navmi. Chaiti songs are, therefore, devoted to Lord Rama. You would normally have Ho Rama or Are Rama as the two words often found in Chaiti. Chaiti is traditionally sung in the villages and towns of Uttar Pradesh: around Banaras, Mirzapur, Mathura, Allahabad and the Bhojpur regions of Bihar. The language of Chaiti is Poorvi or Purbi spoken in Eastern Uttar Pradesh and in parts of Bihar. Smt Girija Devi, recipient of Padma Shri, Padma Bhushan, and Padma Vibushan, is the most popular singer of Chaiti in India.

If you recall, I had given you Girija Devi‘s name as one of the noted exponents of Kajari too.

As I mentioned, today’s song is composed in Raag Sohani, Tal Dipchandi.

Sohani, also known as Sohni and Sohini, is a raaga that belongs to Marwa Thaat. Its Jati is Audhav – Shadav, ie, five notes in Aaroha and six in Avroha. The time for performing this raaga is in the wee hours of the morning pr last prahar of the night, that is, from 3 to 6 AM. In the Marwa thaat, Sohani is similar to Marwa and Puria raagas. In the Poorvi thaat, it is similar to Basant.

In the wee hours of the morning, you would find the atmosphere of dew. Hence, the mood of the raaga is the moist atmosphere that prevails in a tranquil and silent night.

Some of the other songs composed in Raag Sohani are:

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.

Prem Jogan Ban Ke
Jhoomti Chali Hawa
Kuhu Kuhu Bole
Jeevan Jyot Jale
Saawan Ban Gaye Nain
Muft Hue Badnaam
Jhoote Zamane Bhar Ke
Bedardi Nazarein Mila Ke
Sajan Tori Preet
Naina Hai Jadoo Bhare
Payal Chham Chham

Mughal-E-Azam
Sangeet Samrat Tansen
Suvarna Sundari
Grihasthi
Karorpati
Baraat
Musafir Khana
Aji Bas Shukriya
Sagai
Bedard Zamana Kya Jaane
Basant

Bade Ghulam Ali Khan
Mukesh
Lata, Rafi
Asha
Asha
Mukesh
Nirmala Devi, Rafi
Lata
Asha
Mukesh
Asha

About Dipchandi Tal, I told you on the 35th day, ie, in ‘Raaga Based Song Of The Day #35‘.

Yesterday, I had given you a Thumri by Shobha Gurtu in Raag Bhinna Shadja: Yaad piya ki aaye. I had mentioned that the song sung by Shobha Gurtu in Nana patekar movie Prahaar was penned by Ustad Bade Ghulam Ali Khan after his wife died in 1932.

It is, therefore, natural that today I should give you a song by the maestro himself who was a great influence on Shobha Gurtu.

Bade Ghulam Ali Khan was born on 02 April 1902 in Kasur, Punjab (now in Pakistan). At the age of five, Ustad Bade Ghulam Khan sahib started learning vocal music from his paternal uncle Ustad Kale Khan sahib, and later from his father Ustad Ali Baksh Khan sahib of Kasur Gharana. Bade Ghulam Ali Khan was the pillar of the Kasur Patiala Gharana, which was an amalgamation of all that he learnt from his father and uncles.

I mentioned to you yesterday that after the partition of India in 1947, Ustad Bade Ghulam Ali Khan went to his hometown Kasur in Pakistan, but returned to India later to reside permanently there in 1957, with the help of Bombay chief minister Morarji Desai, he acquired Indian citizenship and moved to a bungalow at Malabar Hill in Mumbai.

After the death of Ustad Bade Ghulam Ali Khan on 25 Apr 1968 at Basheerbagh Palace in Hyderabad, his legacy was carried by his younger son Ustad Munawar Ali Khan and after ustad Munawar Ali Khan’s death his four grandsons Ustad Mazhar Ali Khan, Ustad Jawaad Ali Khan, Ustad Raza Ali Khan and Naqqi Ali Khan.

Yesterday, if you recall, I told you that Bade Ghulam Ali Khan was wary of singing for the films and K Asif wanted him badly for his 1960 movie Mughal-e-Azam. So when K Asif approached him, in order to deter him he asked for Rupees 25000 per song (Lata and Mohammad Rafi were getting Rupees 500 per song at that time). To his surprise, K Asif agreed. If you recall, in K Asif’s movie Mughal-e-Azam, Ustad Bade Ghulam Ali Khan sang two songs based on Raag Sohni and Rageshri: Prem jogan ban ke and Shubh din aayo raj dulara. One of these I am giving you today.

The song was penned by my favourite lyricist Shakeel Badayuni and composed by Naushad Ali.

Please enjoy Ustad Bade Ghulam Ali Khan sing in Raag Sohani, Tal Dipchandi: Prem jogan ban ke…….

Prem jogan banke sundar piya or chale
prem gagan banke
prem jogan banke sundar piya or chale
prem gagan banke
jogan he jo jogan banke

Prem jogan banke, aa aa jogan banke
prem jogan banke
hai sajan ko jo main mile, he nain mile
te nain mile chain mile, sajan sajan mile
tumne bhi man ki pyas bujhe
prem jogan ban gayi, prem jogan

Me pi sang sari rain
bhigan sagri rain gujari, rain gujar
prem jogan banke sundar piya or chale
prem jogan banke, prem jogan banke

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
On the thirty-fourth day, we learnt about Tarana.
On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
On the thirty-sixth day, we learnt about Tabla.
On the thirty-seventh day, we learnt about Kirtan.
On the thirty-eighth day, we learnt about Pakhawaj.
On the thirty-ninth day, we learnt about Hori.
On the fortieth day, we learnt about Dadra.
On the forty-first day, we learnt about Kajri.
And today, on the forty-second day, we learnt about Chaiti.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #41

Raaga Based Song of the Day: Yaad piya ki aaye…
Raag Bhina Shadaj (Bhinna Shadja), Tal Kaherava
(a Thumri by Shobha Gurtu)

We have completed forty 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 fortieth post was titled ‘Raaga Based Song Of The Day #40’ and the song was a Swaranlatha & Hariharan song from the 1995 Ram Gopal Verma movie Rangeela: Haay Rama ye kyaa hua. It is in Raag Puria Dhanashri, Tal Kaherava.

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

In the last forty 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 and Puria Dhanashri. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

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

Kajri is another light classical genre of Hindustani music. Kajri (or Kajari), derived from the Hindi word Kajra or Kajal, (meaning Kohl or Black), is a genre of Hindustani classical music, popular in Uttar Pradesh and Bihar. In a country of sizzling hot summers, the black monsoon clouds bring with them relief and great joy. This is the moment for the Kajri to be sung. Even though Kajri is sung in a large region, Mirzapur is considered the real home of the Kajri. According to a folk tale of Mirzapur, there was woman called Kajli whose husband was in a distant land. Monsoon arrived and the separation became unbearable and she started crying at the feet of the Kajmal Goddess. These cries took the form of the popular Kajri songs. There are two forms of Kajri singing in UP: one within which it is sung on a performance platform and the other when it is sung by women on monsoon evenings, while dancing in a semi-circle; this is known as the ‘Dhunmuniya Kajri’.

Some noted exponents of Kajari are Pandit Channulal Mishra, Shobha Gurtu, Siddheshwari Devi, Girija Devi, Ustad Bismillah Khan, Sharda Sinha and Rajan and Sajan Mishra.

For today’s Thumri rendition by Shobha Gurtu, I am retaining yesterday’s distinction between Thumri and Dadra:

As I have already told you Thumri is slower and Dadra is faster.
Thumri has lengthy structure of improvisation whereas Dadra is crisp and compact.
Thumri has lyrics with just two parts: Sthayi and Antara, whereas lyrics of Dadra have more than one Antara.
Thumri as you know is mostly about human love relationship, whereas Dadra has seasons, nature and human relationships as subjects.

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

Bhinna Shadaj, also known as Hindoli or Kaushik Dhwani, is a raaga that belongs to Bilawal Thaat. Its Jati is Audhav – Audhav, ie, five notes in Aaroha and five in Avroha. The time for performing this raaga is midnight.

What is the meaning of the word Bhinna or भिन्न? All people, even with elementary knowledge of Hindi would know that Bhinna or भिन्न means ‘Different’. In the case of the present raaga under discussion, it is different in case of Shruti, Swar, Jati and Purity (Shuddha). Naturally it belongs to Audhav – Audhav Jati (I have already told you, at a very early stage in the present series, that the seven basic swaras of the scale are named Shadja, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad, and are shortened to Sa, Ri (Carnatic) or Re (Hindustani), Ga, Ma, Pa, Dha, and Ni). Bhinna Shadja doesn’t have Rishabh and Pancham, has Dhaivat as its initial and basic note and Madhyam as its final note.

The bhaav of the raaga is Shaant-Gambheer.

Two of the other songs composed in Raag Bhinna Shadaj are: Udd ja re kaaga from the Meera bhajan album: Dhala Vahi Des, and Tum bin jeewan kaisa jeewan from the movie Bawarchi.

