Category: Music and Cinema

Raaga Based Song of the Day: Itna to yaad hai mujhe…
Raag Tilang, Tal Kaherava

We have completed twenty-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 twenty-eighth post was titled ‘Raaga Based Song Of The Day #28’ and the song was a Lata Mangeshkar song from the 1954 Chetan Anand movie Taxi Driver: Jaayen to jaayen kahan.  It is in Raag Jaunpuri, 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 twenty-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 and Jaunpuri.

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

However, first, lets take up the value added learning of today. Today, we shall learn about one of the oldest forms of compositions in Indian classical music: Dhrupad. Yesterday, whilst giving you the history of Hindustani Music, I merely mentioned it in the passing:

The name Dhrupad, a Sanskrit name, is a combination of two words: Dhruva means immovable or permanent (Recall Dhruva, the Pole Star through which ancient mariners used to establish North), and Pad means Verse. The oldest reference to Dhrupad is in Natyashastra (200 BC to 200 AD). Some six to eight hundred years later, there is mention in Bhagwat Purana (remember how I extolled our ancient musical heritage in the very first post of the series) which contains not just hymns for Lord Krishna but also musical theories of ancient times.

Dhrupad, therefore, came to denote both poetic style and singing style. Its bhaav is religious and spiritual and it evokes feelings of thoughtfulness, moral wisdom and even heroism. Initially it was sung in praise of Hindu deities. However, yesterday I told you about how Hindu Music found its way courts of Muslim kings and there it was to sing praises of them.

“Dhrupad has at least four stanzas, called Sthayi (or Asthayi), Antara, Sancari and Abhoga. The Sthayi part is a melody that uses the middle octave’s first tetrachord and the lower octave notes. The Antara part uses the middle octave’s second tetrachord and the higher octave notes. The Samcari part is the development phase, which holistically builds using parts of Sthayi and Antara already played, and it uses melodic material built with all the three octave notes. The Abhoga is the concluding section, that brings the listener back to the familiar starting point of Sthayi, albeit with rhythmic variations, with diminished notes like a gentle goodbye, that are ideally mathematical fractions such as dagun (half), tigun (third) or caugun (fourth). Sometimes a fifth stanza called Bhoga is included.”

As I mentioned, today’s song is composed in Raag Tilang, Taal Kaherava. It is only apt that I should bring out Raag Tilang today since yesterday only we took up the history of Hindustani Music and I mentioned in detail about the fusion of first Sanskrit and later Hindi music with Islamic music, particularly Sufi music that was introduced by Amir Khusrow.

Tilang belongs to Khammaj Thaat. It borrows a lot from Sufi tradition. It is used a lot in Thumri and Khayal. In the Raagmala at the end of Sri Guru Granth Sahib it is shown as a Raagini of Hindol.

Having been placed in Khammaj Thaat makes it a raaga of the night (second prahar), having romantic mood with a hint of yearning (O sajana barkha bahaar aayi, for example).

In the Sri Guru Granth Sahib, Tilang has a lot of Islamic vocabulary too. There are a total of twenty hymns in SGGS having been composed in Tilang: Six by Guru Nanak, three by Guru Ram Das, Five by Guru Arjan Dev, Three by Guru Tegh Bahadur, one by Kabir and two by Namdeo.

Some of the songs composed in Raag Tilang are:

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

Sajan Sang Kahe Main Apne Aap Se Bata Do Koi Bata Do Koi Aaj Mero Man Been Chota Sa Balama Lagi Nahi Chhute Meri Kahani Bhulne Is Duniya Mein Tum Kahe Ko Neha Is Dil Ke Tukde Man Mora Bawara Kismat Bigdi Paijaniya Chhanke Ram Itna To Yaad Hai Mujhe Sawan Ka Mahina Piya Tose Naina Ja Main Tose Naahi Kaise Kahein Hum O Gori Gori Gaon Ki

Main Nashe Mein Hoon Son Of India Madhu Madhu Gawaiya Ragini Sautela Bhai Deedar Dillagi Jasoos Pyar Ki Jeet Ragini Afsana Wapas Mehboob Ki Mehndi Nehley Pe Dehla Guide Sautela Bhai Sharmilee Yeh Gulistan Hamara

Lata Rafi Manna Dey Lata Talat Mehmood Asha Lata, Meena Kapoor Rafi Rafi Asha Rafi Rafi Mukesh Rafi Rafi, Lata Lata, Kishore Lata Lata Kishore Kishore, Lata

I have taken the song from the 1971 HS Rawail (He is incidentally the director of the movie of my all time favourite song: Mere Mehboob, Sunghursh and Laila Majnu) movie Mehboob Ki Mehndi starring Rajesh Khanna and Leena Chandavarkar. Laxmikant Pyarelal composed some really delightful songs in the movie on the lyrics of Anand Bakshi.

Please enjoy Mohammad Rafi and Lata Mangeshkar (undoubtedly the singers of the best duets in Hindi movies) sing a composition of Laxmikant Pyarelal in Raag Tilang, Tal Kaherava, on the lyrics of Anand Bakshi: Itna to yaad hai mujhe…..

Itanaa to yaad hai mujhe, o, itanaa to yaad hai mujhe, haay,
itanaa to yaad hai mujhe ke unase mulaaqaat huii
baad me.n jaane kyaa huaa, naa jaane kyaa baat huii

Saare vafaa ke karz apane chukaake
kisii se dil lagaake chalaa aayaa
nazare.n milaake, nii.Nd apanii ga.Nvaake
kasak dil me.n basaake chalaa aayaa
din to guzar jaayegaa, kyaa hogaa jab raat huii
itanaa to yaad hai mujhe …

Maare hayaa ke, mai.n to aa.Nkhen jhukaake
zaraa daaman bachaake chalii aayii
pardaa haTaake unakii baato.n me.n aake
unhe.n suurat dikhaake chalii aayii
kis se shiqaayat karuu.N, sharaarat mere saath huii
itanaa to yaad hai mujhe …

Thii ik kahaanii pahale ye zi.ndagaanii
tumhe.n dekhaa to jiinaa mujhe aayaa
dilbar-o-jaanii, sharm se paanii paanii
huii mai.n bas pasiinaa mujhe aayaa
aise mai.n bhiig gayii jaise ke barasaat huii
itanaa to yaad hai mujhe …

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
25. On the twenty-fifth day, we learnt about Tintal.
26. On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
27. On the twenty-seventh day, we learnt about Lehar.
28. On the twenty-eighth day, we learnt about the history of the Hindustani Music.
29. And today, on the twenty-ninth day, we learnt about Dhrupad.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Mohabbat aisi dhadkan hai…
Raag Rageshri, Tal Kaherava

We have completed twenty-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 twenty-sixth post was titled ‘Raaga Based Song Of The Day #26’ and the song was a Hemant Kumar song from the 1952 Guru Dutt movie Jaal: Ye raat ye chandini phir kahan.  It is in Raag Kafi, 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 Bhimpalasi – Part I’.

In the last twenty-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, and Kafi.

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

However, first, lets take up the value added learning of today. Today, we shall learn about something called a Lehar or literally Wave:

If any of you have listened to Ghulam Ali sing his famous ghazal Dil mein ik lehar si uthi hai abhi, you would have heard the rendition of the word Lehar in various beats making you get the feel of different types of waves.

Generally, in a raaga or musical performance, the tabla is repetitive as accompaniment to main musicians. However, in a Lehar, the Tabla (or even Pakhwaj) is solo and the main musicians (sitar, harmonium or sarangi players), in a reversal of roles, have to improvise to keep tempo with the tabla. What is Lehar then? Lehar is what these main musicians play to keep pace with the tabla. It would be easy to make out that these musicians would do the same in Kathak recital too. The level of difficulty for the musicians is enormous as they have to understand the changing rhythm of the tabla.

In some part of the country, Lehar is just called naghma. In certain performances, erroneously, the tabla solo is called Lehar. I have clarified that it is the accompanying melody rendered by the main musicians.

Lehars can be three or six beat (Dadra, for example), four and eight beat (Kaherava), seven beat (Rupaktal), ten beat (Jhaptal), eleven beat (Chartal-ki-Savari), twelve beat ( Ektal), thirteen beat (Chandrachautal), fourteen beat (Dipchandi), fifteen beat (Pancham Savari), sixteen beat (Tintal), seventeen beat (Vishnutal), eighteen beat (Mattatal), nineteen beat (Purnatal) and twenty-one beat (Mansijtal).

As I told you, today’s song is composed in Raag Rageshri. We did one in Bageshri earlier, on the 19th day: Jao jao Nand ke Lala, an exquisite dance on that number by the best dancer in Hindi movies ever: Vyjayanthimala. But, Raag Bageshri and Rageshri, although similar sounding, are two very different raagas; the former belongs to the Kafi Thaat and the mood that it evokes is of a woman waiting to have reunion with her lover. It is a late night raaga. Rageshri, on the other hand, belongs to Khammaj Thaat, even though it too is to be sung in the second prahar of the night (9 pm to midnight). I have already told you that the Khammaj evokes sensuous feelings, even flirtatious.

Here are some of the other songs composed in Raag Rageshri:

1. 2. 3. 4. 5. 6. 7. 8.

Shubh Din Aayo Kaun Aaya Mere Mohe Chhedo Na Kanha Jaadu Bhare Tore Naina Des Chhudaye Bhes Zindagi Khwab Hai Prabhu Charanon Mein Mane Na

Mughal-E-Azam Dekh Kabira Roya Aaj Aur Kal Jaadunagari Chacha Zindabad Jaagte Raho Andolan Jaagir

Bade Ghulam Ali Khan Manna Dey Asha Asha, Mahendra Kapoor Kishore Mukesh Parul Ghosh Lata

Today’s song is from the 1953 iconic movie Anarkali (some seven years before K Arif’s magnum opus Mughal-e-Azam on the same story/theme), a movie on the life and love of a courtesan Nadira (popularly known as Anarkali, the blossom of Pomegranate) with the prince to Emeperor Akbar: Salim (who was later to become Jehangir). The movie was directed by Nandlal Jaswantlal and starred Bina Rai in the title role and Pradeep Kumar as Salim.

Most of its songs are evergreen and were put together by Rajendra Krishan as Lyricist, and C Ramchandra as Music Director and Composer. However, this immortal and iconic song was penned by Hasrat Jaipuri, the undisputed King of Romance.

C Ramchandra came on the scene, Vasant Prakash was the Music Director who died whilst the movie was being made. C Ramchandra, because of his abiding love for Lata Mangeshkar, insisted that all female songs be sung by her. However, one song sung by Geeta Dutt was retained: Aa jaane wafa.

This one was sung by Lata Mangeshkar on a composition by C Ramchandra in Raag Rageshri, Tal Kaherava, on the lyrics of Hasrat Jaipuri and assumed proportions of being an iconic song on Love.

Please enjoy: Muhabbat aisi dhadkan hai….

