माँ के बगैर अब गीत भी न मुझको भाये,
पढ़ने लिखने में भी बस आंसू ही निकल आये,
कहने को तो उन्हीं के नाम का संगीत Fest है,
क्या करे कोई जब उनकी याद फिर सताये?
वह मासूम चेहरा, वह मंद सी मुस्कान,
वह बचपन मेरा, वह मीठे मीठे पकवान,
उन्ही की हौंसला अफ़ज़ाई के असर से,
एक दिन हो गया मैं काबिल और जवान I
उनके इशारे से, सब कुछ था मुमकिन,
माँ के संग कुछ भी न लगता था मुश्किल,
वह थी मेरी ताक़त, मेरी उम्मीद – ऐ – कामयाबी,
अब कौन जाने कैसे कटेगी ज़िन्दगी उन बिन?
एक दिन सबको जाना है, उनको भी था जाना,
मेरे पास Fest के लिए बहुत सुन्दर था गाना,
पर क्या करूँ, दिल कहीं है और जज़्बात कहीं और,
उन्ही के Fest में उनके बाद मुझे नहीं है आना I
एहसान मंद हूँ आपका, आपके बेनज़ीर प्यार के लिए,
माँ होती तो खुश होती मुहब्बत – ऐ – इज़हार के लिए,
मुझे माफ़ करना मैंने गीत नहीं अश्क़ ही दिए हैं,
पर दुआ ज़रूर करना मेरे दिल – ऐ – बेक़रार के लिए I
Maa ke bagair ab geet bhi naa mujhako bhaaye,
Padhne likhne mein bhi bas aansu hi nikal aaye,
Kehne ko to unhin ke naam ka sangeet Fest hai,
Kyaa kare koi jab unaki yaad phir sataaye?
Woh masoom chehra, woh mand si muskaan,
Woh bachpan mera, woh meethe meethe pakwaan,
Unhi ki haunsla afzayi ke asar se,
Ek din ho gaya main kaabil aur jawaan.
Unake ishaare se, sab kuchh tha mumkin,
Maa ke sang kuchh bhi na lagta tha mushkil,
Woh thi meri taaqat, meri umeed-e-kamyaabi,
Ab kaun jaane kaise kategi zindagi un bin?
Ek din sabako jaana tha, unako bhi tha jaana,
Mere paas Fest ke liye bahut sundar sa tha gaana,
Par kyaa karun, dil kahin hai aur jazbaat kahin aur,
Unake Fest mein unake baad mujhe nahin hai aana.
Ehsaan mand hoon aapka, aapke benazir pyaar ke liye,
Maa hoti to khush hoti muhabbat-e-izhaar ke liye,
Mujhe muaaf karna maine geet nahin ashq hi diye hain,
Par dua zaroor karna mere dil-e-beqraar ke liye.
It is sometimes expedient to take women and what they do, for granted. However, it is high time that I acknowledge the enormous contribution made by Lyn (short for Marilyn), my wife, in my life and especially during the last few days of my mother. She is silent but sincere and dedicated (In a chorus, in the church, for example, she shyly stands in the rear row). On the day when I took my mother to the hospital in Shimla, Lyn sat holding her hand throughout the night even when I slept for two to three hours.
Here are a few lines I have penned for her:
एक औरत को औरत का एहसास है,
चाहे वह बहु है, बेटी है या सास है,
मेरे दोस्त राज ने बहुत खूब लिखा है:
“लिन साथ है तो लगता है माँ हमारे पास है I”
चुप चाप, बिना शिकायत वह करती है काम,
उसके लिए ना कहीं चैन न कहीं आराम,
कई बार दबे पैर मैंने आके देखा है,
धीमे धीमे माँ का वह लेती है नाम I
कैसे कहे प्यार की क्या होती है जुबां,
कभी सास न थी, थी वह उसकी भी माँ,
बार बार यही सवाल आता होगा मन में:
“माँ के बगैर जायूँ मैं अब कहाँ ?”
पैंतीस साल पहले, वह आयी थी इस घर में,
दो परिवारों का प्यार मिला, दोनों मुट्ठी भर के,
पहले अपने, फिर अपनाये माँ – बाप बिछड़ गए,
अब ना इधर के रहे, न रहे उधर के I
माँ और लिन में रिश्ता था घने प्यार का,
दो जिस्म एक रूह से बने घर संसार का,
लिन को देखते माँ यूँ समझती थी,
जैसे चमन में फूल खिल उठा हो बहार का I
छिप गयी माँ, लिन, पर अभी भी है उनकी ख़ुश्बू,
इस घर में बसती है अभी भी उनकी रूह,
हम मिलके रखेंगे माँ को ज़िंदा,
यहीं तो बहा है उनका पसीना और लहू I
आपका एहसान मंद हूँ, आप हैं मेरी ज़िन्दगी में,
जैसे कोई इबादत गुज़ार हो खुदा की बंदगी में,
आप अपने आप भी सजदे के काबिल हो,
आपके आगे सर झकाता हूँ मैं शर्मिंदगी में I
11th Jul 2017: Lyn’s birthday and my dad’s (pic in the background) birth-anniversary. Less than a month before we lost our mother.
