Category: Music and Cinema

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!

Raaga Based Song of the Day: Lagta nahin hai dil mera….
Raag Yaman or Kalyan, No Tal since the entire song is an Alap.

We have completed thirteen 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 thirteenth post or the last post was titled ‘Raaga Based Song Of The Day #13’ and the song was a Lata Mangeshkar song from the 1960 Bimal Roy movie Parakh: O sajana barkha bahaar aayi. It is in Raag Khammaj, Tal Kaherava.

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

Today, I give you a song in Raag Yaman or Kalyan. It is called Yaman in Hindustani and Kalyan or Kalyani in Carnatic music. Kalyan is the type raaga of Kalyan Thaat. It is normally performed during the first quarter of the night (late evening). The other day I told you that Bhairavi is the first Raaga that is taught to beginners. Well, Kalyan or Yaman happens to be also amongst the first few raagas that the beginners learn.

Strangely, Yaman-Kalyan is an altogether different Raaga.

Being an evening raaga, the mood is quite, meditative, even sad and rueful (eg, Woh bhooli dastaan lo phir yaad aa gayi and Woh jab yaad aaye bahut yaad aaye). It is a very popular raaga on which songs are composed in Hindi movies, as popular as Bhairavi. Some of the songs that are composed in this raaga are: Aap ke anurosh par, Aaye ho meri zindagi mein, Aaj hum apni, Aansoo bhari hain, Chale ja rahe hain, Chhupalo youn dil mein pyaar mera, Diya jalao jagmag, Ehsaan tera hoga mujh par, Ghar se nikalte hi, Hamari thodi si bewafai, Is mod se jaate hain, Jo tum todo piya, Kabhi kabhi mere dil mein, Khuda nigahbaan ho, Main kya jaanu kya jaadu hai, Man re tu kaahe na dheer dhare, Mausam hai aashiqana, Mitwa bole meethe, Mohe maro na Kanha, Na jaao sainyyan, Nigahein milane ko ji chaahta hai, Nukta chin hain, Paan khaayo sainyyan Hamaro, Re man sur mein ga, Sabere ka suraj, Woh jab yaad aaye, Woh shaam kuchh ajeeb hai, and Jab deep jale aana.

You will remember that in the second and third lessons I had told you about characteristics of raagas and Tal. You would recall that I told you that a raaga sets the mood, time and season. Tal, on the other hand is variation of the word Taali (Clap) and sets the rhythm of the song. In the earlier days, this rhythm used to be set through Clap (Bhara) or Wave (Khali) of the hand(s). Nowadays we have tabla to provide the tal (rhythm).

In today’s value-added learning, I want to tell you about this song that has no Tal (rhythm) but only Alap. hence it is important for us to know what an Alap is. Raag Kalyan or Yaman is well suited for prolonged Alap.

The first thing to know about Alap is that there is no rhythm in it; it comes before tabla starts. It can occur anywhere, but, alap is usually in the beginning. If you recall when I gave you Goonj Uthi Shehnai song Tere sur aur mere geet, I particularly asked you to listen to Lata Mangeshkar’s alap in the beginning before Ustad Bismillah Khan’s shehnai-vaadan takes over. Indeed, you can have a go at it again:

So, let’s have a look at the second thing about Alap after listening to the above. It is that Alap elaborates the raag/song to follow. Indeed, in the above example, the Alap describes the mood of the song completely. The third thing is that an Alap can be a few seconds and may last even an hour, depending upon the bandish (composition).

What about the types of Alap? Well, if an Alap doesn’t have words or bol, it is called Anakshar Alap. In case there are bol, then it is Sakshar Alap. You may recall Baiju Bawra’s famous song based on Raag Malkauns: Man tadpat Hari darsan ko aaj. Its alap has words: Hari and Om. You may have a go at even that song to learn about Alap:

You would have seen that the Alap is accompanied by Tanpura in the above song, which is generally the case. Other instruments may be added.

Now, lets decide which is more difficult: the song or the alap. I feel that the Alap is certainly more difficult to execute because of no lenience given to move away from rules; whereas songs would have (and in case of Hindi movies songs always have) some latitude about the raag.

Lastly, there was no one like Mohammad Rafi as a singer. Yes, we like Mukesh, Hemant Kumar, and Manna Dey. However, Rafi was a class apart. Please see the superb manner in which this Alap has been executed by him.

This is a song that has been penned by the Last Mughal Emperor in India: Bahadur Shah Zafar when he was captured by the British and exiled to Rangoon in Burma. In the song he laments the loss of his paradise.

His lyrics were composed into this song in the 1960 movie Laal Qila (P Jairaj acted as Bahadur Shah Zafar) by SN Tripathi.

Please enjoy: Lagta nahin hai dil mera…

Lagataa nahii.n hai jii meraa uja.De dayaar me.n
kis kii banii hai aalam-e-naa-paayedaar me.n

bulabul ko baaGabaa.n se na saiyyaad se gilaa
qismat me.n qaid thii likhii fasal-e-bahaar me.n

umr-e-daraaz maa.Ng ke laaye the chaar din
do aarazU me.n kaT gaye, do i.ntazaar me.n

kah do in hasarato.n se kahii.n aur jaa base.n
itanii jagah kahaa.N hai dil-e-daaGadaar me.n

hai kitana badanasiib zafar dafn ke liye
do gaz zamiin bhii na milii kU-e-yaar me.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. And today, on the fourteenth day, we learnt about Alap.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: O sajana barkha bahaar aayi…
Raag Khammaj, Tal Kaherava

We have completed eleven 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 eleventh post or the last post was titled ‘Raaga Based Song Of The Day #11’ and the song was a KL Saigal song from the 1938 Phani Majumdar movie Street Singer: Babul mora naihar chhooto hi jaye. It is in Raag Bhairavi, Tal Kaherava.