Is i.ntezaar-e-shauk ko janamo.n kii pyaas hai
Ik shamaa jal rahii hai, to vo bhii udaas hai

Muhabbat aisii dha.Dakan hai, (jo samajhaaii nahii.n jaatii) – 2
Zubaa.n par dil kii bechainii, (kabhii laaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan hai

Chale aao, chale aao, taqaazaa hai nigaaho.n kaa – 2
Taqaazaa hai nigaaho.n kaa
Kisii kii aarzuu aise, (to Thukaraaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan hai, (jo samajhaaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan hai

(Mere dil ne bichhaae hai.n sajade aaj raaho.n me.n) – 2
sajade aaj raaho.n me.n
Jo haalat aashiqii kii hai, (vo batalaaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan hai, (jo samajhaaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan 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:

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
25. On the twenty-fifth day, we learnt about Tintal.
26. On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
27. And today, on the twenty-seventh day, we learnt about Lehar.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Ye raat ye chandini phir kahan…
Raag Kafi, Tal Kaherava

We have completed twenty-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 twenty-fifth post was titled ‘Raaga Based Song Of The Day #25’ and the song was a Mohammad Rafi, Sudha Malhotra, SD Batish song from the 1964 Atma Ram movie Kaise Kahun: Manmohan man mein ho tumhi.  It is in Raag Adana, 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 Bhairavi – Part III’.

In the last twenty-five days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand and Adana.

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

However, first, lets take up the value added learning of today. Today, we shall learn a little more in detail about Raaga – Samay (Time) Linkage:

You would have noticed that I have often given a specific time of the day (Samay) for the rendition of a raaga. Raagas association with Samay dates back several centuries. The earliest mention of the relation between Raaga and Samay is Narada’s Sangita Makaranda, written sometime between the 7th and 11th century, which warns musicians against playing raagas at the incorrect time of day.

Let me delve a little more deeply in it. In order to keep track of time, in the ancient Indian system, a day of 24 hours has been divided into prahars of three hours each. Hence, there are four prahars in the day and four at night. The concept still prevails today, particularly in connection with the performance of Indian classical music. Some raagas of the Indian classical music are prescribed to be performed at a particular prahar to maximize their aesthetic effects. Pandit Bhatkhande, who based his Raaga System on Thaats (the system that is prevalent today) states that the correct time to play a raaga has a relation to its Thaat (scale or mode).

I have already told you that a Raaga brings out a certain mood in the listener. This mood is associated with a certain prahar when the Raaga is at the height of its melodic beauty and intended splendour. Therefore, a raaga that is meant to be played at night cannot set the mood and splendour if it is to be rendered in the day. The colour or hue or fragrance (Remember that the word Raaga roughly translates to Colour) would be missing at another time or Samay.

It is believed that as the day starts, there are daily cycle of changes that occur in our own body and mind and our moods and emotions are constantly undergoing subtle changes.

The main purpose of a raaga is to invoke a specific mood or sentiment in the listener. In the hands of ancient musicologists, musical notes were powerful instruments with powers to heal, to make people happy, sad, frustrated, angry and passionate and so on. Extensive research was carried out to find out these effects. This formed the basis of raaga – samay association which exists even today.

Human body, as per these musicologists,  is dominated by the three Doshas – Kaph , Pitta and Vata that rise and fall with prahars. Research also brought out that these three Doshas had different reactions during different seasons. That explains in detail now why a specific raaga is to be performed at a particular time of the day and in a particular season (the old saying, for example, brings out ‘Bin mausam malhar na gaana’ (Don’t sing Malhar out of season (Sawan)).

I have given you many songs based on raagas that belong to Kafi Thaat, eg, Bhimpalasi, Pilu, Megh Malhar, and Bageshri. However, I haven’t yet given you a song in Raag Kafi, the basic raaga of Kafi Thaat. Today, I shall make up for that.

Raag Kafi is not a very ancient raaga, I told you when describing the Kafi Thaat. It is believed to have emerged in 15th century. The raaga has a direct association with folk music in India such as Tappa, Hori, Dadra, Kirtan and Bhajan. Kafi is a sampoorna-sampoorna or heptatonic raaga, with komal (soft) Gandhar (Ga) and Nishad (Ni).

It is easy to guess that it belongs to Sringaar rasa. It is normally to be performed at midnight and during the season of Fagun (Feb to March).

Some of the songs composed in Raag Kafi are:

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

Balam Aaye Baso Bharat Ki Ek Hori Mose Khero Jab Dil Hi Toot Gaya Sooni Pari Re Ghayal Hirania Kaase Kahoon Man Mori Ghayal Geet Bairan Neend Hori Khelat Nandlal Kaal Ka Pahiya Raaton Ko Chori Jalte Hain Jiske Liye Mitwa Lagi Re Kaise Kahoon Man Ki Piu Piu Bol Dekho Bina Sawan Tere Bin Soone Nayan Bigdi Banane Wale Preet Laga Ke Maine Aaye Bhi Akela Aelo Main Hari Piya

Devdas Ram Rajya Lalat Shahjahan Kangan Munimji Dhool Ka Phool Baap Bete Chacha Zindabad Godan Chanda Aur Bijli Mohabbat Zindagi Hai Sujata Devdas Bhala Manas Bandhan Sawan Meri Soorat Teri Aankhen Badi Bahan Aankhen Dost Aar Paar

K. L. Saigal Chorus Hirabai Barodkar K. L. Saigal Leela Chitnis Lata Mangeshkar Sudha Malhotra Lata Mangeshkar Lata Mangeshkar Mohd. Rafi Manna Dey Asha Bhonsle Talat Mahmood Talat Mahmood Asha Bhosle Pradeep Mohd. Rafi Rafi, Lata Suraiya Mukesh Talat Mahmood Geeta Dutt

Hats off to SD Burman for having considered these essential characteristics of the Raag Kafi for selecting the Raaga Based Song of today for composing the best ever of my favourite singer Hemant Kumar. It is from the 1952 Guru Dutt movie Jaal (Net or Trap) starring Dev Anand and Geeta Bali.Geeta Bali (Maria) is the daughter of KN Singh (Carlos), fishermen folks in Goa. Dev Anand (Tony Fernandez) tries to trap Maria in his love even though he is a good-for-nothing mysterious man from Bombay. And now you know why Raag Kafi, to be sung at midnight, is such an apt choice for this song trying to ensnare Maria.

The taal is Kaherava and I have told you adequately about it in one of the earlier posts.

It is one of the most enchanting songs penned by poet and lyricist Sahir Ludhianvi.

Sahir was born as Abdul Hayee on 8th March 1921. Sahir means ‘Wakeful’ or ‘Magician’ and this poet from Karimpura, Ludhiana actually awakened us with his poetry as a magician.

His mother Sardar Begum suffered at the hands of his father who eventually remarried. Some of Sahir’s poetry reflects that angst about the treatment of women. Sahir gained fame in his college (Khalsa College, Ludhiana) reading out his poems and giving his fiery speeches.

Sahir didn’t marry though he was romantically inclined to Amrita Pritam and later to the singer Sudha Malhotra.

Sahir’s style of poetry was different from Shakeel’s. Indeed, Shakeel was exclusively a poet of Love whereas almost all other poets of that era, including Sahir, wrote about the social conditions prevalent in the country including poverty.

For example, if Shakeel wrote for a Leader song, about Taj Mahal:

“Ek Shehanshah ne banwa ke haseen Taj Mahal,
Saari duniya ko mohabbat ki nishaani di hai,
Iske saaye mein sadaa pyaar ke charche honge
Khatam jo ho naa sakegi wo kahani di hai”

Sahir’s was to be critical of Shahjehan for the ostentation:

“Ek Shaehanshah ne banwa ke haseen Taj Mahal,
Ham gareebon ki mohabbat ka udhaaya hai mazaak,
Mere mehboob kahin aur mila kar mujhako.”

Many of his fans consider Sahir Ludhianvi as the greatest poet and lyricist of that era.

These do not include me though I was brought up in a place close to Sahir’s. As I told you a favourite is not someone like a horse who wins all races for you. A favourite is the one who comes closest to your own emotions and moods. Shakeel Badayuni does that for me.

Sahir received Filmfare awards for Best Lyricist twice: once for the Taj Mahal song: Jo vaada kiya wo nibhaana padhega; and once for the title song of Yash Chopra’s Kabhie Kabhie, which some feel was tailored on his own biography in part.

Please enjoy this most enchanting song sung by Hemant Kumar on a composition in Raag Kafi Tal Kaherava on the lyrics of Sahir Ludhianvi: Ye raat ye chandini phir kahan….

Ye raat ye chaa.Ndanii phir kahaa.N
sun jaa dil kii daastaa.N
ye raat…

Pe.Do.n kii shaakho.n pe soii soii chaa.Ndanii
tere khayaalo.n me.n khoii khoii chaa.Ndanii
aur tho.Dii der me.n thak ke lauT jaaegii
raat ye bahaar kii phir kabhii na aaegii
do ek pal aur hai ye samaa, sun jaa…

Laharo.n ke ho.nTho.n pe dhiimaa dhiimaa raag hai
bhiigii havaao.n me.n Tha.nDii Tha.nDii aag hai
is hasiin aag me.n tuu bhii jalake dekhale
zi.ndagii ke giit kii dhun badal ke dekhale
khulane de ab dha.Dakano.n kii zubaa.N, sun jaa…

Jaatii bahaare.n hai.n uThatii javaaniyaa.N
taaro.n ke chhaao.n me.n pahale kahaaniyaa.N
ek baar chal diye gar tujhe pukaarake
lauTakar na aae.nge qaafile bahaar ke
aajaa abhii zi.ndagii hai javaa.N, sun jaa…

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
25. On the twenty-fifth day, we learnt about Tintal.
26. And today, on the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Manmohan man mein ho tumhi…
Raag Adana, Tal Tintal

We have completed twenty-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 twenty-fourth post was titled ‘Raaga Based Song Of The Day #24’ and the song was a Lata Mangeshkar song from the 1991 Gulzar movie Lekin: Kesariya baalma.  It is in Raag Mand, 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 Bhairavi – Part II’.

In the last twenty-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 and Mand.

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

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

I had given you an introduction to Tal (musical measure) on the second day itself. Some of you would recall that I had mentioned that Tal, Taal or Tala is a word that is variation of the word Taali (Clap). Before the advent of Tabla, the standard method of keeping the musical measure was with the clapping or tapping of one’s hand on the arm or thigh. Indeed, now that we have Tabla, this beat is still maintained by clapping and waving of hands. If you recall, I had also mentioned that whilst the Raaga sets the mood, time of day and season of a composition, Tal constitutes the time-cycle. Therefore, a Raaga and Tal go hand in hand. On the 14th Raaga Based Song of the Day, was the only occasion when we didn’t have a Raaga (Kalyan) accompanied by a Tal since the entite composition of Lagata nahin hai dil mera was in Alaap.

The rythmic hand gestures used to denote Tal are called Kriyas. If you recall, I laid emphasis on something called Vibhag or sections or angas or parts of a Tal. In Hindustani music, the first beat of a Vibhag is Tali (Clap), whilst the empty beat (Khali) is indicated is indicated by the sideways wave of the dominant clapping hand. And thus, you would recall, I represented the Tal for you with Claps and Waves.

We had also learnt that a Tal doesn’t have a fixed tempo or laya. Hence, we had learnt three different tempos: Vilambit (delayed or slow), Madhya (medium) and Drut (fast).