I could have given you a thumri bandish by Ustad Bade Ghulam Ali Khan. However, I have thought of giving you this rendition by Thumri Queen Shobha Gurtu. After the partition of India in 1947, Ustad Bade Ghulam Ali Khan went to his hometown Kasur in Pakistan, but returned to India later to reside permanently there in 1957, with the help of Bombay Chief Minister Morarji Desai, he acquired Indian citizenship and moved to a bungalow at Malabar Hill in Mumbai. If you recall, in K Asif’s movie Mughal-e-Azam, Ustad Bade Ghulam Ali Khan sang two songs based on Raag Sohni and Rageshri: Prem jogan ban ke and Shubh din aayo raj dulara. In order to deter K Asif from making him sing in his movie, he asked for Rupees 25000 per song (Lata and Mohammad Rafi were getting Rupees 500 per song at that time). To his surprise, K Asif agreed.

Hence, to sing this beautiful Thumri penned by Ustad Bade Ghulam Ali Khan, I have chosen Shobha Gurtu, who had him as one of her greatest influences.

Shobha Gurtu was born as Bhanumati Shirodkar in Belgaum (now Karnataka) in 1925. She was first trained by her mother Menekabai Shirodkar, a professional dancer, and a ‘gayaki’ disciple of Ustad Alladiya Khan of the Jaipur-Atrauli gharana. Ustad Alladiya Khan’s son Ustad Bhurji Khan trained her. She was thus associated in a huge manner with the Jaipur-Atrauli gharana. Later, she started learning from Ustad Natthan Khan, nephew of Ustad Alladiya Khan. Her training was, however, completed under Ustad Ghamman Khan who shifted with them in Mumbai.

Shobha Gurtu became an exponent of classical forms such as Thumri, Dadra, Kajri, and Hori, all of which I have told you about. With her intense training in classical singing, she was able to add classical passages into her singing. She was known as the Thumri Queen of India, having revived this form of semi-classical singing. Her main influences were Begum Akhtar and Ustad Bade Ghulam Ali Khan. She has also sung a few songs in Hindi movies such as in 1972 Pakeezah (Bandhan bandho composed by Ghulam Mohammad), 1973 Phagun (Bedardi ban gaye koi jaao manaao more saiyyaan composed by SD Burman) and 1978 Main Tulsi Tere Aangan Ki (Sainya rooth gaye composed by Laxmikant Pyarelal).

Shobha Gurtu was the recipient of Sangeet Natak Akademi Award in 1987 and Padma Bhushan in 2002.

Please enjoy Shobha Gurtu sing a Thumri in Raag Bhinna Shadja, Tal Kaherava: Yaad piya ki aaye……. (The song was penned by Ustad Bade Ghulam Ali Khan at the passing away of his wife in 1932) (She sang it also for the movie Prahar, as a composition of Laxmikant Pyarelal)

yAd piyA kI AyE
yeh dukh sahA na jAyE – hAyE rAm

bAlI umariyA sUnI rI sajariyA
jOban bItO / bItA jAyE – hAyE rAm

bairI koyaliyA kUk sunAyE
mujh birhan kA jiyarA jalAyE
hA.n – pI bin rain jagAyE (alt: rahA nA jAyE ) – hAyE rAm

(Oh memories of my beloved haunt me! Alas, I cannot bear this grief! I am yet young but my bed is forlorn; my youth is passing by – Alas! The cuckoo, my enemy, coos his song. Bereft of my beloved, my heart burns. Yes, I am kept awake all night without my beloved! Alas!)

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
On the thirty-fourth day, we learnt about Tarana.
On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
On the thirty-sixth day, we learnt about Tabla.
On the thirty-seventh day, we learnt about Kirtan.
On the thirty-eighth day, we learnt about Pakhawaj.
On the thirty-ninth day, we learnt about Hori.
On the fortieth day, we learnt about Dadra.
And today, on the forty-first day, we learnt about Kajri.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #40

Raaga Based Song of the Day: Haay Rama ye kyaa hua…
Raag Puria Dhanashri, Tal Kaherava

We have completed thirty-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 thirty-ninth post was titled ‘Raaga Based Song Of The Day #39’ and the song was a Mohammad Rafi & Manna Dey song from the 1960 RK Rakhan movie Kalpana: Tu hai mera prem devta. It is in Raag Lalit, 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 Bhimpalasi – Part I‘.

In the last thirty-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 and Lalit. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

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

Dadra is a light classical vocal genre of Hindustani music and is very similar to Thumri; one can say that it is actually the faster version of Thumri. This style of singing is mostly prevalent in Agra and Bundelkhand regions. The name Dadra refers to both Dadra as a Tal and as a genre’ of singing.

Dadra Tal consists of six beats in two equal vibhags (Clap, 2,3, Wave, 2,3). The most commonly accepted theka or basic pattern for this tal is Dha Dhin Na, Dha Tin Na. There is a higher emphasis laid on the first swar in comparison the following two, that is, Dha.

I have, in the last 39 days, given you a number of songs in this Tal:

On 30th May – Maine chand aur sitaaron ki tamanna ki thi. (Raag Bhimpalasi)
31st May – Laage na mora jiya. (Raag Shivaranjani)
02 June – Tere sur aur mere geet. (Raag Bihag)
03 June – Aaj ki raat piya dil na todo. (Raag Pahadi)
10 June – Beqasi hadd se jab guzr jaaye. (Raag Desh & Khammaj)
16 June – Dukh bhare din beete re bhaiya. (Raag Megh Malhar)
01 July – Kesariya baalma. (Raag Mand)
12 July – Kuchh aur zamaana kehta hai. (Raag Gaur Sarang)

Dadra genre of singing used to be accompanied by Dadra Tal at one time. But, nowadays, other light tals such as Kaherava are also used.

At this stage, you would want to know if there are any distinctions between Thumri and Dadra. Well, here they are:

As I have already told you Thumri is slower and Dadra is faster.
Thumri has lengthy structure of improvisation whereas Dadra is crisp and compact.
Thumri has lyrics with just two parts: Sthayi and Antara, whereas lyrics of Dadra have more than one Antara.
Thumri as you know is mostly about human love relationship, whereas Dadra has seasons, nature and human relationships as subjects.

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

Puria Dhanashri is a raaga that belongs to Poorvi Thaat, indeed the type raaga of the Poorvi Thaat. The raaga is derived from the Janak raag. It is a Sampooran-Sampooran (Vakra) raag, that is, it contains all seven notes (ie, Sharaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad). But the rishabh and the dhaivat are komal both in ascent and descent and the madhyam varies from tivra to shuddh whereas the gandhar and the nishaad stay shudh throughout. It has to be performed in the fourth prahar of the day (3 PM to 6 PM).

Puria Dhanashri is a very compassionate and emotional raaga.

Some of the other songs composed in Raag Puria Dhanashri are: Kitane dino ke baad ye aayi sajana raat milan ki, Koyaliya udd ja yahan nahin koya, Labon se chuum lo aankhon se thaamlo mujhako, Meri saanson ko jo mehkaa rahi hai, Prem lagaana, Rut aa gayi re rut chha gayi re, Teri jai jai kartar, and Tumne kya kya kiya hai hamaare liye.

I have taken today’s song from the 1995 movie Rangeela, produced and directed by Ram Gopal Verma. The movie starred Aamir Khan, Urmila Mantodkar and Kackie Shroff.

Aamir Khan plays Munna, a street-toughened orphan, very friendly with a family whose daughter Mili (Urmila Mantondkar) becomes his best friend. Both Munna and Mili have ambitions about Hindi films; Mili wants to be a heroine and Munna sells cinema tickets in black. Whilst dancing once, Mili is observed by a famous actor Raj Kamal (Jackie Shroff). He has her auditioned and she soon lands a role as heroine opposite him. Both Munna and Raj Kamal fall in love with her. In the end, the man from the street, Munna, wins.

Before emerging in this movie as a sensuous heroine, Urmila was a child star in 1983 movie Masoom (Innocent or Naive). The movie posters of Rangeela showed her in revealing scenes with the caption: Masoom, no more. This was one of the two sensuous dances that she did in the movie with Jackie Shroff, whilst they were busy in the shooting of their film Rangeela; the other was: Tanha tanha yahan pe jeena.

The songs of the movie were composed by Oscar winner (for Slumdog Millionaire) AR Rehman and this movie was his debut Hindi movie that catapulted him to great fame. The song was sung by Swaranlatha and Hariharan.

Please enjoy Swaranlatha and Hariharan sing in Raag Puria Dhanashri, Tal Kaherava: Haay Rama ye kyaa hua…….

Haay Raamaa ye kyaa huaa kyo.n aise hame.n sataane lage
(O lord Rama, what has this happened, why have you started toturing me like this?)

Tum itanii pyaarii ho saamane ham qaabuu me.n kaise rahe.n
(You are so much beautiful that in front of you how can i remain in control)

Jaa_o hamako to aatii sharm hai
(Go away, I am taken over by shame)

Terii aisii adaa pe to fidaa ham hai.n
(On your this style, I am attracted to)

Taubaa merii taubaa ye bhii kyaa sitam hai aisii zid karane lage
(O God forbid, what is this atrocity, you are insisting on this?)