Ek aaurat ko aurat ka ehsaas hai,
Chaahe woh bahu hai, beti hai yaa saas hai,
Mere dost Raj ne kya khoob likha hai:
“Lyn saath hai to lagta hai maa hamare paas hai.”
Chup chaap bina shikayat woh karti hai kaam,
Uske liye naa kahin chain naa kahin aaraam,
Kayi baar dabe pair maine aake dekha hai,
Dheeme dheeme maa ka woh leti hai naam.
Kaise kahe pyaar ki kyaa hoti hai zuban,
Kabhi saas naa thi, thi woh usaki bhi maa,
Baar baar yahi sawaal aata hoga man mein:
“Maa ke bagair jaayun main ab kahan?”
Paintees saal pehle, woh aayi thi is ghar mein,
Do parivaaron ka pyaar mila dono muthhi bhar ke,
pehle apne, phir apnaaye maa-baap bichhad gaye,
Ab naa idhar ke rahe, naa rahe udhar ke.
Maa aur Lyn mein rishta tha ghane pyaar ka,
Do jism ek rooh se bane ghar sansaar ka,
Lyn ko dekhte maa youn samajhati thi,
Jaise chaman mein phool khil utha ho bahaar kaa.
Chhip gayi maa, Lyn, par abhi bhi hai unaki khushbu,
Is ghar mein basti hai abhi bhi unaki rooh,
Ham milake rakhenge maa ko zinda,
Yahin to baha hai unaka paseen aur lahu.
Aapka ehsaan mand hoon, aap hain meri zindagi mein,
Jaise koi ibaadat guzaar ho khuda ki bandagi mein,
Aaap apne aap bhi sajde ke kaabil ho,
Aapke aage sar jhukaata hoon main sharmindagi mein.
Some of you have asked me for the translation. So, here I go:
A woman feels for a woman,
She may be daughter-in-law, daughter or mother-in-law,
My friend Raj expressed himself well when he wrote:
“If Lyn is with us, we feel we have Ma with us.”
Silently, without complaints, she works,
For her, there is no relief nor rest,
Sometimes when I have tiptoed to her,
I have heard her whisper mom’s name.
How does one say, what is the language of love,
She was never her mother-in-law, she was indeed her mother,
Time and again, this thought must be in her mind:
“Now where do I go without Ma?”
Thirty-five years ago, she entered this home,
She was blessed to have abundant love from both families,
First her own, and then adopted parents departed,
Now neither hers nor mine are anymore.
Ma and Lyn had relationship of deep love,
A home-world made up of two bodies but one soul,
Looking at Lyn, Ma used to feel,
That a spring-flower had blossomed in her garden.
Ma has hidden, Lyn, but her fragrance still abounds,
Her soul still lives in this house,
You and I, we shall together keep Ma alive,
Here only she has shed her sweat and blood.
I am grateful to you, you are in my life,
Like some worshipper is there in worship of God,
You yourself are worthy of obeisance,
Hence, I bow my head to you in humility.
Raaga Based Song of the Day: O door ke musaafir hamko bhi saath le le re, ham reh gaye akele…. Raag Pahadi, Tal Kaherava
I gave you the last raaga based song of the day on 31st Jul 17, which happened to be on the death anniversary of the greatest Indian playback singer: Mohammad Rafi (Please read: ‘Raaga Based Song Of The Day #54’). I wasn’t able to put up anything for the last three weeks because my mother – hale and hearty – suddenly took ill and passed away on the morning of 09 Aug 17. On Sunday, the 20th Aug 17, we had Antim Ardaas (Farewell Prayer) for her (Please read: ‘Mom’s Antim Ardaas‘) and now I am back with you with the raaga based songs of the day. The first one is a tribute to her. It happens to have all my favourites: my favourite Raag Pahadi and my favourite quartet: Shakeel Badayuni as Lyricist, Naushad Ali as Composer and Music Director, Mohammad Rafi as Singer, and finally Dilip Kumar as Actor (Please go through: ‘The Best Of Old Hindi Songs: Rafi, Shakeel, Naushad and Dilip Kumar Together‘).