Teental or Tintal is the most popular Tal in North India/Hindustani Music. It is also the most symmetrical. It has 16 beats in four vibhags. The period between every two beats is the same. We already know that the first beat is called Sam (to be pronounced like the English word Sum) and the ninth beat is Khali or empty. To perform the kriya of Tintal, one has to clap on the first beat, clap on the 5th beat, then waves on the 9th beat and lastly again claps on the 13th beat; these three claps give the rhythm its name: Teental or Tintal.

The Theka for Tintal

dha	dhin	dhin	dha	|	dha	dhin	dhin	dha	|
x					2
dha	tin	tin	ta	|	ta	dhin	dhin	dha	|
o					3

This can also be shown using the following figure:

Taal signs	X				2				0				3
Maatra	1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16
Bols	dha	dhin	dhin	dha	dha	dhin	dhin	dha	dha	tin	tin	ta	ta	dhin	dhin	dha

Raag Adana was earlier called Addana, which used to be a major raaga of the 17th century and used to be a combination of Malhar and Kanada. Because of its association with Kanada, it is also called Adana Kanada. If that reminds you of Darbari Kanada, you are not too much off the mark. The fact is that Adana is often sung or played in drut laya after a vilambit composition in raga Darbari Kanada. Adana is much more straight than Darbari and hence passages faster than vilambit are possible. Adana is a late night raaga to be sung between midnight and 3 AM.

Some of the other Hindi songs composed in Raag Adana are:

Aapki nazron ne samajha Ai dil mujhe aisi jagah le chal Jhanak Jhanak Payal Jaa Main Tose Manmohan Man Mein Lapak Jhapak Tu Mukh Se Na Boloon Ghar Aaja Meray Jab Ishaq Kahin Ho Jaata Hai Saanware Mat Ja Tumhe Jo bhi Cham Cham Baje Re Dil Ka Fasaana

Anpadh Arzoo Jhanak Jhanak Payal Bajay Sautela Bhai Kaisay Kahoon Boot Polish Jalianwala Bagh Garam Coat Aarzoo – Majboor Jaane-Anjaane –

Lata Mangeshkar Talat Mahmood Ustaad Amir Khan & Chorus Lata Mangeshkar Rafi, Suman, S. D. Batish Manna Dey & Chorus Lata Mangeshkar, Talat Lata Mangeshkar Asha Bhosle, Mubarak Begum Lata Mangeshkar Hemant Kumar Manna Dey Manna Dey

I have taken today’s song from the 1964 Atma Ram movie Kaise Kahun starring Biswajeet, Nanda, Geetanjali (Remember her? Well she is the one who acted with Mahipal in Parasmani and sang the famous song: Woh jab yaad aaye bahut yaad aaye), Poonam Kapoor, Durga Khote and Manmohan Krishna.

Naturally, you would be floored by the lyrics since these were penned by the best ever lyricist: Shakeel Badayuni. The composition is that of SD Burman (post 1959, you would recall that Shakeel came out of the influence of his mentor Naushad Ali and tied up with others such as Ravi and Hemant Kumar.

The song has been sung by Mohammad Rafi singing for Biswajeet, Sudha Malhotra singing for Nanda and SD Batish singing for Manmohan Krishna.

Please enjoy in Raag Adana, Tal Tintal: Manmohan man mein ho tumhi…

shi : a~ tanu~~um aa~ aa~ aa aa~
su : aa~ aa~ aa~ aa~ aa~
shi : aa~ manamohan man me.n ho tumhii.n
ra, su : manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano ya jaano na ho tumahii
manamohan man ## SDB joins in, R+S fade out ## me.n …
R: manamohan man me.n man me.n
S: ho tumhii.n ho tumhii.n ho tumhii.n
R+S=manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano yaa jaano naa ho tumhii.n
manamohan ## SDB joins in, R+S fade out ## man me.n …

SDB: dekh dekh torii chhab saa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano naa ho tumhii.n
manamohan man ## R fade out, S alone ## me.n
R: dekh dekh torii chhab saa.Nvariyaa
S: ho~o bani hai raadha tumharii baa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano na ho tumhii.n
manamohan man(R fade out, S alone) me.n
R: a~ aa~
S: aa~ aa~ a~

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
25. And today, on the twenty-fifth day, we learnt about Tintal.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Kesariya baalma…
Raag Mand, Tal Dadra

We have completed twenty-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 twenty-third post was titled ‘Raaga Based Song Of The Day #23’ and the song was a Mohammad Rafi song from the 1952 Vijay Bhatt movie Baiju Bawra: Man tadpat Hari darsan ko aaj.  It is in Raag Malkauns or Malkaush, 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 Bhairavi – Part I’.

In the last twenty-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 and Malkaush.

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

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

We already know that a Thaat is a mode in Hindustani music. In the system of Raagas that Pandit Vishnu Narayan Bhatkhande devised, he initially came up with 32 Thaats to which almost all raagas belonged. Later, he cut it down to just 10 Thaats. According to Bhatkhande, almost all raagas are variations of or are based on these ten basic thaats or musical scales: Bilawal, Kalyan, Khammaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi. Therefore, if one were to pick a raga at random, it should be possible to find that it is based on one or the other of these thats. In the last twenty-three days, I have given you the Thaat to which the Raaga of the day belonged. For example, Raag Malkauns or Malkaush in our last post belongs to Bhairavi Thaat.

Raag Mand belongs to Bilawal Thaat. The other raagas belonging to this thaat are: Deskar, Hamsadhwani, and Bihag. In Bhatkhande’s system, the most basic Thaat is Bilawal. I have already told you in a previous post that Raag Bilawal occurs in Sri Guru Granth Sahib exactly half way through, that is, it is the 16th raaga out of 31 raagas in SGGS. It occurs from page 795 to 859. In an Akhand Paath (unbroken recital), it normally occurs on the next day morning and hence it is easy to conclude that it is an early morning raaga.

Being the most basic Thaat, Bilawal is used as a reference Thaat for all other thaats. A thaat must have seven notes (swar) out of a total of twelve notes (seven shuddha, four komal (Re, Ga, Dha, Ni) and one teevra (Ma) placed in an ascending order. Hence, a thaat has only aaroha. It would be easy to visualise that thaats by themselves are not sung but the raagas belonging to them are sung. I have already told you that thaats are named after the popular raaga of that thaat; eg, Bhairavi is a thaat named after the raag Bhairavi.

One reason for Bilawal being the basic thaat is because all the swars in the thaat are shuddha, ie, in their natural scale. One never hears of Bilawal raaga these days except in SGGS. However, a variation of the raag called Alhaiya Bilawal is very common.

Raag Mand, belonging to Bilawal Thaat has all shuddha swar too. Its Jati is (yesterday we studied jatis, if you recall) is Sampurna-Sampurna (Vakra). The best part of the raaga is that it is a light melody that sounds very natural (shuddha swar) but is rendered with great difficulty. No bandishes like bada-khayaals are rendered in this raaga. It is aptly suited for bhajans and ghazals. The basic format belongs to the folk tune of Rajasthan, which is the sung during festive occasions like birthdays, and marriages.

And that brings me to the song called Kesariya baalma. Kesariya baalma is the most popular Rajasthani folk song sung in Raag Mand. The earliest recording of this song is by Allah Jilai Bai, a folk singer of Rajasthan who lived between 01 Feb 1902 and 03 Nov 1992. She was such a superb singer that by the age of ten she was singing in the darbar of Maharaja Ganga Singh of Bikaner. Both Padma Shri and Sahitya Akademi awards have been conferred on her.

In the 1991 movie Lekin, the same song in Raag Mand, Tal Dadra was sung by Lata Mangeshkar, my favourite female singer in the movies. Indeed, if you look at the list of songs in Raag Mand, you would see that most of these have been sung by Lata Mangeshkar. Here is a representative list:

Kise Karta Moorakh Mushqil Hai Bahut Muhkil Bachpan Ki Mohabbat Dekh Liya Main Ne Jo Main Janati Bala Main Bairagan Do Dil Toote Ab To Hai Tumse Thade Rahiyo Aaj Sach Hua Kesariya Balamaa Aao gori Aao Shyama

Achhuut Kanya Mahal Baiju Bawara Deedar Shabab Meera Heer Ranjha Abhimaan Pakeezah Swarg Narak Lekin Tansen

Ashok Kumar Lata Lata Lata, Rafi Lata Vani Jayaram Lata Lata Lata Lata Lata Khursheed

The 1991 movie Lekin was directed by Gulzar and starred Vinod Khanna, Dimple Kapadia, Amjad Khan, Alok Nath, Bina Banerjee and Hema Malini (in a special appearance).

Guess what? The movie was produced by Lata Mangeshkar and the music director was her brother Hridyanath Mangeshkar, who won the 1991 National Award for Best Music Direction. Another song from the movie: Yaara seeli seeli got Lata Mangeshkar the National Award for Best Playback Singer (Female) as also it got both the National and Filmfare Awards for Best Lyricist for Gulzar, who was also the director of the movie.

Please enjoy a rendition by Lata Mangeshkar of the most popular folk song of Rajasthan, composed in Raag Mand, Tal Dadra by her brother Hridyanath Mangeshkar on the lyrics of Gulzar: Kesariya baalma….

Kesariyaa baalamaa o rii
ki tumase laage nain, nain re

Ra.ng liyo mai.n aaj a.ng a.ng tere ra.ng me.n
tan huaa man huaa kesariyaa
chaa.Ndanii hai raat ab to aa jaa piyaa
aa~
chaa.Ndanii hai raat ab to aa jaa piyaa
kesariyaa baalamaa o rii …

Takaraa ke sar ko jaan na de duu.N to kyaa karuu.N
kab tak firaaq-e-yaar ke sadame sahaa karuu.N
mai.n to hazaar chaahuu.N ki boluu.N na yaar se
qaabuu me.n apane dil ko na paa_uu.N to kyaa karuu.N
chaa.Ndanii hai raat ab to aa jaa piyaa
chaa.Ndanii hai raat ab to aa jaa piyaa, aa jaa piyaa
chaa.Ndanii hai raat ab to aa jaa piyaa
kesariyaa baalamaa o rii …

Version II
Kesariyaa baalamaa o rii
ki baa.Nvarii bole log
na mai.n ji_utii na mariyo mai.n
biarahaa mhaaro rog re
baa.Nvarii bole log, log re
kesariyaa …

Cha.Dhate din kii aa.Nch baToruu.N
til til, til til sab jal jaa_uu.N
Dhalate saa.Njh kii raakh kureduu.N
ret me.n ret me.n sab ral jaaye
na mil paayii na bichha.Dii mai.n
kaiso ye sa.njog re
baa.Nvarii bole log re …

Mhaaro thal kii laambii saa_i.nyaa
nis din nis din kuchh likh jaa_uu.N
mero sandeso koii sunaa do
jis ko vo jis ko vo dikh jaaye
priit ko dekhe nagarii vaale
piir na dekhe log re
baa.Nvarii bole log
kesariyaa …

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
24. And today, on the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Man tadpat Hari darsan ko aaj…
Raag Malkauns, Tal Tintal

We have completed twenty-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 twenty-second post was titled ‘Raaga Based Song Of The Day #22’ and the song was a Manna Dey song from the 1963 RK Rakhaan movie Meri Surat Teri Aankhen: Poochho na kaise maine rain bitayi.  It is in Raag Ahir Bhairav, 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 Bhimpalasi – Part II’.