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

Finally after three days of heat in my home place Kandaghat in Shimla Hills, it rained today (7th June 17). Rains is my favourite season. It drenches everything including my heart and soul.

A few days ago I gave you a rain song in Raag Brindavan Sarang, Tal Tintal, Kaherava: Sawan aaye ya na aaye. For people in love, according to the song, when the heart dances with joy, it is Sawan.

Today’s song, from the 1960 Bimal Roy movie Parakh, which had a satirical story written by music director Salil Chowdhury, has an exactly opposite emotion about Sawan: that is, longing for one’s love.

And to help express these feelings appropriately, Salil da selected Raag Khammaj or Khamaj, a late evening raaga of Khamaj Thaat, and of romantic character. The Taal he used was Kaherava.

Some of Lata Mangeshkar‘s best songs are pictured on Sadhana and this is certainly the best.

This composition was thought of by Salil da when his car was caught in a sudden downpour and he heard the swishing of his car wipers. Indeed, this song’s rhythm comes closest to the feel of the pitter-patter of rain, especially in the antaras; eg, “Aise rimjhim mein ho sajan, pyaase pyaase mere nayan, tere hi khwaab mein kho gaye…”

Some of the other popular songs in Raag Khammaj are: Ab kya misaal doon, Ago kahan se Ghanshyam, Bada natkhat hai re Krishan Kanhaiya, Chunariya katati jaaye, Dhal chuki sham-e-gham, Khat likh de sanwariya ke naam babu, Kuchh to log kahenge, Mere to Giridhar Gopal, Nazar laagi raja tore bangle pe, Piya tose naina lage re, Sham dhale Jamuna kinaare and Vaishnava jan ko.

Value-added learning for today is about Khammaj Thaat to which the Raag belongs:

Because of being in Shringar Ras, the Raag is used in light classical forms of Indian Classical Music such as thumris, tappas, horis,and kajris.

If you look at the pictorial description of the Raag (it is on my blog), you will find it sensuous, even flirtatious.

Raagas in Khammaj Thaat include Rageshri, Jhinjhoti, Jaijaivanti, Des or Desh, and Tilak Kamod.

Please enjoy Lata Mangeshkar sing in Raag Khammaj, Tal Kaherava: O sajana barkha bahaar aayi…

(O sajanaa, barakhaa bahaara aaI
rasa kii phuhaara laaI, a.Nkhiyo.n me pyaar laaI ) – 2
o sajanaa

tumako pukaare mere mana kaa papiharaa – 2
miiThii miiThii aganii me.n, jale moraa jiyaraa
o sajanaa …

(aisI rimajhima me.n o saajan, pyaase pyaase mere nayana
tere hii, khvaaba me.n, kho gae ) – 2
saa.nvalii salonii ghaTaa, jaba jaba chhaaI – 2
a.Nkhiyo.n me.n rainaa gaI, nindiyaa na aaI
o sajanaa …

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. And today, on the twelfth day, we learnt about Khammaj Thaat.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Baabul mora, naihar chhooto hi jaaye…
Raag Bhairavi, Tal Kaherava

We have completed ten 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 tenth post or the last post was titled ‘Raaga Based Song Of The Day #10’ and the song was a Suraiya song from the 1961 Lekhraj Bhakri movie Shama: Dhadakte dil ki tamanna ho mera pyar ho tum. It is in Raag Pilu, 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’.

Today we shall take up a song based on Raag Bhairavi.

Raag Bhairavi is the main raaga of  Bhairavi Thaat, one of the ten Thaats on which, in Bhatkhande’s system of Raagas, all raagas are based.
In Hindi film Bhairavi is the most popular raagas on which songs are based. In case of Jaikishan (of Shankar Jaikishan fame), he was so fond of Raag Bhairavi that he named his daughter Bhairavi!

However, the use of Bhairavi in Hindi film songs existed much before Jaikishan. Rai Chand Boral,  the composer of the above song, was country’s second music director, to be honoured with the highest award in cinema; the first being Pankaj Mullick and the third and last being Naushad Ali.

I am in awe of Bhairavi and that’s why it has taken me so much time to get to it. It is traditionally performed in early morning hours simply because of the fact that late night musical performances usually end in wee hours of the morning and Bhairavi is the finale Raaga.

Some of the most popular songs in Hindi films have been composed in Bhairavi such as Babul mora naihar chhooto hi jaye, Jyot se jyot jagate chalo, and Laaga chunari mein daag.

As far as S-J are concerned, they would sometimes have as many as four to five songs in the same movie based on Bhairavi. Just to name a few: Awara hoon, Barsaat mein humse mile tum, Dost dost na raha, Mera joota hai Japani, Ramaiya vasta vaiya, Ai mere dil kahin aur chal, and Bol Radha bol sangam hoga ke nahin.