I physically lost my mother. However, I rediscovered my younger brother JP Singh during this period. He is the Chair & Professor of Cultural and Political Economy and Director, Institute of International Cultural Relations (IICR) at the University of Edinburgh. During his childhood, I was not just an elder brother to him but a guardian. I used to make up and sing lullabies to him, the favourite one being:
My redicovery of him included learning about his abiding interest in old Hindi movies and songs. After the Antim Ardaas, on the night of 20th/21st Aug, we sat together to listen to songs and ghazals of Shakeel Badayuni. JP brought out that he had done eight years research on Shakeel’s song in Mughal-e-Azam that resulted in his most widely read piece on the song ‘Pyar kiya to darna kya’:
Of course, he is an academician and hence his piece has superb erudition about it as compared to any of my ordinary and somewhat infantile efforts.
As you are aware, on 31st Jul, when I put up the last raaga based song: Yaad na jaaye beete dilon ki in Raag Kirwani, Tal Kaherava, we completed fifty-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.
In the last fifty-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, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi, Kalavati and Hamir. The only three raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag and Raag Kirwani. That makes a total of 49 raagas so far; today’s one too I am repeating: Raag Pahadi.
Today, I give you a song, once again, in Raag Pahadi, Tal Kaherava, one of the best of Mohammad Rafi.
However, first, lets take up the value added learning of today. Today, we shall learn about Harmonium.
Harmonium is a popular insterument in many forms of Indian music. Although developed in the West (Christian Gottlieb Kratzenstein (1723–1795), professor of physiology at Copenhagen, was credited with the first free-reed instrument made in the Western world), Harmonium, the way it was developed in the Indian sub-continet, became a unique instrument with its drone stops and scale changing mechanism. It also became hand-held after Dwarkanath Ghose of Dwarkin company modified the Western and cumbersome harmony flute that was pedal pumped. Indeed, in many Indian movies, harmonium used to be played with hands and hung around the neck (eg, in the 1956 Raj Khosla movie C.I.D.’s song ‘Leke pehla pehla pyaar’.
Though Harmonium became an integral part of Indian music scenario, by early 20th century, in a move to do away with unwanted foreign objects, harmonium was looked down upon. It had limitations to be used for classical raagas such as inability to produce meend (slides between notes) and its inability to be tuned during a performance.
Hence, Harmonium was banned from All India Radio from 1940 to 1971; a ban still stands on harmonium solos. On the other hand, many of the harmonium’s qualities suited it very well for the newly reformed classical music of the early 20th century: it is easy for amateurs to learn; it supports group singing and large voice classes; it provides a template for standardized raga grammar; it is loud enough to provide a drone in a concert hall. For these reasons, it has become the instrument of choice for accompanying most North Indian classical vocal genres, with top vocalists (e.g., Bhimsen Joshi) routinely using harmonium accompaniment in their concerts. However, it is still despised by some connoisseurs of Indian music, who prefer the sarangi as an accompanying instrument for khayal singing.
For Hindu and Sikh bhajans and kirtan, however, harmonium is an instrument of choice. It is also instrument of choice for qawwalis.
As I mentioned, today’s song is composed in Raag Pahadi, Tal Kaherava.
Raag Pahadi is the raag of my place in Himalayas and I have already given you four other songs in this raag: Aaj ki raat piya dil na todo (Tal Dadra) on the seventh day, Zara sun haseena ai nazneen (Tal Rupaktal) on the eighth day, Chal udd ja re panchhi (Tal Kaherava) on the thirty-second day, and Sawan ka mahina pawan kare sor (Tal Kaherava) on the forty-sixth day.
If you recall, I had told you that Pahadi is as much a raag as a dhun. It belongs to Bilawal Thaat and Audhav-Audhav Jati, that is six each notes in Aaroha and Avroha. It is normally played in the first prahar of the night.
Why do I have this urge to get back to Pahadi? On the tenth day, I had covered for you, the sources of names of raagas and mentioned that raagas like Marwa, Jaunpuri, Mand and Pahadi were named after places. Pahadi is not a place, in the same manner, as Marwa, Mand and Jaunpur. You should expect Pahadi anywhere you see pahad or hills but actually the name is from hills in Himalayas, my home place. It is a light raaga and is more akin to being a dhun.
Pahadi is a very beautiful raag. Soundofindia.com describes it beautifully: the raga is like a lover, unruffled in union, serene in separation, powerful enough to achieve eternal union, but resigned to the painful parting ordained by destiny.
All raagas are supposed to transport you to the mood of the raaga (bhaav). But, none other does it better than Pahadi: you can’t escape the freshness, quiet, wetness, echoing effect and palpable romance of the hills. It is as if the raaga says to you: ‘Love is in the air’.
Today, of course, I take recourse to being resigned to the painful parting ordained by destiny, another beautiful facet of Pahadi and that too related to my late mother, the one person whose love, devotion and spirit have guided me throughout my life and particularly in the last 33 years after the premature demise of my father in a jeep accident on 01 May 1984 when he was just 56 years old.