In the last twenty-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 and Ahir Bhairav.

You would have noticed that I haven’t so far given you a song based on Raag Malkauns or Malkaush, the favourite raaga of my course-mate and friend Virendra Singh (Viru), his first name being an anagram of my own first name! I shall make up for that lapse today.

However, first, lets take up the value added learning of today. Today, we shall learn a little more in detail about the Jati or Jaati of a raaga:

Jati is a tonal classification of a raag based on the number of notes (swar) used in Ascending (Aaroh) and Descending (Avroh) scales. If a raag uses five notes, such a raag is on Pentatonic scale or belonging to Audhav Jati. If a raag has six notes it is on Hexatonic scale or belonging to Sadhav Jati. Finally, if it has all the seven notes, it is on Septatonic Jati or of Sampoorna (complete) Jati.

It is not difficult to imagine that the number of swar (notes) in Aaroh and Avroh need not match. Hence, following nine combinations are possible, making it a total of nine jatis of raagas:

1. Sampoorna – Sampoorna Jati. Seven notes each in Aroha and Avroha. Raag Kalyan (Yaman) and Ahir Bhairav are two examples.
2. Sampoorna – Sampoorna Vakra Jati. Seven notes each in Aroha and Avroha, however, in crooked manner. Raag Puria-Dhanashri and Dev-Gandhar are examples.
3. Shadhav – Sampoorna (Vakra). Six notes in Aroha and seven notes in Avroha, but crooked.  Raag Adana and Kausi-Kanada are examples.
4. Shadhav – Shadhav (Vakra). Six notes in Aaroh and six crooked notes in Avroh. Raag Gurjari Todi and Nayaki Kanada are examples.
5. Audhav – Sampoorna. Five notes in Aroha and seven notes in Avroha. Raag Sindhura is an example.
6. Audhav – Shadhav (Vakra). Five notes in Aroha and six crooked notes in Avroha. Raag Sarang and Desi are examples.
7. Audhav – Audhav (Vakra). Five notes in Aroha and five crooked notes in Avroha. Raag Deshkar, Gunkali, and Megh-Malhar are examples.
8. Surtar – Audhav (Vakra). Four notes in Aroha and five crooked notes in Avroha. Raag Gorakh-Kalyan is an example.
9. Audhav – Sampoorna (Vakra). Five notes in Aroha and all seven notes in Avroha but crooked. Raag Basant, Kamod, and Khambavati are examples.

Today’s song is in Raag Malkauns or Malkaush and Tal Tintal. Malkaush is another raag dedicated to Lord Shiva like Bhairav. Indeed, it belongs to Bhairavi Thaat. The name Malkaush is derived from the combination of Mal and Kaushik, which means he who wears a garland of snakes; ie, Shiva. It is believed that the raaga was composed by Lord Shiva’s wife Parvati to calm him down. As a matter of interest all pentatonic raagas belong to Shaivait musical school and so does Malkaush.

Now that we know a little more about the Jati of a raaga, it is of pentatonic scale both in ascending and descending scales; that is Audhav-Audhav. The five notes used are: Sa, komal Ga, shuddh Ma, komal Dha, and komal Ni. The two notes that are totally omitted are: Re (Rishab) and Pa (Pancham).

Malkaush is a late night raaga and is calming, soothing and even intoxicating. One would use such a raaga in deep and serious meditation. One of the finest examples of Malkauns in Hindi songs is from the 1952 Vijay Bhatt movie Baiju Bawra that starred Meena Kumari as Gauri and Bharat Bhushan in the title role. The movie got Meena Kumari a Filmfare Award for Best Actress and Naushad Ali his only Filmfare Award for composing the song Tu Ganga ki mauj.

Naushad Ali was one of the greatest music directors in Hindi films. He is one of the three music directors (the other two being Pankaj Mullick and RC Boral) who have been given the highest award in cinema: the Dadasaheb Phalke Award. He has been credited with having introduced Raaga based songs in Hindi movies. Indeed, in the movie Baiju Bawra, each of the 13 songs have been based on some raaga or the other.

As was often the case, the greatest songs of Naushad were penned by my favourite lyricist: Shakeel Badayuni. Also, as was often the case, their songs were sung by the best singer that we ever had: Mohammad Rafi (Please also read: ‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad And Dilip Kumar Together’).

This is also one of the best bhajans in Hindi movies ever made and fits well with the description of Raag Malkaush that I have given: serious, meditative, soothing and calming.

Please enjoy: Man tadpat Hari darsan ko aaj….

Man ta.Dapat hari darasan ko aaj
more tum bin biga.De sakal kaaj
aa, vinatii karat, huu.N, rakhiyo laaj, man ta.Dapat…

Tumhare dvaar kaa mai.n huu.N jogii
hamarii or nazar kab hogii
sun more vyaakul man kii baat, ta.Dapat harii darasan…

Bin guruu GYaan kahaa.N se paauu.N
diijo daan harii gun gaauu.N
sab gunii jan pe tumhaaraa raaj, ta.Dapat harii…

Muralii Manohar aas na to.Do
dukh bha.njan more saath na chho.Do
mohe darasan bhikshaa de do aaj de do aaj, …

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. And today, on the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Poochho na kaise main rain bitayi…
Raag Ahir Bhairav, Tal Kaherava

I am sorry I was away for a trip to Kinnaur and Kaza and I had to suspend Raaga Based Song of the Day from 19th to yesterday, 28th June 17. For a few days, I was out of all networks let alone Internet.

We have completed twenty-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 twenty-first post or the last post on 18th June was titled ‘Raaga Based Song Of The Day #21’ and the song was a Lata Mangeshkar song from the 1961 Sadashiv J Row Kavi movie Bhabhi Ki Chudiyan: Jyoti kalash chhalke.  It is in Raag Bhupali, 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’.

First, for the value added learning of today, lets find out the essential difference between Thaat and Raag Bhairavi and Thaat and Raag Bhairav:

Bhairavi has all the komal (soft) swars: Rishabh, Gandhar, Dhaivat, and Nishad. When rendering compositions in Bhairavi raag, the singers however use all the 12 swars. Bhairavi raag is named after the shakti or feminine aspect of the cosmic life force, which is personified as a consort to Lord Shiva. I have already given you the finest composition in Raag Bhairavi in Hindi films: Babul mora naihar chhooto hi jaaye, originally created and composed as a thumri by Nawab Wajid Ali Khan when the British exiled him from his favourite city Lucknow but sung by KL Saigal later. Because of that post: ‘Raaga Based Song Of The Day #11’, you already know that Bhairavi is a powerful raag filled with devotion and compassion. I also told you that Bhairavi is normally performed as the concluding piece in a full night of raaga based recitals since it is supposed to ‘cure’ the errors of earlier performances or renditions. It is also an early morning raaga since the concluding piece of such overnight performances is early in the morning. It is easy to guess that Bhairavi is the female form of Bhairav, ie, Lord Shiva.

Some of the raags in Bhairavi Thaat are: Malkauns, Bilaskhani Todi, Bhupali Todi, and Kaunsi Kanada.

Bhairav thaat raags make use of Komal Rishabh and Komal Dhaivat. Bhairav is one of the names of Lord Shiva especially in his powerful form as a naked ascetic with matted hair and ashes smeared body. The raaga too has some of these masculine and ascetic attributes in its form and compositions. The raaga itself is extremely vast and allows a huge number of note combinations and a great range of emotional qualities from valour to peace. There are many variations on raag Bhairav including (but not restricted to) Ahir Bhairav (though not menmtioned in Bhatkhande’s system), Alam Bhairav, Anand Bhairav, Bairagi Bhairav, Beehad Bhairav, Bhavmat Bhairav, Devata Bhairav, Gauri Bhairav, Nat Bhairav, and Shivmat Bhairav. This raag is usually performed in a devotional mood in the early morning hours. The vibrations of the notes in Bhairav are said to clear one’s whole mind. The pictorial depictions of raag Bhairav in the ancient texts are austere as well as awe-inspiring.

Some of the Raagas in Bhairav Thaat: Ramkali, Gunkari, Meghranjani, Jogiya, and Bhairav.

Today, I shall be giving you a song composed in Raag Ahir Bhairav. I have thought of this raaga as the most appropriate raaga to give you today as only day before yesterday, my wife and I visited the famous temple of goddess Bhimakali at Sarahan, about 210 kms from my home-place Kandaghat, during our trip to Kaza and back. This temple is one of the 51 Shakti Peethas in India. Since I have already given you a song in Bahiravi, it is only appropriate that I give you one in Bhairav now.

Ahir Bhairav, as the name suggests, is a raaga of the Bhairav Thaat, one of the ten thaats that Vishnu Narayan Bhatkhande researched and found almost all raagas are based on. It is a mixture of Bhairav and the ancient but now rare raga Ahiri or perhaps a mixture of Bhairav and Kafi. Ladies and gentlemen, now that I have given you the essential differences between Bhairavi (consort of Lord Shiva) and Bhairav (Lord Shiva Himself), I hope you will never confuse Thaat and Raag Bhairavi with Bhairav.

Some of the songs composed in Ahir Bhairav are: Apne jeevan ki uljhan ko, Mai ri main kaase kahun, Main to kabase teri sharan main hoon, Man anand anand chhayo, Meri veena tum bin roye, Ram teri Ganga maili ho gayi, Solah baras ki baali umr ko salaam, and Waqt karta jo wafa aap hamare hote.

The song that I have selected for you is from the 1963 RK Rakhaan movie Meri Surat Teri Aankhen starring Ashok Kumar as Pyare, an ugly son born to Ishwarlal as Raj Kumar and Achla Sachdev as his wife Kamla Kumar. Because he was dark and ugly at birth, Ishwarlal decided to get rid of him to Kanhaiyalal Chaturvedi as Rahmat and Paro as his wife. He grows up in seclusion and Rahmat teaches him classical based singing. His voice is as beautiful as physically he is not. In later life he comes in touch with his parents, his brother Pradeep Kumar as Sudhir who is betrothed to Asha Parekh as Kavita, the woman that Pyare feels is in love with him despite his ugliness.

The film had some of the best raaga based songs ever heard in Hindi movies. The lyricist of these songs was Shailendra, composer was Sachin Dev Burman with the following singers. Have a look at the list:

1. Poochho Na Kaise Maine Rain Bitaayi – Manna Dey
2. Ye Kisne Geet Chheda – Mukesh, Suman Kalyanpur
3. Puchho Na Kaise Maine Rain Bitayi (Sad) – S.D. Batish, Manna Dey
4. Naache Man Moraa Magan Dhigadhaa Dhigi Dhigi – Mohammed Rafi
5. Tere Khayalo Me Tere Hi Khawabo Me – Lata Mangeshkar
6. Tere Bin Soone Nain Hamare (Sad) – Mohammed Rafi
7. Tere Bin Sune Nain Humare – Lata Mangeshkar, Mohammed Rafi
8. Tujhse Nazar Milane Me – Asha Bhosle

Please enjoy one of the best from the movie in Raag Ahir Bhairav, Tal Kaherava with the singer Manna Dey singing a composition of SD Burman on the lyrics of Shailendra: Poochho na kaise maine rain bitayi….