Value added learning for today is about two aspects of Bhairavi:

One is the reason for Bhairavi being the first raaga to be taught to beginners. It is because in the South, Sri Purandra Das had decided that Malawa gowla was most suited for beginners. Bhairavi is the corresponding raaga of the North.

And the second is as to why Bhairavi is usually the last raaga during a performance. Once again the reason is from Carnatic Music. Carnatic equivalent Madhyamavati is performed at the end of the concert since it is believed to “cure” all mistakes by performer during earlier performances. Also, the devotional and peaceful bhaav of Bhairavi makes it well suited as a concluding piece.

Babul mora is basically a thumri in Raag Bhairavi. It was penned by Nawab Wajid Ali Khan, the Nawab of Awadh, when he was exiled by the British from his beloved Lucknow by the British.

Nawab Wajid Ali Shah used the metaphor of bidaai (bride’s farewell) from her father’s (babul) home to bring out the sadness of his exile from Lucknow.

The Thumri was also popularised by Bharat Ratna Pandit Bhimsen Joshi.

In the 1938 Phani Majumdar movie Street Singer, one of Hindi movies greatest vocalists and the first super-star, much before Rajesh Khanna was even born, Kundan Lal Saigal performed this song live on camera since playback singing hadn’t yet become popular.

Ladies and gentlemen, today on my birthday (06 June), I give you the song (thumri) that gets as close as possible to pure form of Bhairavi.

Please enjoy Baabul mora naihar chhooto hi jaaye…

Baabul moraa, naihar chhuuTo hii jaae
baabul moraa, naihar chhuuTo hii jaae

chaar kahaar mil, morii Doliyaa sajaave.n – 4
moraa apanaa begaanaa chhuTo jaae
baabul moraa …

aa.Nganaa to parbat bhayo aur deharii bhayii bidesh
je baabul ghar aapanaa mai.n piiyaa ke desh
baabul moraa …

baabul moraa, naihar chhuuTo hii jaae
baabul moraa, naihar chhuuTo hii jaae

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. And today, 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.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Dhadakte Dil Ki Tamanna Ho…
Raag Pilu, Tal Kaherava

We have completed nine days of Raaga Based Songs of the Day. Although 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), the fact is that on WhatsApp groups I had started with these posts three or four days before putting them up here on this blog. This is the last of the earlier WhatsApp posts that I am merging here.

Our ninth post or the last post was titled ‘Raaga Based Song Of The Day #9’ and the song was a Mohammad Rafi and Asha Bhosle song from the 1966 Abdul Rashid Kardar movie Dil Diya Dard Liya: Swan aaye ya na aaye. It is in Raag Brindavan Sarang, 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 II’.

Today we shall take up a song based on Raag Pilu.

This is just a reminder that the literal translation of the word Raag is Colour, Tinge or Shade. Rendition of a Raag, traditionally, is to colour the mind of the listener with the same colour as the mood of the artiste. Raagas are arranged as per mood, season and time of the day.

This is also to reiterate that Vishnu Narayan Bhatkhande who did an extensive study of gharanas to arrive at North Indian or Hindustani system of Raagas. He came up with a list of 32 Thaats (modes) associated with 32 prevalent Raagas. Further study by him made him prune the list of Thaats to just 10 and he found that almost all Raagas belonged to these ten Thaats: Bilawal, Kalyan, Samaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi.

Raag Pilu, according to his system (the one that is prevalent today) belongs to Kafi Thaat. Kafi is basically a late evening Raaga and is Raaga of Spring Time.

One composer who used Raag Pilu extensively was Omkar Prasad Nayyar or OP Nayyar. Some of his songs (conveying the mood) of Pilu are: Jayiye aap kahan jayenge, Kabhi aar kabhi paar laaga teere nazar, Kaisa jadoo balam tune daala (my favourite Waheeda Rehman song from Guru Dutt movie 12 O’ Clock), Main soya akhiyan meeche, and Piya piya piya na laage mora jiya. But, I am not giving you any of these.

I am also not giving you Naushad’s jhule se pawan mein aayi bahaar (literally spring time) or SD Barman’s Ab ke baras bhej bhaiya ko babul or that beautiful Sujata number Kali ghata chhaye mora jiya tarsaaye.

The value added learning for today is about the sources of the names of Raagas. These are as follows:

1. Names of Hindu deities: Kedaar, Bhairav, Gouri, Durga.
2. Tribal melodies: Ahiri, Asavari,Gujari.
3. Folk tunes of regions:Marwa, Jaunpuri,Pahadi.
4. Names of their creators: Miya Taansen: Miya ki Malhar , Miya ki Todi; Bilaskhan (son of Taansen): Bilaskhani Todi; Gorakh Naath to bring his guru back: Gorakh Kalyan.
5. Performing Artists, eg, Pt Bhimsen Joshi: Raag Kalashree (combination of Kalawati and Bageshree).
6. Miscellaneous Sources: Darbaari Kanada is supposed to been derived from the Carnatic version of Kanada but sung in darbars in front of the kings for evening concerts. It is reputed that Tansen imported it from the South to the court of Emperor Akbar.

Today I am giving you a composition of Ghulam Mohammad for the 1961 movie Shama in which Suraiya and Nimmi both loved a poet Vijay Dutt. Nimmi was in the title role experiencing heartbreak when she arranged his marriage with Suraiya.

Ghulam Mohammad is the same composer and music director who was responsible for Pakeezah songs and music.