Jaane tumane kyaa-kyaa sochaa aage-aage ham to ab Darane lage
(Who knows what all you have thought for things that will happen after that, now I feel afraid)

Are sochaa hai ye ki raat aur din tujhe pyaar kare.nge ham
(O, I have thought that day and night I will love you)

Darate ho kyuu.N o jaan-e-man mere pyaar se
(Why do you feel afraid of my love?)

Kaalii-kaalii zulfe.n gorii-gorii baa.Nhe.n mujhako ta.Dapaane lagii.n
(Your black hairlocks, your fair arms, are seducing me)

Ho.NTh bhiige-bhiige nashiilii ye aa.Nkhe.n pyaas ko jagaane lagii.n
(You wet lips, your intoxicating eyes, are making a thirst grow in me)

Chho.Do jii aisii baato.n ko roko naa raaho.n ko
(Please give up this line of talks, don’t hinder me)

Ho mo.Do naa merii baa.Nho.n ko jaane do naa
(Don’t twist my arms, let me go)

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
On the thirty-fourth day, we learnt about Tarana.
On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
On the thirty-sixth day, we learnt about Tabla.
On the thirty-seventh day, we learnt about Kirtan.
On the thirty-eighth day, we learnt about Pakhawaj.
On the thirty-ninth day, we learnt about Hori.
And today, on the fortieth day, we learnt about Dadra.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #39

Raaga Based Song of the Day: Tu hai mera prem devta…
Raag Lalit, Tal Tintal

We have completed thirty-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 thirty-eighth post was titled ‘Raaga Based Song Of The Day #38’ and the song was a Lata Mangeshkar & Manoj Kumar song from the 1960 Jaswant Jhaveri movie Banjarin: Chanda re mori patiya le jaa. It is in Raag Durga, 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 thirty-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 and Durga. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

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

Hori is the most popular type of Dhrupad sung on the festival of Holi. The compositions describe the spring season. These compositions are mainly based on the love pranks of Krishna and Radha. Holi khelat Nand Lal is one of the popular Horis. Interestingly Hori has both classical as well as semi-classical connections. Horis sung as a concluding portion of a Dhrupad recital are classical in nature as well as semi-classical. Those Horis, which are sung in semi-classical form, are in ragas like Khamaj, and Kafi. Significantly, these Horis are also set to a tala of 14 beats called Deepchandi.

Horis are most popular in regions of Uttar Pradesh and Bihar. The seasonal songs associated with Hori are: Chaiti, Sawani and Kajari.

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

Lalit is a raaga that belongs to Poorvi Thaat. It has to be performed in the wee hours of the morning (3 AM to 6 AM), which is actually, as per the Indian system of Samay, the last prahar of the night. The mood of the raaga is serene and devotional. Its Jati is Shadhav – Shadhav Vakra. The raag makes use of both Madhyams (Ma), that is Shuddha and Teevra, which not only makes the raag unique but also makes it very sweet, well suited for bhakti and karuna rasa.

Some of the other songs composed in Raag Lalit are:

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.

Rain Ka Sapna
Ye Kaun Aaj
Ik Shahanshah Ne
Preetam Daras Dikhao
Tu Hai Mera Prem Devta
Duniya Na Bhaye
Jago Bansi Vare
Ghat Ghat Mein Ram
Bhor Bhaye Panghat
Bhor Bhaye Panchi
Aey Ishq Teri Talaash
Teri Jaat Pak Hai
Ye pyar tha ya
Main To Kab Se Teri Sharan
Jogiya More Ghar Aaye
Mast Mayura Nache
Vo Jo Milte The Kabhi

Lalat
Nartaki
Leader
Chacha Jindabad
Kalpana
Basant Bahar
Meera
Bhumika
Satyam Shivam Sundaram
Aanchal
Cha Cha Cha
Main Hoon Alladin
Prem Rog
Ram Nagri
Ragini
Dil Ki Rahein
Akeli Mat Jaiyo

Heerabai Barodkar
Pankaj Mallik
Mohd Rafi, Lata
Manna Dey, Lata
Manna Dey, Rafi
Mohd.Rafi
Vani Jayaram
Firoz Dastoor
Lata Mangeshkar
Lata Mangeshkar
Mohd.Rafi, Lata
Usha Khanna
Sudha malhotra,anwar
Suresh Vadekar
Amir Khan
Manna Dey
Lata Mangeshkar

I have taken today’s song from the 1960 movie Kalpana directed by RK Rakhan, this being the second song from the same movie after I had given you Beqasi hadd se jab guzr jaaye on the 15th day: ‘Raaga Based Song Of The Day #15’, which was in Desh & Khammaj, Tal: Dadra. The movie starred Ashok Kumar, Padmini and Ragini. In this song both the ladies dance in front of a statue of Lord Shiva.

Qamar Jalalabadi penned the song and OP Nayyar composed it. Those of you who ever entertained doubts about whether OP Nayyar was well versed in raagas or not, should have this controversy put to rest with this song.

The song also has Mohammad Rafi and Manna Dey singing together. What a veritable pleasure it must be for Manna Dey since he was fond of saying that in the ranking of male singers, Mohammad Rafi occupied all the top ten positions!

Manna Dey, OP Nayyar and Mohammad Rafi (Pic courtesy: Mohdrafi.com)

Please enjoy Mohammad Rafi and Manna Dey sing in Raag Lalit, Tal Tintal: Tu hai mera prem devta…….

Tuu hai meraa prem devataa
in charaNo.n kii daasii huu.N mai.n
man kii pyaar bujhaane aa_ii
antaraghaT tak pyaasii huu.N mai.n
tuu hai meraa prem devataa

ra : mai.n gaurii tuu kant hamaaraa
ma : mai.n ga.ngaa tuu meraa kinaaraa
ra : mai.n gaurii tuu kant hamaaraa

ra : mai.n gaurii tuu kant hamaaraa
ma : mai.n ga.ngaa tuu meraa kinaaraa
ra : a.ng lagaa_o pyaas bujhaa_o -2
ma : nadiyaa ho kar pyaasii huu.N mai.n
ra : man kii pyaar bujhaane aa_ii -2
antaraghaT tak pyaasii huu.N mai.n
do : tuu hai meraa prem devataa

ra : Dam Dam Dam Dam Damaruu baaje
ma : mai.n naachuu.N sha.nkar ke aage
ra : Dam Dam Dam Dam Damaruu baaje

ra : Dam Dam Dam Dam Damaruu baaje
ma : mai.n naachuu.N sha.nkar ke aage
ra : ho ke rahegii jiit usii kii -2
ma : jisakii kalaa se sha.nkar jaage
ra : man kii pyaar bujhaane aa_ii -2
antaraghaT tak pyaasii huu.N mai.n
do : tuu hai meraa prem devataa

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
On the thirty-fourth day, we learnt about Tarana.
On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
On the thirty-sixth day, we learnt about Tabla.
On the thirty-seventh day, we learnt about Kirtan.
On the thirty-eighth day, we learnt about Pakhawaj.
And today, on the thirty-ninth day, we learnt about Hori.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #38

Raaga Based Song of the Day: Chanda re mori patiya le jaa…
Raag Durga, Tal Kaherava

We have completed thirty-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 thirty-seventh post was titled ‘Raaga Based Song Of The Day #37’ and the song was a Lata Mangeshkar & Mohammad Rafi song from the 1963 V Shantaram movie Sehra: Tum toh pyaar ho sajna. It is in Raag Maru Bihag, 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 Yaman – Part III’.

In the last thirty-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 and Maru Bihag. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

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

The pakhawaj (To be pronounced as पखावज) or mridang is an Indian barrel-shaped, two-headed drum, a variant and descendant of the older mridang. The larger bass skin of the drum is to the left of the player and the smaller treble skin to the right. I told you, a few days back, about Dhrupad. Pakhawaj is widely used as an accompaniment in Dhrupad and in other forms of music and dance. The pakhawaj has a low, mellow tone, very rich in harmonics.

The word Pakhawaj (Prakrit word) is derived from two words: the first is Paksha (a side), and Vaadya (a musical instrument). I told you that it is modern variation of Mridang. In the 14th century, Mridangists started experimenting with material used for its construction and replaced clay with wood. This gave birth to Pakhawaj.

Just like Tabla, Pakhawaj is used to produce rhythm (Tal) by a series of mnemonic syllables called bol. Naturally, the playing technique varies from that of tabla: in the bass face, the artist hits with his whole palm instead of the finger tip hitting which is done in tabla. In the treble face, the artist hits his whole palm with the fingers properly placed on the skin to produce different bols.

In Pakhawaj, a student learns various strokes to produce different bol. The very basic capacity is to play a theka in a particular tala or rhythmic cycle. I have already been giving you various theka that can be played.

Advanced students learn reelas that are virtuoso pakhawaj compositions.

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

Durga is another raaga that has been named after gods and goddesses. It belongs to the Bilawal Thaat. It is to be sung during the second prahar of the night: from 9 PM to midnight. Its Jati is Audhav-Audhav, that is, five notes each in Aaroha and Avroha. All notes or swar used are Shuddha (the raag is called Shuddha Saveri in the South). The two swar that are not used are: Gandhar and Nishad (Gaa and Ni). This Raag creates a very soothing atmosphere which is neither very deep nor very playful.