The song is sung when Pyare’s foster father Rahmat is dying.

Poochho naa kaise maine rain bitaaI
ik pal jaise, ik yug biitA – 2
yug biite mohe nii.nd naa aayii
poochho naa kaise …

(Naa kahii.n cha.Ndaa, naa kahii.n taare
jyot ke pyaase mere, nain bichaare ) – 2
bhor bhii aas kii kiran naa laayI
poochho naa kaise …

Ik jale diipak ik man meraa, merA, man, merA, merA …
ik jale diipak ik man meraa
phir bhI naa jaaye mere ghar kaa a.ndheraa
ta.Dapat tarasat umar ga.nvaayii
poochho naa kaise …

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. And today, on the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Jyoti kalash chhalke…
Raag Bhupali, Tal Kaherava

We have completed twenty 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 twentieth post or the last post was titled ‘Raaga Based Song Of The Day #20’ and the song was a Shamshad Begum, Mohammad Rafi, Manna Dey and Asha Bhosle song from the 1957 Mehboob Khan movie Mother India: Dukh bhare din beete re bhaiya.  It is in Raag Megh Malhar, Tal Dadra.

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

For the value added learning of today, lets delve a little more in how thew raagas are classified:

1. We have already studied the most recent method of classifying raagas wherein I told you that Pandit Vishnu Narayan Bhatkhande did an extensive study of raagas and concluded that most raagas belong to the ten Thaats: Asavari, Bhairav, Bhairavi, Bilawal, Kafi, Kalyan, Khamaj or Khammaj, Marwa, Poorvi and Todi.

2. Then there is classification by notes (swar) in a scale (aroha and avaroha, ie, ascending or descending scales). This is called the caste of the raga, or the jati.
   • A raga with five notes is called audava,
   • A raga with six notes is called a sadava,
   • A raga with all seven notes is called a sampurna raga.
   • Then there are combinations. If, for example, a raga has five notes in arohana and seven notes in avarohana, the jati is audava-sampurna. The total combinations, therefore, are:
     • Audava – Audava
     • Audava – Sadava
     • Audava – Sampurna
     • Sadava – Audava
     • Sadava – Sadava
     • Sadava – Sampurna
     • Sampurna – Audava
     • Sampurna – Sadava
     • Sampurna – Sampurna

3. The most ancient way of grouping classifying raagas is what I told you in the beginning: the raga-ragini system. The raga is the male form while the ragini is the female form. Together, they bond and form children ragas, known as raga-putras. There are thirty-six of them in total.
4. Then there is classification of raagas by time of the day. A day, in the ancient system is divided into eight prahars (pahars, as given in Sri Guru Granth Sahib). There are variations in various systems. However, following is widely accepted:
   • From 3 AM to 6 AM – First Prahar.
   • From 6 AM to 9 AM – Second Prahar.
   • From 9 AM to 12 PM – Third Prahar.
   • From 12 PM to 3 PM – Fourth Prahar.
   • From 3 PM to 6 PM – Fifth Prahar.
   • From 6 PM to 9 PM – Sixth Prahar.
   • From 9 PM to 12 AM – Seventh Prahar.
   • From 12 AM to 3 AM – Eighth Prahar.

The song that I have selected for you is from the 1961 Sadashiv J Row Kavi movie Bhabhi Ki Chudiyan that starred Meena Kumari as Geeta and Balraj Sahni as Shyam, a married couple unable to have children. They treat Mohan (Sailesh Kumar), an orphan, as their son. However, when he grows up and gets married his wife is jealous of the loyalty he has towards the family. Mohan’s wife moves out of the house to her mother’s and that provides for intense drama.

This song is a creation of the lyricist Pt Narendra Sharma and a composition of Sudhir Phadke. This is as close to Raag Bhupali as you can get.

Raag Bhopali or Bhupali is a pentatonic raaga (that is five notes each in ascending (Aroha) and descending (Avaroha) scales; ie, स रे ग प ध (sa, re, ga, pa and dha). The two notes or swar that the raaga does not use are Ma (Madhyam) and Ni (Nishadh). The other day I told you why Bhairavi is the Raag that is taught to beginners and then I told you about Yaman or Kalyan. Bhupali too is a basic raaga that is taught to the beginners. Indeed, Bhupali belongs to the Kalyan Thaat. And, of course, it is not difficult to guess that the raaga is sung in the first part of the night.

Most of the compositions in Raag Bhupali are in Bhakti (devotion) rasa. Some of the Hindi films songs composed in Bhupali or Bhopali are: Dil hoom hoom kare, Pankh hote to udh aati re, Zindagi denewale sun, In aankhon ki masti ke, Neele gagan ke tale, Aap bulayen aur hum na aayen, Dekha ek khwab to ye silsile huye, Sansaar ki har shay ka, and Chanda hai tu mera suraj hai tu. It will do well to keep in mind that Hindi songs composers first priority is popular tunes and they won’t be stickler to purity of raagas in their compositions. Hence, all these songs would align with the raaga not completely.

Please enjoy Lata Mangeshkar sing: Jyoti kalash chhalake….

Jyoti kalash chhalake – 4
hue gulaabii, laal sunahare
ra.ng dal baadal ke
jyoti kalash chhalake

Ghara aa.ngana vana upavana upavana
karatii jyoti amR^ita ke sii.nchana
ma.ngala ghaTa Dhala ke – 2
jyoti kalash chhalake

Paata paata biravA hariyaalaa
dharatii kaa mukha huA ujaalaa
sacha sapane kal ke – 2
jyoti kalash chhalake

Ushhaa ne aa.Nchala phailaayaa
phailii sukha kii shiitala chhaayaa
niiche aa.Nchala ke – 2
jyoti kalash chhalake

Jyoti yashodaa dharatI maiyyaa
niila gagana gopAla kanhaiyyaa
shyaamala chhavi jhalake – 2
jyoti kalash chhalake

Ambar kumakum kaN barasaaye
phuul pa.Nkhu.Diyo.n par muskaaye
bindu tuhin jal ke – 2
jyoti kalash chhalake

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. And today, on the twenty-first day, we learnt a little more in detail about the classification of Raagas.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Dukh bhare din beete re bhaiya…
Raag Megh Malhar, Tal Dadra

A song in Raag Malhar is by a special request by a dear friend who learnt classical music whilst he was in school and unlike most of us, he retains in his mind substantial parts of that learning more than fifty years ago. His favourite Raaga is Malkauns but he has asked for a song in this raaga because of onset of monsoons.

The only thing that my dear friend Viru (short for Virendra Singh) didn’t tell me was which Malhar he wanted it in. Hence, I chose independently and chose Megh Malhar. I hope he approves of it.

Monsoon rains mean the world to us Indians. How well our economy does is still related to the success of monsoons. Hindi film directors, therefore, depicted rains as the end of miserable conditions that exist for our common folk prior to them, especially for farmers.

We have completed nineteen 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 nineteenth post or the last post was titled ‘Raaga Based Song Of The Day #19’ and the song was a Lata Mangeshkar song from the 1962 Amar Kumar movie Rungoli: Jao jao Nand ke lala.  It is in Raag Bageshri, 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’.

Indians usher in the rainy season with Raag Malhar. During the olden days, rendition of Raagas would evoke results associated with the theme or the mood of the raaga. For example, Mian Tansen, as one of the Navratnas in the court of Emperor Akbar, could light up candles with the rendition of Raag Deepak. He could bring in rains with the rendition of Malhar and so on.

Malhar is rendered in its pure (Shuddha) form. And then there are many other variations of Malhar such as Mian Ki Malhar (Mian Tansen was such a phenomenal composer that his style of composing a raaga had his own stamp or signature over the raaga; such as Mian Ki Malhar, Mian Ki Todi, and Mian Ki Sarang). In addition, you would recall that he was the original composer of Raag Darbari Kanada that he was reputed to have brought into Hindustani music from the South (Carnatic Music), Meera Ki Malhar, Nat Malhar, Ramdasi Malhar, Gaud Malhar, Sur Malhar, Des Malhar and Megh Malhar.

As far as earliest known forms of Malhar are concerned, Shuddha, Gaud and Megh Malhar are the oldest (much before Tansen in the 16th century). Hence, whilst choosing this song in Megh Malhar, I have chosen for you one of the oldest variations of Malhar.

Raag Malhar is also a Raag of the Kafi Thaat. Its Jati is Audhav-Audhav, that is, it is a pentatonic (five notes) raaga both in aaroha and avroha (the varjya notes are Gandhar (Ga) and Dhaivat (Dha); Nishad (Ni) is komal. Rest all are Shuddha swaras. The time for playing this raaga is any time during the rainy season.

The other raagas of the Kafi Thaat are Dhanashri, Dhani, Bhimpalasi, Pilu, Megh Malhar, and Bageshri. Kafi Thaat, of course, takes its name from Kafi Raaga. It is not such a Pracheen ((ancient) Raaga, having originated soemtime in the 15th century. The best part of the Raaga is that it is so folksy rather than purely classical (naturally, as you listen to Malhar, one is reminded of average folks on the street rather than in cloistered palaces etc). Hence, one would rather hear Tappa, Hori, Dadra, Bhajans and Kirtan in this Thaat than serious classical raaga renditions). One can easily call Kafi Raaga as People’s Raaga.

I have taken this song for you from the 1957 Mehboob Khan’s iconic movie Mother India that nearly won an Oscar. The best pairing ever in Hindi movies of a lyricist with music director, that is Shakeel Badayuni with Naushad Ali (the former had a hat-trick of Filmfare Awards from 1961 to 63 and the latter was the recipeint of the highest award in cinema: the Dadasaheb Phalke Award) (Please also go through: ‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad and Dilip Kumar Together’) made this song. It was sung by Shamshad Begum, Mohammed Rafi, Manna Dey, and Asha Bhosle.

Please enjoy: Dukh bhare din beete re bhaiya, ab sukh aayo re….

(duHkh bhare din biite re bhaiyaa ab sukh aayo re
ra.ng jiivan me.n nayaa laayo re) -2
hoy hoy duHkh bhare din biite re bhaiyaa, biite re bhaiyaa

dekh re ghaTaa ghirake aa_ii ras bhar-bhar laa_ii -2
o ghaTaa ghirake aa_ii, ho
chhe.D le gorii man kii biinaa rimajhim rut chhaa_ii -2
o ghaTaa ghirake aa_ii
prem kii gaagar laa_e re baadar bekal moraa jiyaa hoy -2
duHkh bhare din biite re bhaiyaa …

madhur-madhur manavaa gaa_e apane bhii din aa_e -2
o madhur manavaa gaa_e, ho
saavan ke sa.ng aa_e javaanii saavan ke sa.ng jaa_e, o -2
o madhur manavaa gaaye, ho
aaj to jii bhar naach le paagal kal na jaane re kyaa hoye -2
duHkh bhare din biite re bhaiyaa

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. And today, on the twentieth day, we learnt about the Kafi Thaat.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Jao Jao Nand Ke Lala…
Raag Bageshri, Taal Tintal

We have completed eighteen 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 eighteenth post or the last post was titled ‘Raaga Based Song Of The Day #18’ and the song was a Lata Mangeshakar song from the 1952 B Trilochan movie Ashiana: Main pagal mera manwa pagal.  It is in Raag Kedar, 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’.