Many people have mentioned that mine is an extraordinary attachment. Indeed, in addition to my total love for my mother and father, I can never forget that I was made to live my life in this manner:
My dad had taken loans to start a mushroom project (he was the pioneer in button mushroom growing in India in an instituitionalised way). However, he died before the project became viable. My mother and I struggled to pay back loans. Every bit of my money, leave and effort went into repaying the loans and running the project. I was in active service of the Indian Navy and was on the verge of being sent on deputation abroad. I sought a transfer on compassionate grounds closer home to enable me to do the above.
Suddenly, because of above, from middle-class comfort my mother and I found ourselves in abject penury. As an example, I used to go riding a bicycle to Solan and back in the hills (a distance of 32 kms) to exchange an empty cooking-gas cylinder for a filled one rather than having to pay the bus-fare.
One day we faced the ire of a creditor to repay him the money due to him for having supplied cotton wool for capping the mushroom spawn bottles. My mom and I sold off old newspapers, bottles and other junk to repay him.
Being in the Navy, I was invariably posted to the coastal cities whereas my mom was in a village in the hills and yet, my mom proudly told all and sundry that should in case she wanted me, I would be home within hours. Indeed, in May 2006, I went back to Mumbai from Kandaghat after spending my full leave and next day my mom phoned me that those who had encroached on our land (finding an old widow alone) had broken through the fence I had erected during my leave to make my mom secure. By evening I was back with her with advance leave of next year!
And all the while when my mom suffered from various ailments, I myself suffered from a permanent and debilitating one called Psoriatic Arthiritis and managed both her as well as my own condition.
Due to the encroachment and follow up actions, we had various court-cases pending against us and I attended to them all. Amongst other things, I had to face physical assault on me and warrants of arrest.
And that’s why I find this song so apt, particularly the following lines:
Tuune vo de diyaa Gam, bemaut mar gaye ham
Dil uTh gayaa jahaa.N se, le chal hame.n yahaa.N se
Le chal hame.n yahaa.N se
Kis kaam kii ye duniyaa jo zi.ndagii se khele re
Ham ko bhii saath le le, ham rah gaye akele
(You gave that sorrow, I died without death,
I am heart-broken in this world, take me away from here,
Take me away from here,
Of what use is this world, the one who plays with one’s life?
Take me with you and go, I am left alone)
Really, I couldn’t have thought of a better song to express my feelings.
Mom, after you’ve gone, I am lonely and alone, Many are ready to cast the first stone, To find faults with all that I went through, In the last 33 years whilst being with you, Smilingly, silently, without sigh and groan.
There were times when we had no one to turn to, It was sadly and miserably just me and you, We provided succour and strength to each other, I, your son, and you, my mother, And we made a world that was brave and new.
Your child-like smile, I shall forever recall, That encouraged me when we were up against the wall, You taught me to fly, And never to cry, To get up and keep moving, after each fall.
I thought of you as my strength and motivation, In times of need, that silent determination, To do the right, whatever be the cost, To have faith in God and never be lost, In the quagmire of intense vilification.
Now, I find myself helpless and disconsolate, There is emptiness within and my heart is desolate, I wish I could hold your hand, And go with you journeying to that land, That has no sadness, no mourning, no hate.
Don’t abandon me, mom, I need you still, We still need to climb many a hill, I look up to you as divine light, That shines through the darkest night, And makes stronger my ardour and my will.
In sadness or joys, Pahadi is a very popular raaga for composing soings in Hindi movies. Some of the songs composed in this raaga are:
Parbaton Ke Pedon Par
Chahoonga Main Tujhe
Baharon Mera Jeevan
Jawa hai Muhobbat
Chhod Babul Ka Ghar
Chaudhavi Ka Chand Ho
Tujhko Pukare Mera
Door Koi Gaye
Karvatein Badalte Rahe
Meri Aankhon Mein
Suhani Raat Dhal
Tod Diya Dil Mera
Isharon Isharon Mein
Jane Kya Dhoonhati
Tum Apna Ranj-o-Gam
Apne Aap Raaton Mein
Patta Patta Boota Boota
Kahan Hai Tu
Tum Na Aaye Sanam
Deewana Mujhsa Nahin
Sun Mere Saajana
Saeeyan Bina Ghar
Piya Bin Jiya
Mehelon Ne Chheen
Dil Ne Phir
Aaja Re
Chhoomkar Raat Sulaye