Some of the other songs composed in Raag Durga are:

1.
2.
3.
4.
5.

Khet Ko Mooli Baag
Door Desh Ka
Geet Gaya Pattharon Ne
Jaane Wale O Mere
Sason Ke Taar Par

Achuut Kanya
Jawab
Geet Gaya Pattharon Ne
Geet Gaya Pattharon Ne
Geet Gaya Pattharon Ne

Ashok Kumar, Devika Rani
Kanan Devi
Kishori Amonkar
Asha Bhosle
Asha, Mahendra Kapoor

I have taken today’s song from the 1960 movie Banjarin directed by Jaswant Jhaveri. The movie starred Manhar Desai, Kanchan Kamini and Dalpat. The song is a popular song even after 57 years of its original release.

Pt. Madhur penned the song and Pardesi composed it.

Please enjoy Lata Mangeshkar and Mukesh sing in Raag Durga, Tal Kaherava: Chanda re mori patiya le jaa….

la : nainaa to dukhan laage
chandaa re morii ( patiyaa.n le jaa ) -2 saajan ko pahu.Nchaa de re
vo likh sake javaab unhe.n tuu meraa pataa bataa de re
chandaa re
mu : chandaa re morii ( patiyaa le jaa ) -2 sajanii ko pahu.Nchaa de re
vo likh sake javaab …

la : palako.n kii hai kalam banaa_ii kaajal bah kar banii siyaahii
kaise likhuu.N kahaanii Gam kii tuu hii mujhe bataa de re
chandaa re …

mu : ham Kush hai.n Gam diyaa hai tuune ye ehasaan kiyaa hai tuune
jahaa.N raho Kush raho merii is du_aa kaa asar dikhaa de re
chandaa re …

do : o aakaash ke sundar darpaN tuu hii sajanii tuu hii saajan
bichha.De dilo.n ko phir se milaa de rotaa chaman ha.Nsaa de re
chandaa 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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
On the thirty-fourth day, we learnt about Tarana.
On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
On the thirty-sixth day, we learnt about Tabla.
On the thirty-seventh day, we learnt about Kirtan.
And today, on the thirty-eighth day, we learnt about Pakhawaj.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #37

Raaga Based Song of the Day: Tum toh pyaar ho sajna…
Raag Maru Bihag, Tal Kaherava

We have completed thirty-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 thirty-sixth post was titled ‘Raaga Based Song Of The Day #36’ and the song was a Lata Mangeshkar song from the 1949 DD Kashyap movie Badi Bahen: Chele jaana nahin nain mila ke. It is in Raag Asavari, 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 thirty-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 and Asavari. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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 Kirtan:

At first instance, you are bound to ask me: “What is there to learn about Kirtan? We know it already.” Well, actually, there is a lot to learn. Kirtan is a Sanskrit word that means ‘narrating, reciting, telling or describing’ of a story or idea. In a religious gathering, Kirtan is a musical form of narration shared between the narrator and the congregation.

One can easily refer to Kirtan (Vedic anukirtana tradition) as song in which the narrator (kirtankara (or kirtankar)) or narrators takes a line in the hymn and expects the gathering to repeat the chant in the same melody. There are times when the singer’s singing is accompanied by dancing

Generally, the vocal performance by singers is accompanied by Harmonium and Tabla but may also include other instruments such as Mrdanga or Pakhwaj, Veena or Ektara, Flute, and Kartalas or Talas (Cymbals). The other day, in my home place Kandaghat, I attended a Kirtan performance for Sai Baba and they had a keyboard added too.

Kirtan is a routine practice in Sikh Gurudwaras, Vaishanavi devotion, and Sant tradition. Usually, Kirtan (as a form of eulogising gurus/gods) is accompanied by the singer pausing and telling the story (katha) and then resuming the singing.

The holy book of Sikhs is based on raagas and as I have been fond of saying, Sikhs carried forward the Vedic tradition of reciting scripture or religious texts through raagas with the accompaniment of music. In the Gurudwaras, a Shabad Kirtan is the musical recitation of the Sri Guru Granth Sahib itself.

Sikhs lay a lot of emphasis on Kirtan, generally performed by Ragi Jatha or those well versed in raagas. Generally, a Sikh Kirtan would be there in the forenoon before the final ardaas (prayer) on a Sunday. However, there are Gurudwaras wherein akhand kirtan (continuous unbreakable kirtan) takes place. The congregation in a Sikh Kirtan is known as Sangat or Satsang meaning ‘fellow travelers on a spiritual journey’.

Live Kirtan at the Golden Temple, Amritsar (Photo courtesy: Gurmat Sagar)

You are bound to ask me at this stage what, if any, is the difference between Bhajan and Kirtan. Both have common objectives, and share similar raagas and subjects. A bhajan is generally singular and is more free flowing; whereas a Kirtan is generally more structured performance in which the singers and the congregation share a call and response form of singing.

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

Maru Bihag 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: Dil jo na keh saka(Tal Kaherava), Matwali naar thumak thumak (Tal Kaherava), Payal wali dekhana (Tal Kaherava) and Radha jaaye na (Tal Dadra).

I have taken today’s song from the 1963 movie Sehra directed by V Shantaram. The movie starred Sandhya, Prashant, Mumtaz, Lalita Pawar, Manmohan Krishan, Ulhas, Babloo, M. Rajan and Baburao Pendharkar. You would like the cinematography in the video of the song. Krishanrao Vashirde won the Best Cinematography (Colour) Filmfare Award.

Hasrat Jaipuri penned the songs of the movie and Ramlal Hirapanna composed them. The songs of the movie became very popular:

1	Mast Nazar Ki Katar	Mohammed Rafi
2	Taqdeer Ka Fasana	Mohammed Rafi
3	Ja Ja Ja Re Tujhe Ham Jaan Gaye	Mohammed Rafi, Lata Mangeshkar
4	Tum Toh Pyar Ho Sajni	Mohammed Rafi, Lata Mangeshkar
5	Taqdeer Ka Fasana	Lata Mangeshkar
6	Pankh Hote To Ud Aati, Rasiyaa O Zalima	Lata Mangeshkar
7	Ujad Gaya Hain Mohabbat Main	Lata Mangeshkar
8	Na Ghar Tera Na Ghar Mera	Hemant Kumar
9	Hum Hain Nashe Mein	Asha Bhosle

Please enjoy Lata Mangeshkar and Mohammad Rafi sing in Raag Maru Bihag, Tal Kaherava: Tum toh pyaar ho sajna….

la : tum to
tum to pyaar ho sajanaa tum to pyaar ho
mujhe tumase pyaaraa aur na ko_ii
tum to pyaar ho sajanaa

ra : tum to pyaar ho sajanii tum to pyaar ho
mujhe tumase pyaaraa aur na ko_ii
tum to pyaar ho

la : aa kitanaa hai pyaar hamase ye to bataa do
ra : a.mbar pe taare jitane itanaa samajh lo
la : sach merii qasam
ra : terii qasam terii yaad hame.n luuTe
la : qasame.n to khaane vaale hote hai.n jhuuThe
chalo jaa_o haTo jaa_o dil kaa daaman chho.Do
ra : tum to pyaar ho sajanii …

ho o aake na jaa_e kabhii aisii bahaar ho
la : tum bhii hamaare li_e jiivan si.ngaar ho
ra : sach merii qasam
la : terii qasam tuu hai aa.Nkh ke til me.n
ra : tum bhii chhupii ho mere shiishaa-e-dil me.n
o mere hamadam mere hamadam merii baat to maano
la : tum to pyaar ho sajanaa …

do : tum to pyaar ho

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
On the thirty-fourth day, we learnt about Tarana.
On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
On the thirty-sixth day, we learnt about Tabla.
And today, on the thirty-seventh day, we learnt about Kirtan.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #36

Raaga Based Song of the Day: Chale jaana nahin nain chura ke…
Raag Asavari, Tal Kaherava

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

Our thirty-fifth post was titled ‘Raaga Based Song Of The Day #35’ and the song was a Mohammad Rafi song from the 1958 Shaheed Lateef movie Sone Ki Chidiya: Raat bhar ka hai mehman andhera. It is in Raag Jogiya, Tal Dipchandi (Moghali).

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

In the last thirty-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 and Jogiya. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

However, first, lets take up the value added learning of today. Today, we shall learn a little more about Tabla:

Tabla is one of the two percussion instruments in Hindustani music that produces Tal or rhythm (the other is Pakhwaj) whereas the melody is produced by Vocals, Sitar, Sarod, Surbahar, Rudra Veena, Violin, Sarangi, Esraj/Dilruba, Bansuri, Shehnai, Santoor, Harmonium, and Jal Tarang, and Tanpura, Shruti Box and Swarmandal are used to producing drone.

Initially, when I started giving you the raaga based songs of the day, I mentioned to you that it was as late as in the 18th century that Tabla was used to keep the Tal. Before that, and to some extent even now, Tal is kept by the clap (Bhara) or wave (khali) of the hand. Tabla consists of a pair of drums (the word tabla is likely to have originated from the Persian word Tabl meaning drum). The pair is actually two small barrel drums (to be beaten with hands). Daya drum is the dahina drum or right and Baya is bahina or left. Out of the two, the Baya drum is a little bigger (about eight inches in dia and ten inches high) than the Daya (six inches by 10 inches). The Daya is tuned to the ground note of the raaga called Sa. Tal is produced both by the heel of the hand (to change the pitch) and the complex use of the fingers.