Raag Bageshri is a Raag of the Kafi Thaat and by now all of us know that Raagas of Kafi Thaat are night raagas. The samay for this raaga is madhyaratri (midnight). Bageshri is a raaga that tells the emotions of a woman waiting for her lover. It is reputed that Mian Tansen first sung it in the court of Emperor Akbar in the 16th century.

Tintal or Teental is the commonest Tal in Hindustani Music. It is also the Tal with the most symmetrical structure. The name has come about because of its three Claps (Bhara) as part of four vibhags of four matras each including a wave (Khali); that is Clap. Clap. Wave and a Clap. The number of beats, therefore, add up to 16.

Therefore, the Clap and Wave arrangement is:

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

The Theka is

Dhaa Dhin Dhin Dhaa  Dhaa Dhin Dhin Dhaa
Dhaa Tin Tin Naa  Naa Dhin Dhin Dha

My second most favourite song of Lata Mangeshkar is in this Tal. It is from the 1956 movie Basant Bahar and the composer, once again were Shankar Jaikishan and the singer is Lata Mangeshkar. It is in Raag Jhinjhoti: Jaa jaa re jaa balamwa….

A word about the composers Shankar Jaikishan. They are my favourite duo who ruled the filmi sangeet from 1949 (Barsaat, their first movie) to 1971 (when Jaikishan died on 12 Sep at the age of only 41 years). They excelled in various genres of music and made a name for themselves in songs based on raagas. They have won the Filmfare Award for Best Music Director a record nine times and made a hat-trick from 1969 to 1971, the only hat trick by a music director. Six of their songs were top songs in Binaca Geetmala, a record later equalled by Laxmikant Pyarelal.

Some of the songs composed in Raag Bageshri in Hindi movies are: Aaja re pardesi, Chah barbaad karegi hamen maloom na tha, Deevane tum deewane hum, Ghadi ghadi mera dil dhadke, Hamse aaya na gaya, Jaa re beimaan tujhe jaan liya, Jaag dard-e-ishq jaag, Madhur madhur sangeet, and Radha na bole na bole re. It would do well to recall that Hindi music directors would be more keen to make popular tunes than to adhere rigidly to shuddha raagas.

I have taken this song from 1962 Amar Kumar movie Rungoli with not just story by Rajinder Singh Bedi but also produced by him. The movie starred Vyjayanthimala and Kishore Kumar. And indeed, one of the reasons that I selcted this song over Radha na bole na bole re, even though the latter composed by C Ramchandra is a much better example of Raag Bageshri, is because of the heart-warming dancing by Vyjayanthimala, the best dancer that Hindi films ever had.

Krishna songs are always most welcome and if the lyricist is Shailendra, which is also the case with Basant Bahar songs, you can expect out of the ordinary.

Please enjoy Lata Mangeshkar sing a composition of Shankar Jaikishan in Raag Bageshri, Tal Tintal, on the lyrics of Shailendra for the 1962 Amar Kumar movie Rungoli starring Vyjayanthimala and Kishore Kumar: Jao jao Nand ke lala…..

Jao jao Nand ke lala tum jhute tumse naa bolungi
jao jao nand ke lala tum jhute tumse naa bolungi
chhodo chhodo mori baiyan tum jhute tum se naa bolungi

kaisa tilak kahan ki mala kaisa tilak kahan ki mala
tan kala tera mann bhi kala tan kala tera mann bhi kala
rahane bhi do bahut jadu dala
jao jao, jao jao nand ke lala tum
jhute tum se naa bolungi
chhodo chhodo mori baiyan tum jhute tum se naa bolungi

anpadh radha sab kuch jane anpadh radha sab kuch jane
tumhri to nas nas pahchane tumhri to nas nas pahchane
kisko aaye muraliya sunane
jao jao, jao jao nand ke lala tum
jhute tum se naa bolungi chhodo chhodo mori baiya
tum jhute tum se naa bolungi
jao jao jao jao jao jao
jao jao jao jao jao jao

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. And today, on the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Main pagal mera manwa pagal…
Raag Kedar, Taal Kaherava

We have completed seventeen 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 seventeenth post or the last post was titled ‘Raaga Based Song Of The Day #17’ and the song was a Yesudas song from the 1977 Jaya Chakravarty movie Swamy: Kaa karun sajni, aaye naa balam. It is in Raag Kirwani, 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’.

Raag Kedar is a Raag of the Kalyan Thaat in the Bhatkhande’s system. Being of the Kalyan Thaat, it is easy to guess that it is sung in the evening/first part of night. By the way now that I have told you about the types of Swar, most raagas with Teevra Ma are to be sung at night. It is also easy to guess that the Raag is named after Lord Shiva and hence it occupies a high place in Indian Classical Music.

Some of the popular Hindi films songs that are composed in Raaga Kedar are: Aapki aankhon mein kuchh mehke huye se raaz hain, Aap youn hi agar hamse milte rahe, Beqas pe karam kijiye (that delightful composition of Naushad for Mughal-e-Azam), Darshan do Ghanshyam Nath, Hamko man ki shakti dena, Kanha jaa re, Kisi ki yaad mein duniya ko hain bhulaye huye, Pal do pal ka saath hamara, and Uthaye ja unake sitam.

For the value-added learning for today I have decided to tell you about the Filmi Music or Sangeet and its History, especially Raaga Based Sonngs.

Fimi music or Sangeet includes even non-filmi songs especially if one of the artistes is connected with the Films Industry.

History of the Indian Film music and especially songs coincides with the first talkie film in 1931: Alam Ara. Starting the same time, three major film centres developed in Calcutta, Bombay and Madras. Bombay became the main centre for Hindi or national movies whereas the other two remained mostly regional.

In the earlier movies, the movies used to revolve around songs. There used to be 10 to 18 songs per movie. In the first decade of talkies, we produced almost 1000 Hindi movies with an average of 10 songs per movie.

The initial filmi music scene was influenced by music maestros such as Pankaj Mullick, RC Boral, and Anil Biswas. During those days playback singing was not in the vogue and many an artiste such as KL Saigal sang live whilst shooting with the musicians sitting in the background and playing. Actors such as KL Saigal, Suraiya, and Bal Gandharva were chosen for their singing ability. You would recall that in Achhyut Kanya both Ashok Kumar and Devika Rani sang their own songs.

Nitin Bose was credited with having introduced playback singing for the first time in his 1935 movie Bhagya Chakra. Even at that, it took time for this genre’ of playback singing to become popular amongst producers and directors. 1940s and 50s saw the advent of independent producers having their own music directors. For example, if you recall, Shankar Jaikishan, were considered the house artistes of Raj Kapoor.

It was bound to happen. Commercial interests of the distributors ensured that ‘masaala films’ based on formulas ( X number of songs, Y number of big actors and Z number of dance sequences) became rampant. Quality suffered. I am fond of saying that at this juncture (1940s to 70s) the quality of films produced was far inferior to the quality of songs and music.

By now, playback singing arrived on  the scene. Mohammad Rafi, Mukesh, Hemant Kumar, Lata Mangeshkar, Geeta Dutt and Asha Bhosle are some names that come to mind who made good name for themselves in playback singing. Naushad, Shankar Jaikishan, SD Burman, Madan Mohan, C Ramchandra thrived as music directors. Naushad Ali was the one reputed to have brought in Raaga based music in the films especially with songs. In his 1952 Vijay Bhatt movie Baiju Bawra he had each one of the thirteen songs based on Raagas. Shankar Jaikishan, and later Laxmikant Pyarelal, Kalyanji Anandji, SD Burman and his son RD Burman, Madan Mohan and C Ramchandra used Raagas to compose filmy music.

It is a fact that not many of them used shuddha raaga based songs but blended their tunes out of mix of two or more raagas. However, it is also a fact that the polularity of their compositions is much more than pure classical music.

Lets get back to the Raaga Based Song of the Day.

It is from the 1952 B Trilochan movie Ashiana that starred Nargis and Raj Kapoor. Lyrics were penned by Rajinder Krishan and the song was composed in Raag Kedar Taal Kaherava by Madan Mohan.

Please enjoy Talat Mahmood sing: Main paagal mera manva paagal….

Mai.n pAgal meraa manavA pAgal
pAgal merI priit re
pagale-pan kii pii.D vo jaane
bichha.De jisakaa miit re
mai.n pAgal meraa manavaa paagal …

kahe ye duniyA mai.n diivaanaa
din me.n dekhU.N sapane
diivaanii duniyA kyA jaane – 2
ye sapane hai.n apane – 2
ghaayal man kii ha.nsii u.Daaye
ye duniyA kii riit re, mai.n paagal …

chhupii huii merI kaayaa me.n
raakh kisii paravaane kii
ye meraa dukhiyaa jiivan hai
ruuh kisii dIvaane kii
man ke TuuTe taar bajaakar
gaaU.N apane giit re

mai.n pAgal meraa manavA pAgal
pAgal merI priit re, mai.n paagal …

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. And today, on the eighteenth day, we learnt about Filmi Sangeet.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Kaa karun sajni, aaye naa balam…
Raag Kirwani, Taal Kaherava

We have completed sixteen 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 sixteenth post or the last post was titled ‘Raaga Based Song Of The Day #16’ and the song was a Kishore Kumar song from the 1970 Asit Sen movie Safar: Jeevan se bhari teri aankhen It is in Raag Malgunji, 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’.

Every month, on my music and song group on Facebook: ‘Yaad Kiya Dil Ne’, I conduct a Fest on a theme. It lasts for two days. Participants can put up three songs per day on the theme. This month’s theme was Koi. I conduct and judge. And at the same time, after everyone puts up his/her posts, I put up my posts as a participant, but, out of contest.

My today’s Raaga Based Song is my second entry on the second day of June Fest. Here goes:

Keyword: In the first line of first stanza: Jab bhi koi aahat hoye manvaa mora bhaage

As soon as one hears the first line of first antara one is instantly reminded of one of the 1964 Chetan Anand movie Haqeeqat songs, songs immortalised by Kaifi Azmi, and Madan Mohan and Raj Dutta: Zara si aahat hoti hai to dil sochata hai, kahin yeh woh to nahin.

Just now Jaswant Singh Lagwal commented on my first post of the day and said that the emotions in the song (Jeevan se bhari teri aankhen) are the same as in my poem. The fact is that human emotions are limited after all and those who come before us have the first right to ascribe to themselves the exclusive right to pen about those emotions. Fortunately, there are so many variations to the emotions and their blending that we hardly have identical emotions unless one is plagiarising.

In this respect, my sister Manik Lakhkar Chava has made life easier for herself. Whenever she has to comment on a post that one may have taken hours to write, she makes a short shrift of it by saying, “Sumedha Nair has already said what was to be said about it”! She could have been an armed forces officer. Lets say (real incident) an armed forces officer returns from a three weeks jaunt abroad and you ask him how was it, he sums it up in one word: ‘nice’ (somewhat similar to another great sister author of Manik Lakhkar Chava saying ‘Marhaba’ and conveying all that was ‘required to be’ conveyed!) And if you look at bewilderment at this officer now, his look would convey to you that ‘nice’ is much better than ‘s–t’ that he uses for describing life! (In the same manner as Surekha Saini would tell you that ‘Marhaba’ is still better than the emojis that she otherwise uses to ‘fully describe’ her reactions to posts!)