Kaheen Ek Masoom
Aawaz De Kahan Hai
Mere Mundere Na Bol
Aao Mil Jaayen
Saanjh Bhayee Nahin Aaye
Neela Aasma So gaya
Ih hawaon Mein
Main Tulsi
Jeevan Se Na Haar
Main Teri Chhoti Behena
Kabhi To Milegi Bahaaron Ki
Kanchi Re Kanchi Re
Tum Jahan Ho
Shagun
Dosti
Aakhri Khat
Anmol Ghadi
Babul
Chaudhavi Ka Chand
Neel Kamal
Baiju Bawara
Aapki Kasam
Barsaat
Dulari
Andaaz
Kashmir Ki Kali
Shola Aur Shabnam
Shagun
Shankar Husain
Ek Nazar
Afsana
Bhootnath
Teesari Manzil
Goonj Uthi Sehnaibr
Aangan Ki Kali
Dasi
Jabak
Dil Ne Phir Yaad Kiya
Noorie
Razia Sultan
Shankar Husain
Anmol Ghadi
Parwana
Prem Geet
Shama Parwana
Silsila
Gumrah
Main Tulsi Tere Aangan Ki
Door Ka Rahi
Soutan
Aarti
Hare Rama Hare Krishna
Road To Sikkim
Rafi, Suman Kalyanpur
Rafi
Lata
Noorjahan
Shamshad
Rafi
Rafi
Shamshad, Lata, Rafi
Kishore, Lata
Lata
Rafi
Lata
Rafi and Asha
Rafi
Jagjeet Kaur
Lata
Lata, Rafi
Lata
Lata
Rafi
Lata, Rafi
Lata, Bhupendra
Bhupendra
Lata, Mukesh
Rafi, Suman, Mukesh
Lata, Nitin Mukesh
Lata
Rafi
Noorejahan, Surendra
Suraiya
Suresh Wadekar, Anuradha
Nirmala Devi
Lata & Amitabh
Mahendra, Asha
Lata
Kishore Kumar
Lata
Lata
Kishore, Lata
Mukesh
As far as Tal Kaherava is concerned, I have already told you enough about this most popular Tal.
I am the one who has taken this song in the memory of and sadness for my mother. Originally, it was sung by Mohammad Rafi for Dilip Kumar in the 1955 music director Naushad‘s production Udan Khatola that was directed by SU Sunny and starred Nimmi opposite Dilip Kumar.
Please enjoy in Raag Pahadi, Tal Kaherava:O door ke musaafir hamko bhi saath le le re, ham reh gaye akele….
Chale aaj tum jahaa.N se, huii zi.ndagii paraayii
Tumhe.n mil gayaa Thikaanaa, hame.n maut bhii na aayii
O duur ke musaafir ham ko bhii saath le le re
Ham ko bhii saath le le
Ham rah gaye akele
Tuune vo de diyaa Gam, bemaut mar gaye ham
Dil uTh gayaa jahaa.N se, le chal hame.n yahaa.N se
Le chal hame.n yahaa.N se
Kis kaam kii ye duniyaa jo zi.ndagii se khele re
Ham ko bhii saath le le, ham rah gaye akele
Suunii hai.n dil kii raahe.n, khaamosh hai.n nigaahe.n
Naakaam hasarato.n kaa uThane ko hai janaazaa
UThane ko hai janaazaa
Chaaro.n taraf lage hai.n barabaadiyo.n ke mele re
Ham ko bhii saath le le, ham rah gaye akele
O duur ke musaafir ham ko bhii saath le le re
Ham ko bhii saath le le
Ham rah gaye akele
We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:
On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On thesixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
On the thirty-fourth day, we learnt about Tarana.
On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
On the thirty-sixth day, we learnt about Tabla.
On the thirty-seventh day, we learnt about Kirtan.
On the thirty-eighth day, we learnt about Pakhawaj.
On the thirty-ninth day, we learnt about Hori.
On the fortieth day, we learnt about Dadra.
On the forty-first day, we learnt about Kajri.
On the forty-second day, we learnt about Chaiti.
On the forty-third day, we learnt about Sarangi.
On the forty-fourth day, we learnt about Shehnai.
On the forty-fifth day, we learnt about Sarod.
On the forty-sixth day, we learnt about Bansuri.
On the forty-seventh day, we learnt about Ektal and Tanpura.
On the forty-eighth day, we learnt about Veena.
On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
On the fiftieth day, we learnt about Dilruba/Esraj.
On the fifty-first day, we learnt about Jaltarang.
On the fifty-second day we learnt about Qawwali.
On the fifty-third day, we learnt about Sitar.
On the fifty-fourth day, we learnt about Surbahar.
And today, on the fifty-fifth day, we learnt about Harmonium.
There is much more still to be learnt and enjoyed.
My mom’s Bhog (Antim Ardas) was supposed to be on the thirteenth day (tehranvi). However, that happened to be on Monday, the 21st Aug, and I thought of the convenience of family and friends and had it on Sunday, the 20th Aug.
On the Friday, 18th Aug 17, we started with the Akhand Path (continuous reading from the Sri Guru Granth Sahib) for her at about 1141 hours. My mamaji (mom’s younger brother) came from NOIDA to hold my hand since Akhand Path requires enormous support effort. We did duties in rotation and barely had any sleep during the 48 hours of Akhand Path. Mamaji’s effort is many times more appreciable since he left in Delhi an ailing wife requiring urgent medical treatment. Also, for most people, the 75th Birthday is an important milestone of life. Mamaji’s happened to be on the 18th and coincided with the start of the Akhand Path for my mom and his sister. Much against his strident objections, we had a cake made for him and celebrated life as much as we bemoaned death.