In the Hindustani style tabla is played in two ways: band bol (Tali) and khula bol (Khali). Tabla is used extensively in raaga based singing in gurudwaras and temples and in Sufi music.

Some basic strokes with the dayan on the right side and the bayan on the left side are:

Ta: (on dayan) striking sharply with the index finger against the rim while simultaneously applying gentle pressure to the edge of the syahi with the ring finger to suppress the fundamental vibration mode.
Ghe or ga: (on bayan) holding wrist down and arching the fingers over the syahi; the middle and ring-fingers then strike the maidan (resonant).
Thin: (on dayan) placing the last two fingers of the right hand lightly against the syahi and striking on the border between the syahi and the maidan (resonant).
Dha: combination of Na and Ghe.
Dhin: combination of Tin and Ghe.
Ka or kath: (on bayan) striking with the flat palm and fingers (non resonant).
Na: (on dayan) striking the edge of the syahi with the last two fingers of the right hand.
Te: (on dayan) striking the center of the syahi with the middle finger (non resonant).
Tu | Tun^: (on dayan) striking the center of the syahi with the index finger to excite the fundamental vibration mode (resonant).
Dhere dhere (on dayan) striking of syahi with palm.

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

Asavari is the principle raaga of Asavari Thaat in the Bhatkhande’s system of raagas. Asavari, as anyone who reads Sri Guru Granth Sahib would know, is a raaga of the mornings. However, some of the important raagas of Asavari Thaat are sung at nights: eg, Adana and Darbari. Its Jati is Audhav-Sampoorna. The mood of the raaga is Tyag, sacrifice or renunciation.

Two of the other songs composed in Raag Asavari are: Jadoo teri nazar, khushbu tera badan (Tal Kaherava), and Mujhe gale se laga lo bahut udaas hoon main (Tal Kaherava).

I have taken today’s song from the 1949 movie Badi Bahen directed by DD Kashyap. The movie starred Suraiya, Rehman, Ullhas and Pran. If you see in the video Geeta Bali singing this song to the villain Pran it is because of the story, also by DD Kashyap:

“Shyama (Suraiya) gets a job as a servant so she can pay for her younger sister, Kiran’s (Geeta Bali) education in the city. Kiran, though, is in love with a rogue, Ajit (Pran). Ajit makes Kiran splurge all the money Shyama sends her on them. Meanwhile, Shyama meets and falls in love with Shyam (Rehman), the son of the family she works for and who is a doctor who wants to treat the poor. With both being ill-treated by the woman of the house, who is Shyam’s step mother, they decide to elope. However, Kiran comes to her, abandoned and impregnated. Shyama goes along with her without informing Shyam in order to find Ajit. They find Ajit but he escapes from them. The two sisters then relocate to another town. Kiran has the child, Shyama works in another house, where in order to get Kiran settled with the young man of the house and to prove her to be without blemish, she takes it upon herself to claim to be the mother of the child. This causes further complications with Shyam, who has managed to trace her out and now believes that she has been unfaithful to him. Wallowing in grief, he falls ill. Finally, with the help of a kindly army Colonel, also Ajit’s uncle (Ulhas), all ends well that well with a repentant Ajit marrying Kiran and Shyama reunited with Shyam.”

The song was penned by Rajinder Krishan and composed by Husanlal Bhagatram, Hindi movies’ first music duo.

Please enjoy Lata Mangeshkar sing in Raag Asavari, Tal Kaherava: Chale jaana nahin nain chura ke….

Chale jaanaa nahii.n, nainaa milaake
Haay! sai.nyyaa bedardii, sai.nyyaa bedardii

Merii qasam tumhe mere hii hoke rahanaa
Dilo.n kii baat kisii aur se nahii.n kahanaa
Bairii duniyaa se rakhanaa chhupaa ke
Haay! sai.nyyaa bedardii, sai.nyyaa bedardii
Chale jaanaa nahii.n …

Nanhii.n sii jaan merii kaho na jalaaoge
Chho.D ke mujhe kahii.n chale to na jaaoge
Bhuul jaanaa nahii.n dil me.n basaa ke
Haay! sai.nyyaa bedardii, sai.nyyaa bedardii
Chale jaanaa nahii.n …

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
On the thirty-fourth day, we learnt about Tarana.
On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
And today, on the thirty-sixth day, we learnt about Tabla.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #35

Raaga Based Song of the Day: Raat bhar ka hai mehman andhera…
Raag Jogiya, Tal Dipchandi (Moghali)

We have completed thirty-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 thirty-fourth post was titled ‘Raaga Based Song Of The Day #34’ and the song was a Meena Kapoor song from the 1965 Motilal movie Chhoti Chhoti Baatein: Kuchh aur zamana kehta hai. It is in Raag Gaur Sarang, Tal Dadra.

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

In the last thirty-four days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan and Gaur Sarang. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

Today, I give you a song in Raag Jogiya, Tal Dipchandi (Moghali).

However, first, lets take up the value added learning of today. Today, we shall learn about Tal Dipchandi (Moghali):

Dipchandi meaning Lamplight is a 14 beat Tal also known as Chanchar or Chochar. There are four vibhags (sections) of 3, 4, 3 and 4 matras represented by Clap, Clap, Wave and Clap respectively, that is:

clap, 2, 3, clap, 2, 3, 4, wave, 2, 3, clap, 2, 3, 4

The Theka of the Tal is:

As I mentioned, today’s song is composed in Raag Jogiya, Tal Dipchandi (Moghali).

Raag Jogiya belongs to the Bhairav Thaat in the Bhatkhande’s system of raagas. It is to be sung during the first prahar of the night. The name Jogiya came from Jogi (ascetic), a corruption of the word Yogi. The mood of the raaga is devotion and detachment.

Two of the other songs composed in Raag Jogiya are: Dil ek mandir hai (Tal Dadra), and Kah do koio na kare yahan pyaar (Tal Dipchandi).

I have taken today’s song from the 1958 movie Sone Ki Chidiya directed by Shaheed Lateef. Ismat Chugtai who got the Filmfare Award in 1975 for the story of the MS Sathyu movie Garam Hawa, wrote the story for Sone Ki Chidiya too. The movie starred Balraj Sahni, Nutan and Talat Mahmood. Nutan, a poor orphan as a child, is abused by her extended family but later becomes Sone Ki Chidiya after she becomes rich and famous and then exploited.

The song is a great inspirational song penned by Sahir Ludhianvi, asking her not to give up her life for nothing but to see the silver lining around the dark clouds.

Many people feel that Omkar Prasad Nayyar or OP Nayyar didn’t understand raagas. However, his songs prove this theory wrong. This one was composed by him not in his favourite Raag Pilu but in Jogiya. And the Tal that he employed is not so common one.

Please enjoy Mohammad Rafi sing in Raag Jogiya, Tal Dipchandi (Moghali): Raat bhar ka hai mehman andhera….

Maut kabhii bhii mil sakatii hai lekin jiivan kal na milegaa
Marane vaale soch samajh le phir tujhako ye pal na milegaa

(Raat bhar kaa hai mehamaa.n a.Ndheraa
Kisake roke rukaa hai saveraa) -2

Raat jitanii bhii sa.ngiin hogii
Subah utanii hii ra.ngiin hogii
Gam na kar gar hai baadal ghaneraa
Kisake roke rukaa hai …

Lab pe shikavaa na laa ashq pii le
Jis tarah bhii ho kuchh der jii le
Ab ukha.Dane ko hai Gam kaa Deraa
Kisake roke rukaa hai …

Yuu.N hii duniyaa me.n aa kar na jaanaa
Sirf aa.Nsuu bahaakar na jaanaa
MusuraahaT pe bhii haq hai teraa
Kisake roke rukaa hai …

(Aa ko_ii mil ke tadabiir soche.n
Sukh ke sapano.n kii taabiir soche.n) -2
Jo teraa hai vahii Gam hai meraa
Kisake roke rukaa hai …

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
On the thirty-fourth day, we learnt about Tarana.
And today, on the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #34

Raaga Based Song of the Day: Kuchh aur zamaana kehta hai…
Raag Gaur Sarang, Tal Dadra

We have completed thirty-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 thirty-third post was titled ‘Raaga Based Song Of The Day #33’ and the song was a Lata Mangeshkar song from the 1956 Anant Thakur movie Chori Chori: Rasik balma. It is in Raag Shuddha Kalyan, Tal Kaherava.

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

In the last thirty-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 and Shuddha Kalyan. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

Today, I give you a song in Raag Gaur Sarang, Tal Dadra.

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

Colloquially, we call any song or melody as Tarana. However, it is type of composition in Hindustani music such Dhrupad, Khayal, Thumri and Tappa that I have already told you about. Whilst giving you a write-up about Hindustani classical music I told you about the contribution of Amir Khusrow and how he first fuzed Sufi music with Sanskrit/Hindi music. Taranas are medium (madhya) or fast (drut) paced (laya) songs that convey mood of elation. Taranas consist of lines of rhyming poetry that use Persian or Arabic syllables or bols. The singers use these poetical lines for improvisation.