Kaifi Azmi penned the song Dhadakte dil ki tamanna ho mera pyaar ho tum and Suraiya sang it both for Nimmi and herself!
Please enjoy in Raag Pilu, Taal Kaherava.

Dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
(mujhe qaraar nahii.n) – 2
(jab se beqaraar ho tum) – 2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum

(khilaao phuul kisii ke kisii chaman men raho) – 2
jo dil kii raah se (guzarii hai vo bahaar ho tum) – 2

(zah-e-nasiib ataa kii jo dard kii sauGaat) – 2
vo Gam hasiin hai jis (Gam ke zimmedaar ho tum) -2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum

cha.Daauu.N phuul yaa aa.Nsuu tumhaare qadamo.n me.n
merii vafaao.n ke (ulfat kii yaadagaar ho tum) – 2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum

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 Calssical Music.
10. And today, on the tenth day, we learnt about the sources of names of Raagas.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Sawan aaye ya na aaye…
Raag Brindavan Sarang Tal Tintal, Kaherava

We have completed eight days of Raaga Based Songs of the Day. Although 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), the fact is that on WhatsApp groups I had started with these posts three or four days before putting them up here on this blog. Today I shall complete merging these posts.

Our eighth post or the last post was titled ‘Raaga Based Song Of The Day #8’ and the song was a Mohammad Rafi song from the 1963 Niranjan movie Kaun Apna Kaun Praya: Zara sun haseena ai nazneen. It is in Raag Pahadi, Tal Rupaktal.

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

Just reiterating that we have to be thankful to Pandit Vishnu Narayan Bhatkhande (early 20th century) who devised the modern system of Raagas for Hindustani Classical Music (based on Thaats), which is much more easily understood than the one prevalent before that (passed only through word of mouth) based on Raagas (male), Ragini (female) and Putra (children). The earlier system has been mentioned in Sri Guru Granth Sahib on pages 1429 and 1430 (last pages). Sikhs traditionally used the Raagas in singing hymns and had bedis who went from place to place singing the Raagas.

Raag Brindavan Sarang is a Raaga of Kafi Thaat. As the name suggests the Raag is related to Lord Krishna. It was created by Swami Haridas to bring Krishna on earth.

Sarang Raag is the 26th Raag in Sri Guru Granth Sahib out of a list (Raagmala) of 31 Raagas. Sarang family is a group of 7 Raagas and Brindavan Sarang is one of them.

Now for the value-added learning for today. Today, we shall learn the names of the instruments used in Indian Classical Music. The most popular ones are:

Bansuri, Dilruba, Esraj, Bansuri, Dilruba, Esraj, Gotuvadyam, Harmonium, Jal Tarang, Mayuri Vina, Mohan Veena, Nadaswaram, Pakhwaj, Rabab (Kabuli Rabab), Rudra Vina or Been, Samvadini, Santur, Sarangi, Saraswati Vina (South Indian Vina), Sarod, Shehnai, Sitar, Surbahar, Seni Rabab, Swarabat (Swaragat), Swarmandal, Tabla Tarang, Tanpura or Tambora, Taus, Veena, Vichitra Vina, Violin.

Naushad Ali was reputed to have brought in Raaga based songs in Hindi movies. This one I have taken from his 1966 Abdul Rashid Kardar movie Dil Diya Dard Liya starring Dilip Kumar and Waheeda Rehman with Mohammad Rafi and Asha Bhosle singing for them.

My favourite lyricist Shakeel Badayuni penned it.
The tal is Tintal and Kaherava.

It is most appropriate at this juncture since we are about to usher in monsoons (sawan).

Please enjoy: Sawan aaye ya na aaye.

aa: saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
ra: saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
do: saawan aaye

ra: taar mile.n jab dil se dil ke
wohii samay man-bhaawan hai
do: wohii samay man-bhaawan bhaawan hai
saawan aaye

##sargam##

aa: jabase piyaa tuu naino.n me.n aayaa
prem ke ra.ng me.n rach gaii kaayaa
ra: aa.a
aa: aa.a
ra: baago.n me.n ban me.n niil gagan me.n
sabame.n hai tere ruup kii chhaayaa
aa: tuu hai mere sa.ng me.n haradam
Kushii kii aawan-aawan hai
do: Kushii kii aawan-aawan aawan hai
saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
saawan aaye

##sargam##
ra: akhiyaa.N majiire man ikataaraa
iname.n baaje naam tihaaraa
aa: aa.a
ha.Nsate-gaate jiiwan biite
a.nt na ho ye giit hamaaraa
ra: mausam aayaa sukh paawan kaa
dukho.n kii jaawan-jaawan hai
do: dukho.n kii jaawan-jaawan jaawan hai
saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
saawan aaye

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

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. Today, on the ninth day, we learnt the names of some of the popular instruments used in Indian Calssical Music.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Aaj ki raat piya dil na todo…
Raag Pahadi, Tal Dadra

We have completed six days of Raaga Based Songs of the Day. Although 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), the fact is that on WhatsApp groups I had started with these posts three or four days before putting them up here on this blog. Today, I am going to merge these posts.

Our sixth post or the last post was titled ‘Raaga Based Song Of The Day #6’ and the song was a Lata Mangeshkar song from the 1959 Vijay Bhatt movie Goonj Uthi Shehnai: Tere sur aur mere geet. It is in Raag Bihag, 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 – Raag Todi’.