My brother-in-law serving the lunch prepared by my sister to the Bhaijis
My sister Mona and brother-in-law Maharaj could make it before lunch on the next day since their elder son got admitted in the Command Hospital at Chandi Mandir. My sister is simply the best cook and hostess that I have come across. On the first day and night we had managed by ourselves. However, on the second day, she brought enormous and mouth-watering lunch for the Gurudwara Bhaijis since they have only suchcha khana made in desi ghee. Post that, she got busy preparing dinner for them.
Viru, my course-mate arrived from Gurgaon on Saturday evening to attend mom’s Antim Ardaas. Very thoughtfully she brought for the memory of my mom, a brass embossed and beautifully framed picture of the Golden Temple, Amritsar. He didn’t just buy it; he got it made on the way at Ambala and hence, even though he started from Gurgaon at 5 AM, he reached in the evening only.
JP, my younger brother, arrived from Edinburg (Scotland) for the second time in two weeks, for the bhog in the wee hours of Sunday morning. Whilst waiting for me and doing duty at the Akhand paath, I penned a few lines of Punjabi poetry as tribute to my mom. Later, at my mother’s Antime Ardas, at about 1230 hours, I, on behalf of my sister Mona, broher JP and our families, thanked the gathering for attending the Bhog for my mother, recalled her essential attributes and contribution and finally read out the poem I had penned just a few hours back. My coursemate Viru recorded the entire poem and I am putting up the video shot by him.
(Mata ji, eh saadi haalat hai,
tuhaade hun jaan tonh baad,
Dil wich ik udaasi hai,
Labaan te hai fariyaad.
Tussi jeevan ch jo kuchh keeta hai,
Amar rahegi tuhaadi yaad.
Saadi zindagi ch hardam rahega,
tuhaade pyaar da swaad.
Tussi aurat nahin ik devi ho,
Saanu miliya si tuhaada ashirwaad.
Faqr ate maan hai saanu is gal da,
Aseen haan ik devi di aulaad.
Eh jehdi jagah (Whispering Winds, Kandaghat ) tussi kayam keeti hai,
Hamesha rahegi eh abaad.
Dharam imaan di tussi moorat si,
Athhven paatshah ate tussi ho zindabaad.
Aapne bachchyan nu tussi chhad ke chale gaye,
Saanu changa nahin lagda aap ji tonh baad.
Jadd tussi bhi kisi tonh darde na si,
Phir kyun na hoyiye aseen bhi dar tonh azaad?
Saadh sangat je, chalo us maarg te chaliye,
Jis de si saade maa ji buniyaad.
Take hauli hauli is duniya wich,
Wadadi rahe changiyayi di tadaad.
We soon had the family and friends arriving and we had the Samapati (End) of Akhand Paath at about 11 AM. We then shifted the Sri Guru Granth Sahib ji into the drawing-room when more and more people arrived:
All this while, I kept thinking how much mom would have enjoyed the family get-together if she was alive; she would have walked on clouds. Friends and relatives arriving at Whispering Winds, Kandaghat, always put her in the best mood; she actually enjoyed looking after and being with people.
The kirtan for her started and I think the Bhaijis did a very good job of it. It was dignified, on the sober and quiet side, melodious and meaningful; the kind that mom would have enjoyed thoroughly. Said Viru about it later:
“…..I have to say that I was immensely touched by the intensity and ‘fervour’ with which the family and you in particular turned the antim farewell for your dear mother into a remarkable ‘event’ that all (even the Irish) (the night before, Viru was telling me about the Irish Wake) could draw a lesson (I certainly have). from as to what a loving (albeit rather emotional) son must do for his parents. But, it’s like the chicken and the egg story…which one arrived first….love and emotions are also inextricably linked……take care and fair breeze through ‘Whispering Winds’.”
There were two only tributes: one was by me on behalf of the larger family. Amongst other things, I brought out how my mom was only one of my maternal grandparents children who was named after a guru: in her case, the eighth guru Sri Harkrishan ji. He was known as the Bal Guru since he took over at the age of just 5 years and died before the age of 8 years when he caught small-pox whilst looking after people in Delhi (at the spot whereat the present Bangla Sahib gurudwara stands) suffering from Cholera and small-pox, unmindful of his own safety. My mom, I brought out, had some of those virtues. I also brought out how after my dad’s death on 01 May 1984, mom lived in Whispering Winds, Kandaghat, like a sherni (lioness), not at all scared of staying alone or facing all the challenges when all the cards were stacked up against her.