अब ग़म न कर ऐ दिल, देख हम ना कहते थे,
रह गए वह ऊंह करके, सुन लिया जवाब उनका?

Anyway, look at the receiving end now. There are people like me who ain’t satisfied until we have filled volumes and received the same. And then there are these lovers whose ears listen to even minutest movements (aahat) that may be caused by the arrival of their beloveds who were otherwise to arrive hours (eternity) earlier.

Here are lovers in intezaar (waiting):

यह आधी रात को उनका पयाम आया है,
हम आज आ नहीं सकते अब और इंतज़ार न कर I

or

मेरी ना श्ह (dead body) के सहारे वह खड़े यूँ कह रहे हैं:
इसे नींद यूँ ना आती अगर इंतज़ार होता !

Intezaar of the beloved is actually a great theme with Urdu poets. Taste a few:

Daag Dehlawi:

ग़ज़ब किया तेरे वादे पे ऐतबार किया
तमाम रात क़यामत क इंतज़ार किया

Mirza Ghalib:

ये ना थी हमारी क़िस्मत के विसाल-ए-यार होता
अगर और जीते रहते, यही इंतज़ार होता

Majrooh Sultanpuri:

हम इंतज़ार करेंगे तेरा क़यामत तक
खुदा करे कि क़यामत हो, और तू आए

Sunbyanyname:

CHALO INTEZAAR KARTE HAIN

तू भी देखना एक ऐसा भी दिन आएगा,
आंसुओं से मेरे तेरा दिल पिघल जाएगा
मेरी ना श से तुझे कोई शिक्वा ना होगा
तेरे दिन तो क्या जहान संवर जाएगा

प्यार और इश्क़ मुझे करना ही ना था
घुट घुट रोज़ मुझे मरना ही ना था
अब सोचता हूँ क्यों चला गया वहां
तेरी राहों से मुझे गुज़रना ही ना था

सोचा था ज़िन्दगी का हमसफ़र मिला है
मेरी तनहा रातों का सहर मिला है
हम जिसे पीते रहे दवा जान के, ऐ दिल,
अब पता चला के ज़हर मिला है

खैर ग़म- ऐ-इश्क़ की कोई तो होगी मंज़िल
यह बेवफा निकली, यह हर वक़्त रही संगदिल
यह ज़िन्दगी तो रो रोके गुज़ार दी हमने
आने वाली ज़िन्दगी शायद ना हो मुश्किल

चलो इंतजार करते है! चलो इंतज़ार करते हैं!
ठोकर खा चुके हैं फिर भी प्यार करते हैं
तेरे वादे पे तो तमाम उम्र गुज़र गयी लेकिन
हम अब मौत की वफ़ा का ऐतबार करते हैं|

The 1977 Jaya Chakravarty (Hema Malini’s mother; Jaswant Singh Lagwal, Dharam paaji’s saas!) movie Swamy, from where I have taken this song, had Shabana Azmi, Vikram and Girish Karnad in the lead roles (Dharam paaji and Hema also acted in the movie).

The lyrics were by Amit Khanna who wrote such songs as Madhuban khushbu deta hai (1978 movie Sajan Bin Suhagan), Chalte chalte mere yeh geet yaad rakhna (1976 movie Chalte Chalte), and Aap kahen aur hum na aayen (Des Prades 1978).

Rajesh Roshan composed it in Raag Kirwani or Keerwani, Tal Kaherava.

Kirwani is an exception in the ten Thaats that Bhatkhande said most raagas fitted into. It is similar to Raag Pilu or Peelu. Let me see you guess the samay of the raag. If you paid attention to the couplets and songs above of Intezaar, then you would know that the time (samay) for Kirwani is Madhyaratri (midnight) when only lovers in intezaar are awake!

Before I give you the song, here is the value-added learning for today. Today, we learn the basics of Gharana.

We have often heard the word Gharana associated with Indian Classical Music and Dance. Some of us do understand that the word has come about from the word Ghar (House). What makes Ghar transform into a Gharana is when musicians and dancers associate with it through tradition and training. We are not going to be taking up Gharana associated with Dance. It is easy to imagine that established Gharana would have a music tradition or ideology.

Gharanas also indicate from where a particular tradition or ideology originated.

Lets take a few:

1. Dhrupad Gharanas. Bettiah, Bishnupur, Dagravani, Darbanga.
2. Khayal Gharanas. Agra, Bhendi Bazaar, Delhi, Gwalior, Indore, Jaipur Atrauli, Jodhpur Mewati, Kirana, Patiala, Rampur Sahaswan, Sham Chaurasia.
3. Thumri Gharanas. Benaras, Patiala.
4. Tabla Gharanas. Ajrara, Benares, Farukhabaad, Lucknow, Punjab.
5. Sitar Gharanas. Bishnapur, Imbadkhani, Indore, Jaipur, Maihar.

Please enjoy in Raag Kirwani, Tal Kaherava, a composition of Rajesh Roshan on the lyrics of Amit Khanna, a song sung by Yesudas: Ka karun sajani, aaye na baalam….

kaa karuu.N sajanii, aae na baalam
khoj rahii hai.n piyaa paradesii a.Nkhiyaa.N – 2
aae na baalam

jab bhii koii, aahaT hoe, manavaa moraa bhaage
dekho kahii.n, TuuTe nahii.n, prem ke ye dhaage
ye matavaarii priit hamaarii
chhupe na chhupaae – (2)
saavan ho tum mai.n huu.N torii badariyaa
aaye na baalam, kaa karuu.N…

bhor bha_ii aur, saa.Njh Dhalii re, samay ne lii a.nga.Daaii
ye jag saaraa, nii.nd se haaraa, mohe nii.nd na aaii
mai.n ghabaraauu.N, Dar Dar jaauu.N
aae vo na aae – (2)
raadhaa bulaae kahaa.N khoe ho kanhaiyyaa
aae na baalam, kaa karuu.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:

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. And today, on the seventeenth day, we learnt the basics of Gharana system.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Jeevan se bhari teri aankhen
Raag Malgunji, Taal Kaherava

We have completed fifteen 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 fifteenth post or the last post was titled ‘Raaga Based Song Of The Day #15’ and the song was an Asha Bhosle song from the 1960 RK Rakhan movie Kalpana: Beqasi hadd se jab guzar jaaye. It is in Raag Desh and Khammaj, 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 Yaman – Part I’.

Every month, on my music and song group on Facebook: ‘Yaad Kiya Dil Ne’, I conduct a Fest on a theme. It lasts for two days. Participants can put up three songs per day on the theme. This month’s theme is (the June Fest is going on now; today is the second day) Koi. I conduct and judge. And at the same time, after everyone puts up his/her posts, I put up my posts as a participant, but, out of contest.

My today’s Raaga Based Song is my first entry on the second day of June Fest. Here goes:

Keyword: In the first line of first stanza: Tasveer banaaye kyaa koi.

As soon as one starts talking about Raag Malgunji, the first song that comes to mind is RD Burman’s first bandish with Lata Mangeshkar: Ghar aaja ghir aaye badra sanwariya. That was in Rupaktal. This one is in Kaherava. Please remember that a Raag sets the mood, time and season and Tal sets the rhythm.

Malgunji is a raaga of Khammaj Thaat. Please recall the description I had earlier given you: Raagas of this Thaat (Rageshree, Jhinjhoti, Des, Tilak Kamod, Jaijaiwanti, Khambavati, etc) are of Shrigar Ras (romantic). The pictorial representation of Khammaj is sensuous, even flirtatious.

In the 1970 movie Safar, Rajesh Khanna as Avinash seems to be flirting with death. He is suffering from terminal cancer and Avinash is a misnomer for him. Sharmila Tagore as Neela is the woman he is in love with and the woman whose paintings he passionately makes, particularly her eyes.

He knows about his terminal disease and she doesn’t and hence he ensures that they don’t get married. Indeed, he facilitates her marriage to Shekhar Kapoor (Feroze Khan). Later, Shekhar finds about the love affair that his wife Neela had with Avinash and commits suicide. Neela is suspected of the ‘murder’ by the police.

She is finally acquitted but still can’t get married to Avinash because he dies of his cancer. She becomes a doctor.

By the way, this film has one of the best KOI songs ever: Zindagi ka safar hai ye aisa safar koi samjha nahin koi jaana nahin.

Look at the lyrics:

ज़िंदगी का सफ़र है ये कैसा सफ़र
कोई समझा नहीं कोई जाना नहीं
है ये कैसी डगर चलते हैं सब मगर
कोई समझा नहीं कोई जाना नहीं

ज़िंदगी को बहुत प्यार हमने किया
मौत से भी मुहब्बत निभायेंगे हम
रोते रोते ज़माने में आये मगर
हँसते हँसते ज़माने से जायेँगे हम
जायेँगे पर किधर है किसे ये खबर
कोई समझा नहीं कोई जाना नहीं

ऐसे जीवन भी हैं जो जिये ही नहीं
जिनको जीने से पहले ही मौत आ गयी
फूल ऐसे भी हैं जो खिले ही नहीं
जिनको खिलने से पहले फ़िज़ा खा गई
है परेशां नज़र थक गये चाराग़र
कोई समझा नहीं कोई जाना नहीं

है ये कैसी डगर चलते हैं सब मगर
कोई समझा नहीं कोई जाना नहीं
ज़िन्दगी का सफ़र है ये कैसा सफ़र
कोई समझा नहीं कोई जाना नहीं

These lyrics were penned by Indeevar. His first popular song itself, in the 1949 movie Malhaar made waves: Badhe armaano se rakha hai sanam teri kasam, pyaar ki duniya mein yeh pehla kadam. Naturally you expect him to write something great twenty years later. And he didn’t disappoint us.

The value-added learning for today is also from Indian Classical Music and it is tips for raaga identification:

TIPS FOR RAAGA IDENTIFICATION

1. Memorize one classical bandish of every raaga or a very characteristic song in that raaga – film song or ghazal or anything else like a bhajan or even an ad!. The next time you hear a similar song, you will figure it out – you may be wrong the first few times but when you’ve listened to LOTS of songs, a few will automatically creep into your memory.
2. Try to know as many songs as possible in one raaga so that you get the complete raaga boundary (please check here for examples http://indian-classical-music-hindustani.blogspot.com/2011/05/index-of-hindi-film-songs-raagas-they.html).
3. The ideal way is to know the swaras and phrases of a raaga, the notations of the song, play them on an instrument or in your mind, & recognize – so knowing a music instrument is an advantage.
4. When you want to figure out a song, find “correlations” and recall “connections”.
   1. Listen to the song and the drone notes (S, P, S) in background carefully, try to convert it to equivalent identify those notes.
   2. When a song is being heard, without our knowledge, we tend to give importance to the lyrics and deviate from the Raag search. You would have a feeling that the Raag is quite familiar, yet you wouldn’t be getting it. Step away from the music source or lower the volume to where you can barely hear the lyrics, but still can hear the tune quite well. Now hum with it. And eureka! You may end up in some other song of the same Raag.
   3. Try to change the tempo of the song – faster or slower speeds may also not allow clear comparison of any two songs.
   4. Try to figure out which of the 12 swaras the song uses in the ascending scale, and which in the descending scale.
   5. When you hum in your mind, try to hum just the tune, the entire aaroah & avroah, without the words.
   6. Try to see what feeling the raaga evokes. Many raagas sound similar, have same swaras, and yet they’re different because of the mood, tempo, lyrics they’re set to, or the rasa they evoke, among other things.