Thank you guys and gals, many of you have written back that you love the songs that I put up; reliving the era of forties to seventies when melody ruled.
You can’t call me biased simply because I keep returning to Raag Pahadi. The fact is that I am from the hills and Pahadi is not just a raag but also a dhun and hence can be easily recognised in such songs as Aaja re aaja o mere dilbar aaja, Chal udh ja re panchhi,   Chaudhvin ka chand ho, Ham jab simat ke aap ki baahon mein aa gaye, Kabhi kabhi mere dil mein, Mushkil hai bahut mushkil chahat ka bhula dena, Parbaton ke pedon par shaam ka basera hai, Raat ka sama jhume chandrama, Sawan ka mahina pawan kare sor, and Suhani raat dhal chuki.

Pahadi is the favourite raag of Music Director Khayyam (you will remember those enchanting Noorie songs). Pahadi also allures me because many songs have my favourite theme Chand in them.

Today’s value added learning is about Swar.

We already know Swar are seven notes of the Indian musical scale. On day #4 we learnt the complete seven note Sargam: Sa, Re, Ga, Ma, Pa, Dha, Ni and learnt their full forms: Shadj, Rishab, Gandhara, Madhyam, Pancham, Dhaivat, Nishad. The equivalent in Western Solfege are Do, Re, Mi, Fa, So, La Ti.

Swar are of four types: Shuddha, Achal, Komal and Teevra. Two of the Swar: Sa (Shadj) and Pa (Pancham) are fixed on the scale. Hence, these are called Achal or immovable. The other five Swar, ie, Re (Rishab), Ga (Gandhara), Ma (Madhyam), Dha (Dhaivat), and Ni (Nishad) are called Vikrut (Movable). In Vikrut Swar, Re (Rishab), Ga (Gandhara), Dha (Dhaivat) and Ni (Nishad) can be moved below their Shudha place on the scale. They are called Komal (Soft or Flat). In Indian musical notations, these are shown by a small horizontal line below the note. That leaves only Madhyam as a Vikrut (Movable) note that can be one note above the Shuddha Madhyam. It is called Teevra (Sharp). It is shown by a small vertical line above the note.

The swar (notes) are assembled to make the scales.  These scales are called Saptak.

The swar have special relationships with one another.  Although there are only seven notes they repeat in the upper and lower directions.  Therefore, when ascending the scale when one reaches Ni, then the scales starts over with Sa, Re, Ga, etc.  This is the upper register.  By the same token when one is descending the scale, it does not stop at Sa but continues down as Ni, Dha, etc.; this is the lower register.

Today’s is from 1951 movie Baazi, the second movie of Dev Anand and Chetan Anand’s company Navketan Films.

The movie has some of the best songs of Geeta Dutt, the movie director Guru Dutt’s wife (she was Geeta Roy at that time; she married him in 1953), eg, Dekh ke akeli mohe barkha sataye, and Tadbir se bighadi hui taqdir bana le.
This song that I have selected for you has been penned by Sahir Ludhianvi and composed by SD Burman. The duo did 17 movies together until after 1957 Guru Dutt movie Pyaasa when they fell apart.

If Guru Dutt and his would be wife Geeta were together in the movie, so were Dev Anand and Kalpana Kartik.

By the way Baazi was a crime thriller that Hindi films produced by dozens at that time, with story, screenplay and dialogues written by – hold your breath – Balraj Sahni!

Please enjoy Geeta Dutt sing in Raag Pahadi, Taal Dadra: Aaj ki raat piya dil na todo dil ki baat piya maan lo….

Aaj kii raat piyaa
aaj kii raat piyaa dil na to.Do
man ki baat piya maan lo
aaj ki raat piya

dil kii kahaanii apanii zubaanii tum ko sunaane aayii huu.N
aa.Nkho.n me.n leke sapane suhaane apanaa banaane aayii huu.N
cho.Dake saath piyaa muu.Nh na mo.Do
man kii baat piyaa maan lo
aaj kii raat piyaa

chandaa bhii dekhe taare bhii dekhe hamako gagan kii oT se
ghaayal kiyaa hai dil tumane meraa meeThi nazar kii choT se
thaam ke haath piyaa yuu.N na cho.Do
man kii baat piyaa maan lo
aaj kii raat piyaa

 

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. And today, on the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Tere sur aur mere geet….
Raag Bihag, Tal Dadra.

We have completed five days of Raaga Based Songs of the Day and hence it is not such a new series on this blog anymore. 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 fifth post or the last post was titled ‘Raaga Based Song Of The Day #5’ and the song was a Mohammad Rafi and Suman Kalyanpur song from the 1964 Hrishikesh Mukherjee movie Sanjh Aur Savera: Ajahun na aaye balma sawan beeta jaaye. It is in Raag Madhuvanti, 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 – Raag Yaman – Part -I’.

This is from the 1959 Vijay Bhatt movie Goonj Uthi Shehnai, seven years after he made Baiju Bawra, the only movie for which Naushad received his only Filmfare Award (though later he was conferred with the highest, ie, Dadasaheb Phalke Award. Just like Baiju Bawra, this film too had great songs such as Jivan mein piya tera saath rahe (Raag Gara), Keh do koi na kare yahan pyaar (Raag Jogiya), and Dil ka khilauna haay toot gaya (Bhairavi).