Do you recall Baiju Bawra, the 1952 Vijay Bhatt movie? (Please read). Naushad had all songs of the movie based on one raaga or the other. He got Ustad Amir Khan to sing Tori jai jai kartar in Raag Puriya Dhanashree, Langar kankariya ji na maro in Raag Todi (with DV Paluskar), Ghanana ghanana ghana garjo re in Raag Megh and Sargam in Raag Darbari. Well, it was the same Ustad Amir Khan who gave impetus to Tarana genre’ of singing in modern times. Those who are familiar with Sri Guru Granth Sahib would also know that Sri Guru Gobind Singh used tarana in his compositions like Jagardang nagardang bagardang.

As I mentioned, today’s song is composed in Raag Gaur Sarang, Taal Dadra.

Gaur or Gaud Sarang is a raga in Hindustani classical music that combines characteristics of Sarang and the now extinct raga named Gaud. Unlike most other members of the Sarang family of ragas, Gaud Sarang is assigned to the Kalyan thaat rather than the usual Kafi.

It’s Jati is Sampurna-Sampurna Vakra (all swar are Shuddha except both Madhyam are used in Avroha).

The time of the day for rendering this Raaga is the third prahar of the day, ie, between noon and 3 PM.

Raag Gaud Sarang, though a daytime melody produces effect like the night melodies. The overall impact of the Raag is identical to that in Raag Kedar or Raag Bihag. (Both night time Raagas).

Shuddha Madhyam is a prominent note which is Deergh Swar but not a resting note. Pancham and Gandhar are the resting note of the Raag. Like in Raag Kedar and Raag Hameer the Teevra Madhyam (M) is rendered Vakra.

The song is dear to me because I regard it as one of the best ever penned by lyricist Shailendra. Indeed, on my Facebook page ‘Lyrical’, as soon as I finished with my favourite lyricist Shakeel Badayuni, the very first Lyricist that I paid tribute to, in Great Lyricists series, was Shailendra.I have taken today’s song from the 1965 movie Chhoti Chhoti Baatein that was the only movie directed by actor Motilal under his banner Rajvanshi, and starring him, Nadira and Moti Sagar in the lead roles. He died before the movie was released. The movie was a flop at the box-office even though it earned enormous critical acclaim.

Here is a gem that came my way and I must share it with you:

Through Shankar Jaikishan Music Foundation (SJMF) I am acquainted with Dinesh (Shailendra’s son). One day, on his timeline there was a raging discussion about whether Shailendra got back from Raj Kapoor what he had so loyally given him. The reference was to Shailendra’s own movie Teesri Kasam starring Raj Kapoor, which was delayed by the latter so that he could first revel in the success of his Sangam. Some said that the lyrics of the song: Dost dost na raha probably fitted with Shailendra’s emotions for not having got any support from his friend Raj Kapoor for the early release of his own movie, leading to its getting much reduced box-office and ultimate untimely death of Shailendra. My input was that Teesri Kasam was released a year after Chhoti Chhoti Baatein (and a year before Teesri Kasam) and that Shailendra said in this song whatever he obliquely wanted to refer to! The most revealing lines are:

Duniyaa ne hame.n berahamii se
Thukaraa jo diyaa, achchhaa hii kiyaa
Naadaan ham samajhe baiThe the
Nibhatii hai yahaa.N dil se dil kii

From what I have seen, Dinesh is a level-headed, mature man, not given to affectations. I was, therefore, quite pleased when he tacitly upheld my assessment. My assessment was also based on another fact; which is, that whatever Shailendra wanted to tell people close to him he conveyed through his lyrics. For example, when Shankar Jaikishan dilly-dallied about introducing him to other music directors despite their promise, Shailendra wrote to them: “Chhoti si ye duniya, pehchaane raaste; tum kabhi to miloge, kahin to miloge, to poochhenge haal”. This, later, became a popular song.

Chhoti chhoti baatein, indeed.

It was Anil Biswas who composed the song in Raag Gaur Sarang, Tal Dadra. The song was sung for Nadira by Meena Kapoor.

Please enjoy: Kuchh aur zamana kehta hai….

Kuchh aur zamaanaa kahataa hai, kuchh aur hai zidd mere dil kii
mai.n baat zamaane kii maanuu.N, yaa baat sunuu.N apane dil kii
kuchh aur zamaanaa kahataa hai …

Duniyaa ne hame.n berahamii se
Thukaraa jo diyaa, achchhaa hii kiyaa
naadaan ham samajhe baiThe the
nibhatii hai yahaa.N dil se dil kii
kuchh aur zamaanaa kahataa hai …

Inasaaf, muhabbat, sachchaa_ii
vo raham-o-qaram ke dikhalaave
kuchh kahate zubaa.N sharamaatii hai
puuchho na jalan mere dil kii
kuchh aur zamaanaa kahataa hai …

Go bastii hai insaano.n kii
insaan magar Dhuu.NDhe na milaa
patthar ke buto.n se kyaa kiije
fariyaad bhalaa TuuTe dil kii
kuchh aur zamaanaa kahataa hai …

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
And today, on the thirty-fourth day, we learnt about Tarana.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #33

Raaga Based Song of the Day: Rasik balma…
Raag Shuddha Kalyan, Tal Kaherava

We have completed thirty-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 thirty-second post was titled ‘Raaga Based Song Of The Day #32’ and the song was a Mohammad Rafi song from the 1957 Krishnan-Panju movie Bhabhi: Chal udd jaa re panchhi. 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 Jaijaivanti’.

In the last thirty-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, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini and Chayanat. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

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

Tappa is as semi-classical as Dhrupad, Khayal and Thumri. In royal courts, songstresses known as Baigees used to sing Tappe that are fast paced, subtle, sweet and melodious genre’ of singing representing the emotional outburst of a lover.

Camel riders of Punjab are credited with having begun the tradition of Tappa in their folk singing. Mian Ghulam Nabu Shori or popularly known as Shori Mian is credited with having developed Tappa as classical music. He was a court singer in the then Nawab of Avadh: Asad-ud-Dowlah. In the 18th and 19th century, tappas sung by Nidhu Bahar became popular in Bengal. These were called: Nidhubabur Tappa. Presently, amongst the best known Tappa singers are: Girija Devi, Ishwar Chandra Karkare, Jayant Khot, Laxmanrao Pandit, Manvalkar, Meeta Pandit and Shanno Khurana.

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

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

Some of the songs composed in Raag Shuddha Kalyan are: Chand from niklala from 1957 movie Paying Guest, Jahan daal daal par sone ki chidhiyan karti hain basera from 1965 movie Sikander-e-Azam, Meri mohabbat jawan rahegi from 1965 movie Jaanwar, and Ye shaam ki tanhayiyan from 1953 movie Aah.

I have taken today’s song from yet another AVM Production movie, the 1956 Anant Thakur movie Chori Chori starring Nargis as Kammo, the daughter of a multi-millionaire Girdharilal (Gope). She jumps out of her father’s ship in Bombay harbour so as to be with her lover Suman Kumar (Pran). Whilst on her way to Bangalore, at the bus-stop itself, she meets Sagar (Raj Kapoor) and decides to take help from him in undertaking a journey that she had never taken alone. Gradually they fall in love. The movie’s story was later used by Mahesh Bhatt in his 1991 movie Dil Hai Ki Maanta Nahin that starred his daughter Pooja in the same role as Nargis and Aamir Khan in Raj Kapoor’s role.

As with most Raj Kapoor starrers, the lyricists were Shailendra and Hasrat Jaipuri with music by Shankar Jaikishan. This one has been penned by Hasrat Jaipuri.

I have put my neck out by selecting my five favourite songs of Lata Mangeshkar (Please read: ‘My Favourite Songs Of Lata Mangeshkar’). This song is at #1. The other four are:

#2. Jaa jaa re jaa balamwa in Raag Jhinjhoti, Tal Kaherava from Basant Bahar.
#3 Unako ye shikayat hai ke ham kuchh nahin kehate in Raag Malgunji, Tal Dadra from Adalat.
#4 Aapki nazaron ne samajha pyaar ke kaabil mujhe in Raag Adana, Tal Rupaktal from Anapadh.
#5 Aaja re pardesi in Raag Bageshri, Tal Kaherava from Madhumati.

Please enjoy my most favourite song of Lata Mangeshkar in Raag Shuddha Kalyan, Tal Kaherava: Rasik balma….

Rasik balamaa, haay, dil kyo.n lagaayaa
tose dil kyo.n lagaayaa, jaise rog lagaayaa

Jab yaad aaye tihaarii
suurat vo pyaarii pyaarii
nehaa lagaa ke haarii
aa~
nehaa lagaa ke haarii
ta.Dapuu.N mai.n Gam kii maarii
rasik balamaa …

Dhuu.Ndhe hai.n paagal nainaa
paaye na ik pal chainaa
Dasatii hai ujda.Dii rainaa
aa~
Dasatii hai ujda.Dii rainaa
kaase kahuu.N mai.n bainaa
rasik balamaa …

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
And today, on the thirty-third day, we learnt about Tappa.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #32

Raaga Based Song of the Day: Chal udd ja re panchhi…
Raag Pahadi, Tal Kaherava

We have completed thirty-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 thirty-first post was titled ‘Raaga Based Song Of The Day #31’ and the song was a Mohammad Rafi song from the 1958 Raj Khosla movie Kala Pani: Ham bekhudi mein tumko pukaare chale gaye. It is in Raag Chayanat, Tal Kaherava.