Then there was tribute by Shri Mohan Goel, one of the locals from Kandaghat. Here is what he wrote and sang for her:
Most of our relatives could make it for the Bhog. Mr HS Pannu, my boss at my last job at Reliance, arrived all the way from Mumbai to attend the Bhog. Amongst the friends who visited, a number of friends from my music group Yaad Kiya Dil Ne visited: Viapn Kohli, Suman Saxena, Rakesh Aman Bhatia, Anindya Chatterjee and his wife Deepa and Jaswant Singh Lagwal and his wife Kavita. Just four months ago, mom was there attending the YKDN annual meet and now they were here at her last farewell. JP’s partner Chuck and friend David sent two of the prettiest bouquets of flowers for mom.
I was particularly touched by Mamaji’s daughter Amandeep (Mitu) arriving all the way from Delhi, by car, totally alone. From her childhood days she is polio stricken but that didn’t deter her from attending her loving masiji’s bhog.
We had the langar after the bhog and then one by one everyone left. At night, just the three of us: my brother JP, my wife Lyn and I were at home. We would, of course, never be alone or lonely since my mother’s memories would always keep us company.
Antim Ardaas? For us, it is the beginning of another journey……a very intimate one indeed.
Now that, our mother, you reside with God,
And physically are a world apart,
There are voids in our home and life,
And an unfillable hole in our heart.
‘Whispering Winds‘ was made with your blood & sweat,
You made it a heaven on earth;
Not just we, your children, family & friends,
Even gods and goddesses know your worth.
So, adieu, mom, in the physical sense only,
You will always be there in our thought;
We promise you that the world you made,
Shall never be reduced to nought.
May you guide us with your kind hand,
From your seat in the Heaven above,
May gods shower on you now and always,
Their special care, peace and love.
Raaga Based Song of the Day: Jaayen to jaayen kahan… Raag Jaunpuri, Tal Kaherava
We have completed twenty-seven days of Raaga Based Songs of the Day. Our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.
Our twenty-seventh post was titled ‘Raaga Based Song Of The Day #27’ and the song was a Lata Mangeshkar song from the 1953 Nandlal Jaswantlal movie Anarkali: Muhabbat aisi dhadkan hai. It is in Raag Rageshri, Tal Kaherava.
In the last twenty-seven days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi and Rageshri.
Today, I give you a song in Raag Jaunpuri, Tal Kaherava.
However, first, lets take up the value added learning of today. Today, we shall learn about the History of Hindustani Music that we have been taking up for the last twenty-seven days:
Hindustani Music – also known as North Indian Classical Music or Shastriya Sangeet – started evolving sometime in the 12th century. Below, you would read about the person who devised Raag Jaunpuri: Amir Khusrow, and then you would understand how apt it is today to understand the history of Hindustani music.
Many of my friends routinely talk about how some of the best Hindi bhajans have been put together by Muslims. That’s exactly the beauty of Hindustani Music. It is because the tradition is pegged to Sufi music in India that was free from communal parochialism. The Hindu experts in music were called Pandits and Muslims as Ustaad and it was common for both of them to sing praises of one another’s deities.
Sufi composers like Amir Khusrow not just fused this music with Persian music but were able to bring into the courts of mughal emperors. Tansen, as we already know, was one of the navratnas in the court of Emperor Akbar and it was all because of his skills at music and raagas.
The fusion of Hindu music styles with Muslim in the courts of mughal rulers helped evolve various new forms or genre’s of music called Qawwali and Khayaal (Amir Khusrow has been credited with having devised Sufi Qawwali which fuses Persian melody and beat on a dhrupad like structure. A number of instruments (such as the sitar) were also introduced in his time).
All this while, the Hindu part of the fusion that finally emerged as Hindustani Music was in Sanskrit tradition. However, Guru Nanak (the father of Sikh religion) and Kabir (in the Bhakti Movement) used the popular language of the masses to popularise Hindustani music. And that’s why a study of Hindustani Music is not complete unless one understands about the Raag, Ragini, Putra system as enumerated in Sri Guru Granth Sahib, the holy book of the Sikhs. Jayadeva (11th century), Vidyapati (fl. 1375 CE), Chandidas (14th–15th century), and Meerabai (1555–1603 CE) were all part of the Bhakti Movement to which Guru Nanak and Kabir belonged and they were responsible for consolidating Hindustani Music.
Gradually, as I told you in one of my earlier posts, from the courts the Hindustani music came down to Gharanas. For example, in the late 15th century to early 16th century, Raja Mansingh Tomar of Gwalior encouraged shift from Sanskrit to Hindi as the language of classical songs. Many of our rulers were well versed in music (they used to be trained alike in fighting skills and music in Guru-Shshya tradition). Raja Mansingh was one of them. One of the musical forms called Dhrupad developed during his times. And, now you would recall why I penned Dhrupad to Gwalior Gharana when I told you about Gharanas (Please read: ‘Raaga Based Song Of The Day #17’).