The song was put together by lyricist Bharat Vyas and composer Vasant Desai, a great team that gave us Ai malik tere bande hum.

Lata Mangeshkar sang it.

Raag Bihag belongs to Bilawal Thaat and is a late night song. It is a wedding raag since it is both romantic and celebratory.

Goonj Uthi Shehnai is the story of a Shehnai player Rajendra Kumar. The success of the movie made him very famous. Throughout the movie there is Shehnai recital by the greatest Shehnai player in India Ustaad Bismillah Khan who was conferred the highest award Bharat Ratna in 2001 together with Lata Mangeshkar, three years after MS Subbulakshmi and two years after Pandit Ravi Shankar.

What about our value added learning for today? Today, let’s briefly learn about the ‘mood’ of the raag that explains why Raag means colour, hue or tinge.

For instance, anybody who talks about Raag Darbari Kanada (a raag that Tansen brought from the South (Carnatic Music) to the North (Hindustani Music), into the court of Akbar in the 17th century) would know that the raag has a majestic touch about it, eg, Guzren hain aaj ishq mein ham us mukaam se, and Main nigaahen tere chehre se hataayun kaise?

There are the following eight Ras (sentiments) in the Raagas as given in Bharat Batya Shastra:

1. Shringaar (romantic).
2. Veer (heroic).
3. Hasya (comic).
4. Rudra (wrathful).
5. Bhayanak (terrifying).
6. Bibhatsa (odious).
7. Karuna (pathos).
8. Adhbhut (wondrous).

Later, another ras Shant (calm or peaceful) was added and the entire list was called Navras.

Naturally, Bihag belongs to Shringaar Ras.

Please enjoy Lata Mangeshkar sing in Raag Bihag, Tal Dadra: Tere sur aur mere geet…

Tere sur aur mere giit
tere sur aur mere giit
dono mil kar banegii priit
tere sur aur mere giit

(dha.Dakan me.n tuu hai samaayaa huaa
khayaalo.n me.n tuu hii tuu chhaayaa huaa) – 2
duniyaa ke mele me.n laakho.n mile
magar tuu hii tuu dil ko bhaayaa huaa
mai.n terii jogan tuu meraa miit
dono mil kar banegii priit
tere sur aur mere giit

(mujhako agar bhuul jaaoge tum, aa aa aaaa
mujhase agar duur jaoge tum ) – 2
merii muhabbat me.n taasiir hai, aa aa aaaa
merii muhabbat me.n taasiir hai
to khii.nch ke mere paas aaoge tum
dekho hamaarii hogii jiit
dono mil kar banegii priit
tere sur aur mere giit

P.S. Please enjoy Bismillah Khan’s Shehnai immediately after Lata’s alaap.

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, that is, today, we learnt about the Ras (sentiments) that Raagas evoke.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Ajahun na aaye balma…
Raag Madhuvanti Taal Kaherava

Fifth day of a still new series on this blog. The 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.

The second post was titled ‘Raaga Based Song Of The Day #2’ and the song was a Mohammad Rafi song from the 1971 Sushil Majumdar movie Laal Patthar: Unake khayal aaye to aate chale gaye. It is in Raag Gara, Tal Kaherava.

Similarly, the third post was titled ‘Raaga Based Song Of The Day #3’ and the song was, once again, a Mohammad Rafi song from the 1956 GP Sippy movie Chandrakanta: Maine chand aur sitaaron ki tamanna ki thi. It is in Raag Bhimpalasi, Tal Dadra.

The last post, that is the fourth post, was titled ‘Raaga Based Song Of The Day #4’ and the song was a Lata Mangeshkar song pictured on Asha Parekh from the 1960 Ramanand Sagar movie Ghunghat: Laage na mora jiya. It is in Raag Shivaranjani, 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 – Raag Pilu – Part -I’.

The song is from 1964 Hrishikesh Mukherjee movie Saanjh Aur Savera that had Guru Dutt and Meena Kumari in lead roles. The song is however pictured on Mehmood and Shubha Khote with Mohammad Rafi and Suman Kalyanpur singing for them.

Music Directors loved to compose for Mehmood and Shubha Khote and some really fine classical Raaga based songs are pictured on them. In the same year, for the 1964 movie Ziddi that is, SD Burman composed a song for them which is considered the purest example of Darbari Kanada in Hindi movies; the song was sung by Manna Dey and is: Pyaar ki aag mein tan badan jal gaya.

Madhuvanti belongs to Todi Thaat. As you must have guessed it Madhu means honey and the raag is as sweet as honey in sringar ras depicting love and romance. It is an evening raag like Yaman aur Kalyan.

About Taal Kaherava I have already told you. But since we are in early stages of our learning here it is again:

Kaherava is most popular 8 beat Tal in Hindustani music, with two vibhags of four matra each, first vibhag being clap, second being wave (khali), which makes it:

Clap, 2, 3, 4, wave, 2, 3, 4. Theka is 

Dhaa Ge Naa Tee Naa Ka Dhin Naa.

Before we take up the song, as always, let’s take up our value added learning. Let’s briefly take up North Indian or Hindustani music notation or swar lipi that dates back to – hold your breath – Vedic times. This is all the more surprising since Indian music is largely based on oral tradition.

Cut from Vedic period to modern times. The great musician Vishnu Digambar Paluskar (a contemporary of Bhatkhande), in early 20th century started the modern musical notation. It was a precise notational system but difficult. It was replaced by a much simpler system by Bhatkhande.