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

In the last thirty-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, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini and Chayanat.

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 Thumri:

Thumri originated in the eastern part of Uttar Pradesh and the languages of Thumri are the local dialects of Hindi: Awadhi and Brij Bhasha. Indeed, if you go through the popular song of the best lyricist-music director duo in Hindi movies: Shakeel Badayuni and Naushad Ali for their last movie together (1968 HS Rawail movie Sunghursh): Mere paaon mein ghungru pehna de you will understand the use of Awadhi. Thumri’s most distinct feature is the erotic subject matter portraying the various episodes from the lives of lord Krishna and Radha.

If your imagination goes wild and you think Thumri word has originated from the popular word Thumka, ie, the sound of ankle-bells of a woman/man when he or she dances, well, you are absolutely correct.

We found Khayal as more free and flexible than Dhrupad. Well, Thumri is freer. The beauty of thumri lies in the artist’s ability to convey musically as many shades of meaning as the words of a song can bear.

How did Thumri originate and become one of the most significant genre’s of North Indian music. Until the 15th century, there are no historical references to Thumri. When I gave you Babul mora naihar chhoto hi jaaye in Raag Bhairavi, I mentioned to you that Nawab Wajid Ali Khan of Awadh or Oudh composed it as Thumri. During his time in the 19th century, it was associated with the dance-form Kathak and hence with courtesans and tawaifs.

Unlike Khayal, Thumri artistes pay considerable attention to lyrics such as Krishna’s ras leela or love play with Radha and other gopis in Brindavan.

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

Today on the 32nd day, you would have noticed that so far I haven’t repeated a raaga except Pahadi; this being the third post on songs based on Pahadi.

Why do I have this urge to get back to Pahadi? On the tenth day, I had covered for you, the sources of names of raagas and mentioned that raagas like Marwa, Jaunpuri, Mand and Pahadi were named after places. Pahadi is not a place, in the same manner, as Marwa, Mand and Jaunpur. You should expect Pahadi anywhere you see pahad or hills but actually the name is from hills in Himalayas, my home place. It is a light raaga and is more akin to being a dhun.

Pahadi is a very popular raaga in the Hindi movies. It belongs to the Bilawal Thaat. Soundofindia.com describes it beautifully: the raga is like a lover, unruffled in union, serene in separation, powerful enough to achieve eternal union, but resigned to the painful parting ordained by destiny.

All raagas are supposed to transport you to the mood of the raaga (bhaav). But, none other does it better than Pahadi: you can’t escape the freshness, quiet, wetness, echoing effect and palpable romance of the hills. It is as if the raaga says to you: ‘Love is in the air’.

Some of the songs composed in Pahadi are:

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.

Parbaton Ke Pedon Par
Chahoonga Main Tujhe
Baharon Mera Jeevan
Jawa hai Muhobbat
Chhod Babul Ka Ghar
Chaudhavi Ka Chand Ho
Tujhko Pukare Mera
Door Koi Gaye
Karvatein Badalte Rahe
Meri Aankhon Mein
Suhani Raat Dhal
Tod Diya Dil Mera
Chal udd ja re panchhi
Jane Kya Dhoonhati
Tum Apna Ranj-o-Gam
Apne Aap Raaton Mein
Patta Patta Boota Boota
Kahan Hai Tu
Tum Na Aaye Sanam
Deewana Mujhsa Nahin
Sun Mere Saajana
Saeeyan Bina Ghar
Piya Bin Jiya
Mehelon Ne Chheen
Dil Ne Phir
Aaja Re
Chhoomkar Raat Sulaye
Kaheen Ek Masoom
Aaj ki raat piya dil na todo
Mere Mundere Na Bol
Aao Mil Jaayen
Saanjh Bhayee Nahin Aaye
Neela Aasma So gaya
Ih hawaon Mein
Main Tulsi
Are ja re hat natkhat
Main Teri Chhoti Behena
Kabhi To Milegi Bahaaron Ki
Kanchi Re Kanchi Re
Tum Jahan Ho
Jeevan Se Na Haar
Aawaz De Kahan Hai
Isharon Isharon Mein
Aage bhi jaane na tu

Shagun
Dosti
Aakhri Khat
Anmol Ghadi
Babul
Chaudhavi Ka Chand
Neel Kamal
Baiju Bawara
Aapki Kasam
Barsaat
Dulari
Andaaz
Bhabhi
Shola Aur Shabnam
Shagun
Shankar Husain
Ek Nazar
Afsana
Bhootnath
Teesari Manzil
Goonj Uthi Sehnaibr
Aangan Ki Kali
Dasi
Jabak
Dil Ne Phir Yaad Kiya
Noorie
Razia Sultan
Shankar Husain
Bazi
Parwana
Prem Geet
Shama Parwana
Silsila
Gumrah
Main Tulsi Tere Aangan Ki
Navrang
Soutan
Aarti
Hare Rama Hare Krishna
Road To Sikkim
Door Ka Rahi
Anmol Ghadi
Kashmir Ki Kali
Waqt

Rafi, Suman Kalyanpur
Rafi
Lata
Noorjahan
Shamshad
Rafi
Rafi
Shamshad, Lata, Rafi
Kishore, Lata
Lata
Rafi
Lata
Mohammad Rafi
Rafi
Jagjeet Kaur
Lata
Lata, Rafi
Lata
Lata
Rafi
Lata, Rafi
Lata, Bhupendra
Bhupendra
Lata, Mukesh
Rafi, Suman, Mukesh
Lata, Nitin Mukesh
Lata
Rafi
Geeta Dutt
Suraiya
Suresh Wadekar, Anuradha
Nirmala Devi
Lata & Amitabh
Mahendra, Asha
Lata
Asha Bhosle
Lata
Lata
Kishore, Lata
Mukesh
Kishore
Noorjahan, Surendra
Rafi, Asha
Asha Bhosle

If you recall, I have already given you two: Aaj ki raat piya dil na todo, and Zara sun haseena-e-nazneen.

The song of today is from the 1957 AVM Production Krishnan-Panju movie Bhabhi that starred Balraj Sahni, Nanda and South-Indian actress Pandari Bai (this being her first Hindi movie; later she did one more: Paigham in 1959). Bhabhi was earlier a movie by Franz Osten in 1938. The movie was a remake of Tamil film Kuladeivam which itself was a remake of Bengali film Banga Kora which in turn was based on the novel of same name by Prabhavathi Devi Saraswathi.

Rajinder Krishan was the lyricist of the song that was composed by Chitragupt.

I was fascinated by the song from the time I was a boy and, at that time, I didn’t know anything about Raag Pahadi, Rajinder Krishan and Chitragupt. The only person associated with the song that I knew, at that time, was Mohammad Rafi, the god of songs.

Please enjoy Mohammad Rafi sing in Raag Pahadi Tal Kaherava: Chal udd jaa re panchi…

Chal u.D jaa re pa.nchhii (2) ki ab ye desh huaa begaanaa
chal u.D jaa re pa.nchhii …

Khatam hue din us Daalii ke jis par teraa baseraa thaa
aaj yahaa.N aur kal ho vahaa.N ye jogii vaalaa pheraa thaa
sadaa rahaa hai is duniyaa me.n kisakaa aabuu-daanaa
chal u.D jaa re pa.nchhii …

TUne tinakaa-tinakaa chun kar, nagarii ek basaa_ii
baarish me.n terii bhiigii kaayA, dhuup me.n garamii chhAii
Gam naa kar jo terii mehanat tere kaam naa aaii
achchhaa hai kuchh le jaane se dekar hii kuchh jaanaa
chal u.D jaa re pa.nchhii …

Bhuul jaa ab vo mast havaa vo u.Danaa Daalii-Daalii
jab aa.Nkh kii kaa.NTaa ban gaI, chaal terii matavaalii
kaun bhalaa us baag ko pUchhe, ho naa jisakaa maalii
terii qismat me.n likhaa hai jiite jii mar jaanaa
chal u.D jaa re pa.nchhii …

Rote hai.n vo pa.Nkh-pakheruu saath tere jo khele
jinake saath lagaaye tUne aramaano.n ke mele
bhiigii aa.Nkho.n se hii unakii, aaj duaaye.n le le
kisako pataa ab is nagarii me.n kab ho teraa aanaa
chal u.D jaa re pa.nchhii …

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
And today, on the thirty-second day, we learnt about Thumri.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #31

Raaga Based Song of the Day: Ham bekhudi mein tumko pukaare chale gaye…
Raag Chayanat, Tal Kaherava

We have completed thirty 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 thirtieth post was titled ‘Raaga Based Song Of The Day #30’ and the song was a Lata Mangeshkar song from the 1960 Hrishikesh Mukherjee movie Anuradha: Haay re vo din kyun naa aaye. It is in Raag Janasammohini, Tal Rupaktal.