Well, returning to the Song of the Day, if I call Zindagi ka safar one of the greatest KOI songs, then why haven’t I given you that? Well, yesterday, I gave you some despondent numbers and today I wanted to bring some cheer. The song that I am giving you has a lot of vivaciousness about it; her eyes making him determined to live! Because of the Life that he sees in her eyes.

What about my own poetry on similar theme? Well, even though I have some already there, for you, I am writing a fresh one. Taste this:

मेरी ज़िन्दगी आपकी आँखों तले

आपकी आँखों में मुझे वह झलक मिल जाती है,
ज़िन्दगी दफ़अतन और हसीन हो जाती है I

लोग देखते हैं प्यार दिलरुबा की आँखों में,
मुझे तो सारी कायनात नज़र आ जाती है I

ये आँखें नहीं हैं मेरी ज़िन्दगी की रहनुमा हैं,
ज़िन्दगी के मायने यकीनी मुझे समझाती हैं I

कई बार सोचता हूँ कह दूँ इनसे मैं दिल की बात,
क्या कहूं हया मेरी आंखों में छलक जाती है I

सबेरे का सूरज इनकी पलकें खुलने का इशारा है,
रात का अँधेरा पलक झुकने पे ले आती हैं I

ज़िन्दगी में लाखों ग़म इधर उधर बिखरे हों तो क्या,
ज़िन्दगी के सारे ग़म इनकी लौ भुलाती हैं I

मुझे अब इनके सिवा कुछ और न चाहिए, रवि,
जन्नत – ऐ – खुदा खुद बा खुद मिल जाती है I

The song was composed by Kalyanji Anandji and sung by Kishore Kumar for Rajesh Khanna.

Please enjoy: Jeevan se bhari teri aankhen……

jiivan se bharii terii aa.Nkhe.n
majabuur kare jiine ke liye
saagar bhii tarasate rahate hai.n
tere ruup kaa ras piine ke liye
jiivan se bharii terii aa.Nkhe.n …

tasviir banaaye kyaa koii
kyaa koii likhe tujhape kavitaa
ra.ngo.n chha.ndo.n me.n samaaegii
kis tarah se itanii su.ndarataa
ek dha.Dakan hai tuu dil ke liye
ek jaan hai tuu jiine ke liye
jiivan se bharii terii aa.Nkhe.n …

madhuban ki suga.ndh hai saa.Nso.n me.n
baaho.n me.n ka.nval kii komalataa
kiraNo.n kaa tej hai chehare pe
hirano.n kii hai tujh me.n cha.nchalataa
aa.nchal kaa tere ek taar bahut
koI chhaak jigar siine ke liye
jiivan se bharii terii aa.Nkhe.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:

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. And today, on the sixteenth day, we learnt about tips for raaga identification.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Beqasi hadd se jab guzar jaaye…
Raag Desh and Khammaj, Tal Dadra.

We have completed fourteen 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 fourteenth post or the last post was titled ‘Raaga Based Song Of The Day #14′ and the song was a Mohammad Rafi song from the 1960 Nanabhai Bhatt movie Laal Qila: Lagta hi nahin hai dil mera. It is in Raag Kalyan and no Tal since it is an Alap.

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’.

Every month, on my music and song group on Facebook: ‘Yaad Kiya Dil Ne’, I conduct a Fest on a theme. It lasts for two days. Participants can put up three songs per day on the theme. This month’s theme is (the June Fest is going on now; today is the first day) Koi. I conduct and judge. And at the same time, after everyone puts up his/her posts, I put up my posts as a participant, but, out of contest.

My today’s Raaga Based Song is my first entry in today’s Fest. Here goes:

Unlike all of you, I can’t prepare my descriptions in advance. The idea is to give you all first chance to put up your posts that may include several of the posts that I would have short-listed for myself. And then, after all of you have posted, I can do so.

I have been continuously listening to and commenting on your posts for the last about six hours and more. This post is inspired by Suman Saxena having put up an OP Nayyar song: Babuji dheere chalna.

They said, with adequate justification, that OP Nayyar didn’t know much about Raagas and the like. They say that it would have come as a surprise to him that many of his songs are very well aligned with Raagas; particularly what appears to be his favourite: Raag Pilu or Peelu.

This one is not very well aligned. It appears to be a mix between Desh or Des and Khammaj. The latter you understand very well since recently I gave you a bandish in it for the Bimal Roy movie Parakh: O’ sajana, barkha bahaar aayi.

Desh, as the name suggests, is a Raaga that is often used for the patriotic fervour such as Vande Mataram. Many of Rabindra Nath Tagore songs (Rabindrasangeet) have been composed in Desh. It is a Raaga that should normally be played during the first quarter of the night. That’s exactly the time when men used to visit courtesans.

In this movie Ashok Kumar (Amar), when he visits Kashmir meets Padmini (Kalpana), falls in love with her and makes her painting. Later she vanishes. Ashok Kumar then starts liking Ragini (Asha Devi) and is ready to propose to her, However, now Kalpana resurfaces in a dance in a theatre. Asha backs out and Amar is ready to marry Kalpana. This is the time when Kalpana’s own brother Ifteqaar (Johar) reveals the sordid details about her being a courtesan.

In Hindi films, except in one or two movies, heroines don’t become courtesans out of choice; eg, in Adaalat and Mamta, Nargis and Suchitra Sen were forced into it due to destitution. Various song opportunities arise because of this and the producers and directors go laughing all the way to the bank.

None of the producers and directors would venture into areas wherein women could take up, in their poverty, professions other than prostitution. Mehboob Khan showed the way with Mother India but the others are merely stereotypes (the same stereotypes, as I mentioned to Sumedha Nair, about Julie‘s Christian father who would be a drunkard (though kind-hearted)).

The 1960 RK Rakhan movie Kalpana was as much of a stereotype. Then, why am I giving you this song?

For several reasons. One of the foremost is that a ‘A gentleman is half a lady’ and I am not ashamed of my being a gentleman who would be sensitive towards ladies. This song (not the movie) brings out those pathos (karuna) that I have long associated with Indian women: exploited, made to feel small, and having to choose between wretched life and still more wretched death (Koi ai dil jiye ke mar jaaye).

At one time, I used to regularly borrow Marilyn Ravi‘s magazines Femina to read and was shocked to read that Femina touted itself as the magazine: ‘For women of substance’. I have actually seen my mother and her sisters and many other women in our family and I would say these are the ones with substance. These are the ones who won’t give up. We had nothing when my dad died (since he had taken loans to start a project after retirement that never came) and you should have seen my mother, a living copy of Mother India, battling against all odds to make the best of life.

I myself am Sunbyanyname, being my mother’s son. I look at positives. I too don’t look at choice between wretched life and wretched death. I look at life beyond pain (I wrote this when I was in my late teens):

LOVE BEYOND PAIN

Don’t love me, O’ sweet, when we meet,
For there is less
Glee in achieving than in yearning.
From here it’s alluring,
The scent of your tress;
I get my joys in burning,
In pining, in longing
And in sorrow,
And waiting for each tomorrow.

I don’t want to strangle my dreams to death,
You, alone, sit in my dream castle
On an island in a grieving river;
And far below
In a dark dungeon I am thrown.
I reach out my hands without catching ye,
Ye outside smile at me.
And, lo! I wish not my hands were free.

I shall wait…wait till the pains are so much,
That they burn themselves in their own scars,
The waters of grieving river’d calm down,
The cell would break its own bars.
Then you and I’ll live away from town,
In a small hut by a joyous brook.
We’d work, we’d eat, we’d play the deep
Game of love,
And thus at last we’d sleep.

In my poems there is often a final silver-lining; but then, I am only half a lady. Kalpana was a complete woman and she had it up to her head, the grieving water, that is.

Suman Saxena, I know you are surprised with my choice of OP Nayyar song, so different from ones that one is used to: enchanting, romantic and refreshing. It is in Tal Dadra and I know that in my daily Raaga based posts, I have told you adequately about the Tal.

Who wrote these lyrics that are so full of despondency? Jawed Akhtar’s father Jaan Nisar Akhtar.

What else is dear to me in the song. Well, Padmini’s emoting with her eyes is better than both Nargis and Suchitra Sen. She was an accomplished dancer and for her emoting with eyes would be a honed skill. Even at that, I would use the word outstanding to describe her facial expressions especially eyes.

Before I give you the song, here is the value-added learning of the day. It is about the List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib:

List of Raagas mentioned in the Guru Granth Sahib
(Source: indian classical music)

S. No.	Name of Raaga	Order in Guru Granth Sahib	Page Range
1	Asa	4	347 to 489
2	Bairari	13	719 to 721
3	Basant	25	1168 to 1197
4	Bhairon	24	1125 to 1168
5	Bihagara	7	537 to 557
6	Bilaval	16	795 to 859
7	Devagandhari	6	527 to 537
8	Dhanasari	10	660 to 696
9	Gauri	3	151 to 347
10	Gond	17	859 to 876
11	Gujari	5	489 to 527
12	Jaijaivanti	31	1352 to 1353
13	Jaitshree	11	696 to 711
14	Kalyan	29	1319 to 1327
15	Kahnra	28	1294 to 1319
16	Kedara	23	1118 to 1125
17	Maajh	2	94 to 151
18	Malhar	27	1254 to 1294
19	Mali Gaura	20	984 to 989
20	Maru	21	989 to 1107
21	Nat Narayan	19	975 to 984
22	Prabhati	30	1327 to 1352
23	Ramkali	18	876 to 975
24	Sarang	26	1197 to 1254
25	Shree	1	14 to 94
26	Sorath	9	595 to 660
27	Suhi	15	728 to 795
28	Tilang	14	721 to 728
29	Todi	12	711 to 719
30	Tukhari	22	1107 to 1118
31	Vadahans	8	557 to 595

Please enjoy Asha Bhosle sing the lyrics of Jaan Nisar Akhtar and composition of OP Nayyar (in a cross between Des and Khammaj and in Tal Dadra) in the 1960 movie Kalpana, the song pictured on Padmini in the title role: Beqasi hadd se jab guzar jaaye…..

beqasii had se jab guzar jaa_e
ko_ii ai dil ji_e ki mar jaa_e

zindagii se kaho dulahan ban ke -2
aaj to do gha.Dii sa.Nvar jaa_e
ko_ii ai dil …

unako jii bhar ke dekh lene de -2
dil kii dha.Dakan zaraa Thahar jaa_e
ko_ii ai dil …

ham hai.n apanii jaan ke dushman -2
kyo.n ye iljaam unake sar jaa_e
ko_ii ai dil …

mere naGamo.n se unakaa dil na dukhe -2
Gam nahii.n mujhape jo guzar jaa_e
ko_ii ai dil …

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. And today, on the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.

There is much more still to be learnt and enjoyed.

Please stay tuned!