When it came to internationalization of North Indian Music, two approaches were used: one, the Western staff notation with its main disadvantage being that in this, music is tied to a specific key and so much is lost in translation.
The other is simply to use Bhatkhande’s notations in Roman script. Even though it too has aberrations but it is now widely accepted.

Coming back to Ajahun na aaye, it was composed by my favourite music duo Shankar Jaikishan who did wonders in Raaga based songs.

What about other popular songs in Raag Madhuvanti? Madan Mohan composed Rasm e ulfat ko nibhayen to nibhayen kaise in the same Raag and Taal.

Please enjoy in Raag Madhuvanti, Tal Kaherava, Mohammad Rafi and Suman Kalyanpur sing a composition of Shankar Jaikishan, penned by the great Hasrat Jaipuri and picturized on Mehmood and Shubha Khote: Ajahun na aaye balma sawan beeta jaaye..

Ajahu.N naa aae baalamaa, saavan biitaa jaae
haay re saavan biitaa jaae

nii.nd bhii a.nkhiyan dvaar na aae
tose milan kii aas bhii jaae
aaI bahaar khile phulavaa
more sapane kaun sajaae
aa … ajahu.n …

chaa.nd ko badaraa garavaa lagaae
aur bhii more man lalachaae
yaar hasiin gale lag jaa
morii umr guzaratii jaaeaa … ajahu.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, that is, today, we learnt about notations used in Indian classical music or simply Swar Lipi.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the day: Laage na mora jiya, Sajna nahin aaye.
Raag Shivaranjani, Tal Dadra.

Fourth day of a new series on this blog. The 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.

The second post was titled ‘Raaga Based Song Of The Day #2’ and the song was a Mohammad Rafi song from the 1971 Sushil Majumdar movie Laal Patthar: Unake khayal aaye to aate chale gaye. It is in Raag Gara, Tal Kaherava.

Similarly, the third post was titled ‘Raaga Based Song Of The Day #3’ and the song was, once again, a Mohammad Rafi song from the 1956 GP Sippy movie Chandrakanta: Maine chand aur sitaaron ki tamanna ki thi. It is in Raag Bhimpalasi, 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 – Raag Bhimpalasi – Part -I’.

Wherever I am, I am not too far from my favourite lyricist Shakeel Badayuni. His association with Music Director Ravi got him the first two of his hat-trick of Filmfare Awards.

The 1960 Ramanand Sagar movie Ghunghat was released the same year his first Filmfare Award movie was released (indeed before Chaudhvin Ka Chand). The movie started Bharat Bhushan, Bina Rai, Asha Parekh and Pradeep Kumar. The movie had another great Lata number: Meri chham chham baaje payaliya besides a number by Mohammad Rafi that has outstanding lyrics and rendition: Haay re insaan ki majburiyan.

Raag Shivaranjani is another Raag that belongs to Kafi Thaat. The mood of the raag is Karuna Rasa (pathos) that suited both Shakeel and Ravi very well. However, the MDs who had this as their favourite (both of them as opposed to Bhairavi that was favourite of Jaikishan only) were Shankar Jaikishan. Some of their popular numbers in this Raag are: Awaaz deke hamen tum bulao, Baharon phool barsao, Dil ke jharokhe mein tujhako bithakar, Jaane kahan gaye woh din, and O mere sanam.

Some of the popular numbers of other composers are: Banake kyun bigada re, Dhak dhak karne laga, Kahin deep jale kahin dil, Mere naina sawan bhaadon, Mujhe kuchh kehna hai, Rimjhim ke geet sawan gaaye, Sawan aaye sawan jaaye, Tere mere beech mein, and Yaad teri aayegi.

As far as Tal Dadra is concerned I have given you enough already.

What about learning for today? Yesterday we learnt the various characteristics of Raagas though some of you may have missed them since these were on this blog only and not on WhatsApp.

Today, we simply learn the full forms of Swar used in the Sargam  (solfege). By the way the word Sargam is taken from first four Swars: Sa, Re, Ga, Ma. There should be no shyness in admitting that most of us use only abbreviated Sa, Re, Ga, Ma, Pa, Dha, Ni and don’t know that these stand for Sadja, Rishabha, Gandhara, Madhyama, Panchama,  Dhaivata, and Nishada.

Please enjoy Lata sing in Raag Shivaranjani Tal Dadra: Lage na mora jiya sajna nahin aaye..
(If this reminds you of another one of Shakeel-Ravi-Lata number (in pathos) Lo aa gayi unaki yaad woh nahin aaye that is in Raag Asavari, Tal Kaherava.)

laage na moraa jiyaa, sajanaa nahii.n aaye, haay
laage na moraa jiyaa …

dekh liye piyA tere irAde, jhUTh nikale jA tere vAde
ta.Dapat-ta.Dapat yAd me.n terI, nain nIr bhar Ae, hAy
laage na moraa jiyaa …

tUne merI sudh bisarAI, bedardI tohe lAj na AI
bhUl gae kyA o harajAI, jAke des parAe, hAy
laage na moraa jiyaa …

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

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, that is, today we learnt about Sargam.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the day: Maine chand aur sitaron ki tamanna ki thi.
Raag Bhimpalasi, Tal Dadra.

Third day of a new series on this blog. The 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.