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 thirty 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 and Janasammohini.

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

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

Khayal is a modern genre’ of Hindustani Music; it certainly came after Dhrupad that I have told you about. The Urdu word Khayal means ‘Imagination’ and hence this flexible form of music uses a lot of improvisations.

A Khayal song is normally called a bandish (composition). Generally, in a performance there would be number of short (2 to 8 lines) songs, with each singer rendering the same bandish differently; in which the lyrics and raaga remains the same. These compositions are in Urdu/Hindi/Hindustani/Punjabi or combinations. The themes that the compositions cover include love (both romantic and divine), Krishna-Leela, praise of gods, kings, seasons and times of day.

The Khayal bandish is divided into two parts — the sthayi (or asthayi) and the antara, with the former considered more important as it shows the melodic contours of the raga. The sthayi often uses notes from the lower octave and the lower half of the middle octave, while the antara ascends to the tonic of the upper octave and beyond before descending and linking back to the sthayi.

The main facet of Khayal, as I told you, is improvisation. Each singer uses the bandish as a base for improvisation. The singer is normally accompanied by harmonium, sarangi or violin, and a tabla. The instruments play off the singer’s melody line and these instruments play this even when the singer pauses for breath. Thus, continuity is maintained. The accompanying Tal are generally Ektal, Jhaptal, Tintal, Rupaktal, Jhaptal and Tilwada.

A typical khayal performance uses two songs — the bada khayal or great khayal, in slow tempo (vilambit laya), comprises most of the performance, while the chhota khayal (small khayal), in fast tempo (drut laya), is used as a finale and is usually in the same raga but a different taal.

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

Raag Chayanat or Chhayanat belongs to the Kalyan Thaat to be sung during the second prahar of the night (9 PM to midnight). Its Jati is Shadhav-Sampoorna (six notes in Aaroha and seven notes in Avaroha).

Raag Chayanat is related to the now obscure raaga Nat.

Chayanat, Gaud Sarang, Kedar and Kamod raagas have similar tone material and share similar melodic movements as well. It requires a clear conception of their individual melodic features to avoid drifting from one raaga to another.

The other songs composed in Raag Chayanat are:

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.

Chanda Re Ja Re
Sab Kuchh Luta ke
Hum Bekhudi Me
Dil Gham Se Jal Raha
Tere Naina Talaash Keren
Baad Muddat Ke
Lagta Nahin Hai Dil
Itni Haseen Itni
Zindagi Kitni Khoobsurat
Aaj Bichhde Hain
Fir teri Yaad Naye Gham
Aap Aaye Gharib Kahen Me
Sher Ka Husn Ho
Paas Ho Tum Magar
Wo Chal Diye Hain
Meri Nigaah Ne Kya
Tumhi Kaho mera Man
Jhuka Jhuka Ke Nigahen
Mujhse Naaraz Ho To
Tum Meri Zindagi Me

Ziddi
Ek Saal
Kala Pani
Shama
Talaash
Jahan Aara
Laal Quila
Nartaki
Bin Badal Barsaat
Thodi Si Bewafai
Aayi Teri Yaad
Sitaara
Chambal Ki Qasam
Lootmaar
Gulnaar
Mohabbat Isko Kehten Hain
Girls School
Miss Coca Cola
Papa Kehten Hain
Bombay To Goa

Lata
Lata & Talat
Rafi
Suman
Manna Dey
Rafi, Suman
Rafi
Mahendra
Hemanti, Lata
Bhupinder
Bhupinder
Asha
Rafi
Lata
Noor Jahan
Rafi
Lata
Mukesh, Asha
Sonu Nigam
Lata, Kishore Kumar

I have taken the song from 1958 production of Dev Anand for Navketan Films that was directed by Raj Khosla: Kala Pani. The movie starred Dev Anand as Karan trying to prove the innocence of his father Shankarlal who was, through deceit, put in a jail. To unearth the truth, he must take the help of a courtesan Kishori played by Nalini Jaywant. Meanwhile he hires a room in the house of Asha (Madhubala) and sure enough they fall in love.

This plot led to several very enchanting songs penned by Majrooh Sultanpuri and composed by SD Burman, who was, by now, music director of choice for Dev Anand movies.

Hum bekhudi mein was, in the movie, penned by shayars with whom Karan (Dev Anand) was staying in Asha’s house and Dev Anand used the song to woo Kishori (Nalini Jaywant).

Please enjoy in Raag Chayanat, Tal Kaherava: Ham bekhudi mein tumko pukaare chale gaye…

Ham… aa… chale gaye
ham bekhudii me.n tumako pukaare chale gaye
ham…
ham bekhudii me.n tumako pukaare chale gaye
saaGar me.n zindagI ko utaare chale gaye
ham…

Dekhaa kiye tumhe.n ham, banake diivaanA – 2
utaraa jo nashaa to, hamane ye jaanaa
saare vo zindagI ke sahaare chale gaye
ham bekhudii me.n tumako pukaare chale gaye
ham…

Tum to naa kaho ham, khud hii se khele – 2
Duube nahii.n ham hii yuu.N, nashe me.n akele
shiishe me.n aapako bhii utaare chale gaye
ham bekhudii me.n tumako pukaare chale gaye
saagar me.n zindagI ko utaare chale gaye
ham…

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
And today, on the thirty-first day, we learnt about Khayal.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #30

Raaga Based Song of the Day: Haye re vo din kyun naa aaye…
Raag Jansammohani, Tal Rupaktal

We have completed twenty-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 twenty-ninth post was titled ‘Raaga Based Song Of The Day #29’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1971 HS Rawail movie Mehboob Ki Mehbdi: Itna to yaad hai mujhe. It is in Raag Tilang, 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 Yaman – Part I’.

In the last twenty-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 and Tilang.

Today, I give you a song in Raag Jansammohani, Tal Rupaktal.

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

Yesterday, we learnt about Dhrupad. That’s one style of singing that doesn’t use Rupaktal. However, Rupaktal is otherwise such a common tal that it is to be found in almost all styles of singing in Hindustani Music including Khayal.

Rupaktal distinguishes itself from the other Tals in that the first beat (Sam) is Khali (Wave and not Clap or Taali). The total number of beats (matra) are seven. It is represented by:

wave, 2, 3, clap, 2, clap, 2

that is, unlike the symmetric Tintal, the vibhags (three of them) are not of equal length.

and the Theka is:

As I mentioned, today’s song is composed in Raag Jansammohani, Taal Rupaktal.

Raag Jansammohani or Janasmohini is another raaga of Khammaj Thaat. It is similar to the modern pentatonic (five notes or swar) raaga called Kalavati. The two notes that are omitted in Kalavati are Re (Rishab, the second note) and Ma (Madhyam, the fourth note). If we add Re to Kalavati, we get Janasmohini (and if we add Ma too, we get Khammaj). Indeed, Naushad’s composition in the movie Dil Diya Dard Liya: Koi sagar dil ko behlata nahin, although in Janasmohini, is believed to be closer to Kalavati since there is very little use of Re.

Janasammohini was originally called Siva Kalyan. Little is heard of that raaga now. I have chosen for you a composition by Pandit Ravi Shankar. He brought back the raaga with its original Karnataka name Janasammohini.

The raaga is to be sung during the first prahar of night: 6 PM to 9 PM. The mood that the raaga invokes is that of pangs of separation, nostalgia and remorse.

Indeed, this is exactly the mood in Pandit Ravi Shankar’s composition that I have taken from 1960 Hrishikesh Mukherjee movie Anuradha (Please also read: ‘Bengal Based Hindi Movies From Anuradha To Piku’) with Leela Naidu in the title role as a talented woman fond of singing and indeed being an All India Radio artiste. She falls in love with and gets married to Dr Nirmal Chowdhary (Balraj Sahni). He is an idealist doctor devoting all his time to the patients in the village (after marriage they shift to a village since Nirmal is fired with the idea of bringing relief to the rural people). She feels neglected and has to leave her passion of singing. And that’s how this song came about in the movie.

The other songs composed in Raag Janasammohini are: Aaja re mere pyaar ke raahi, Bhajan bina chain na aaye Ram (the Raag also invokes devotional feelings), and Koi sagar dil ko behlata nahin.

Incidentally, the movie Anuradha won the National Award for Best Feature Film of 1960.

For those extraordinarily poignant lyrics, bringing out her inner feelings, one has to thank one of the greatest lyricists in Hindi movies: Shailendra. And of course, to sing it, is my favourite female singer: Lata Mangeshkar.

Please enjoy in Raag Janasammohini, Tal Rupaktal: Haye re vo din kyun naa aaye…

Haay re vo dinaa kyo.n na aaye
ja ja ke R^itu
ja ja ke R^itu lauT aaye
haay re vo dinaa kyo.n na aaye

Jhilamil vo taare kahaa.N gaye vo saare
man baatii jale bujh jaaye
haye re vo dinaa kyo.n na aaye

Suunii merii biinaa sa.ngiit binaa
sapano.n kii maalaa murajhaaye
haay re vo dinaa kyo.n na aaye

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:

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.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
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.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On the sixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
And today, on the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Category: Music and Cinema