The second post was titled ‘Raaga Based Song Of The Day #2’ and the song was a Mohammad Rafi song from the 1971 Sushil Majumdar movie Laal Patthar: Unake khayal aaye to aate chale gaye. It is in Raag Gara, 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 – Raag Darbari Kanada – Part -I’.

Today we shall take up a song in Raag Bhimpalasi, Tal Dadra.

This means that we have third consecutive day of Mohammad Rafi songs. And why not? He was the greatest.

Raag Bhimpalasi also belongs to Kafi Thaat just like Raag Pilu (of whose song Dhadakte dil ki tamanna ho I had given earlier).

Some of the popular songs in Bhimpalasi are: Aa neele gagan tale, Ai ajnabee tu bhi kabhi, Aaj mere man mein sakhi, Dil ke tukade tukade, Eri main to prem diwani (Roshan’s and not Pt. Ravi Shankar’s), Khilate hain gul yahan, Kuchh dil ne kaha, Main garibon ka dil, Mere man ka bawra panchhi, Naghma O sher ki saugat, Nainon mein badra chhaye, O beqaraar dil, Samay O dheere chalo, Tere sadke balma, and Tum mile gul khile.

What is our learning about Raagas on this third day? I have already told you the basics of Raaga system, Thaats and Tal. Today we shall take up what makes up a Raag or the very basic elements of the Raag.

I have already told you that the word Raag literally means Colour or Tinge or Hue (Sanskrit word ‘Ranj’). Hence, a Raag does exactly what a colour does: it fills us with varied emotions.

• It is easy to make out that a Raag must have notes. These are called Swar.
• The number of notes used in a Raaga is called Jati.
• Raagas have structural modes. These are called Thaats. In Bhatkhande system that is followed for Hindustani music (North India) there are a total of ten Thaats to which almost all the Raagas belong.
• Raags have both ascending and descending structures. These are called Arohana and Avarohana respectively.
• It is easy to visualise that the Raagas won’t have notes or Swar of equal importance. The important ones are called Vadi and Samavadi.
• The characteristic movement of a Raag is caled its Pakad.

At this stage it is well to remember that Hindi films MDs were innovative and mixed and matched to get popular tunes. Hence, it is rarely that one can come across a pure Raaga based song.

Raaga mixing is not a simple and ad-hoc skill. One has to know the Raagas very well before attempting it. Raaga mixing has two elements: Teerobhav that translates into ‘conceal’ and Aavirbhav that means to ‘reveal’.

Hindi films MDs often mixed Raagas that would be looked down upon by the purists. However, such intermixing would create some very enchanting tunes. Indeed, some like SD Burman would create tunes that would appear to be Raaga based but are not; eg, Deewana mastana hua dil jaane kahan hoke bahaar aayi. As I said one has to know Raagas really well before attempting what MDs like SD Burman did.

Coming back to the Song of the Day, Bhimpalasi is a raag of the afternoon. Its mood is often an upbeat one (eg, Aaj mere man mein sakhi) before one gets into the sunset, evening and night raagas with their essential sadness.

Tal Dadra derives its name from Dadra style of singing prevalent in Dadra. It is a six or three beat Tal:
Clap, 2, 3, Wave, 2, 3; that is two vibhags of three matras each. The theka is:
Dhaa Dhin Naa Dhaa Tin Naa
I have already given you a song in this Tal and Raag Pahadi: Aaj ki raat piya dil na todo. Aaj mere man mein sakhi has similar tal or rhythm.

Today’s song is from 1956 movie Chandrakanta starring Bharat Bhushan and Bina Roy. Sahir Ludhianvi penned the song and N Dutta or Datta Naik (who did as many movies with Sahir as SD Burman did) composed it.

Please enjoy in Raag Bhimpalasi Tal Dadra: Maine chand aur sitaaron ki tamanna ki thi……

Maine chand aur sitaro ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
mujhko rato ki siyahi ke siva kuch na mila
maine chand aur sitaro ki tamanna ki thi

mai vo nagma hu jise pyar ki mahafil na mili
mai vo nagma hu jise pyar ki mahafil na mili
vo musafir hu jise koi bhi manzil na mili
vo musafir hu jise koi bhi manzil na mili
zakhm paye hai baharo ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi

kisi gesu kisi aanchal ka sahara bhi nahi
kisi gesu kisi aanchal ka sahara bhi nahi
raste me koi dhundhla sa sitara bhi nahi
raste me koi dhundhla sa sitara bhi nahi
meri nazro ne nazaro ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
mujhko rato ki siyahi ke siva kuch na mila
maine chand aur sitaro ki tamanna ki thi

meri raaho se juda ho gai raahe unki
meri raaho se juda ho gai raahe unki
aaj badli nazar aati hai nigahe unki
aaj badli nazar aati hai nigahe unki
jisse is dil ne saharo ki tamanna ki thi
maine chand aur sitaro ki tamana ki thi

pyar manga to sisakte huye araman mile
pyar manga to sisakte huye araman mile
chain chaha to umadate huye tufan mile
chain chaha to umadate huye tufan mile
dubte dil ne kinaro ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
mujhko rato ki syahi ke siva kuch na mila
maine chand aur sitaro ki tamanna ki thi

I hope by this time you are as hooked as I am on to learning about Raagas whilst being entertained with raaga based songs. We shall collectively enjoy and learn. I can assure you that the journey would become even more interesting.

Please stay tuned!