The Nawab of Awadh, Wajid Ali Shah, is another name that springs to mind. His reign was between 13 February 1847 and 11 February 1856 and he was an exponent of Thumri. I have already given you his most famous composition in Raag Bhairavi (albeit sung by KL Saigal): Babul mora naihar chhooto hi jaaye when the British exiled him from his favourite city of Lucknow (Please read: ‘Raaga Based Song Of The Day #11’).
Today’s song, as I have already told you, is in Raag Jaunpuri, Tal Kaherava.
In our tenth post, that is, ‘Raaga Based Song Of The Day #10’, I had told you about the sources of name of Raagas; eg, deities: Kedar, Bhairavi, Gouri, Durga; and Tribal melodies: Ahir, Asavari, Gujari. And then came to the raagas that have been named after names of regions such as Pahadi (my place), Marwa, Bhupali and Jaunpuri.
Guess what? Jaunpuri (name of the place in Saurashtra as well as in Uttar Pradesh) belongs to the Asavari Thaat. Many experts feel that Jaunpuri is the same as Shuddha Rishab Asavari. What are the attributes of Asavari Thaat? It is full of tyaag (sacrifice) and renunciation and pathos. It is a late morning raaga.
Who was the first one to devise this raaga? Well, the raaga has been attributed to Amir Khusrow in the reign of Emperor Akbar.One of the benefits of Raag Jaunpuri is believed to be a cure from headache (as claimed by Pandit Jasraj).
Nizamuddin Auliya listening to Amir Khusrow (Pic courtsey: TheSufi.com)(Poster courtesy: eternalcinema.com)
The song is from the 1954 Dev Anand production (Navketan Films) Taxi Driver directed by his brother Chetan Anand and starring Dev Anand, his wife Kalpana Kartik(they secretly got married on the sets of the movie) and Johnny Walker. Lyrics of the songs of the movie were penned by Sahir Ludhianvi and since it was pre-1957 Pyaasa days, the songs were composed by SD Burman.
The song was sung by Talat Mahmood too. However, I am giving you the version by my favourite female singer: Lata Mangeshkar.
Please enjoy: Jaayen to jaayen kahan…
Jaaye to jaaye kahan
jaaye to jaaye kahan
samjhega kaun yahan
dard bhare dil ki juban
jaaye to jaaye kahan
samjhega kaun yahan
dard bhare dil ki juban
jaaye to jaaye kahan
O jaane waale daaman chhudake
mushkil hain jeena, tujhko bhula ke
o jaane waale
o jaane waale daaman chhudake
mushkil hain jeena, tujhko bhula ke
isse to hain, maut aasan
jaaye to jaaye kahan
samjhega kaun yahan
dard bhare dil ki juban
jaaye to jaaye kahan
Seene mein shole, saanso mein aahe
is zindagi se kaise nibhaye
seene mein shole
seene mein shole, saanso mein aahe
is zindagi se kaise nibhaye
har jajba hain veeran
jaaye to jaaye kahan
samjhega kaun yahan
dard bhare dil ki juban
jaaye to jaaye kahan
We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:
On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On thesixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
And today, on the twenty-eighth day, we learnt about the history of the Hindustani Music.
There is much more still to be learnt and enjoyed.
Raaga Based Song of the Day: Bainya na dharo, O balma… Raag Charukesi, Tal Punjabi Theka (Sitarkhani), Kaherava
We have completed twelve 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 twelfth post or the last post was titled ‘Raaga Based Song Of The Day #11’ 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.
Charukesi or Charukeshi is a raaga of Carnatic music. The raaga is called Tarangini in Muthuswami Dikshitar school; he was an early 19th century poet and composer.y
Charukesi is also very popular in Hindustani music. The mood of the raag is pathos (karuna) and devotion. Some of Hindi films most beautiful songs have been composed in it, such as Aaj dil pe koi zor chalta nahin (that was deleted from some versions of the movie Milan), Akele hain chale aao kahan ho, Bedardi balma tujhko mera man yaad karta hai, Bekhudi mein sanam, Chhod de saari duniya kisi ke liye, Ek tu jo mila, Kisi raah pe kisi mod par, Koi jab tumhaara hriday tod de, Shyam teri bansi pukaare Radha naam, Teri umeed tera intezar and karte hain.
Value added learning for today is about this new Tal we are learning:
I have told you adequately about Tal Kaherava. Today I shall cover with you Tal Punjabi Theka or Sitarkhani.
Sitarkhani takes it’s name from Siddhar-Khan-e-Theka, which means a grove invented by Siddhar Khan, widely credited with invention of Tabla.
It is a Tal of 16 beats. Some consider it as a variation of Tintal in which two dhins in the middle of each vibhag have been replaced by a single dhin: Dhaa Dhin Dhaa, Dhaa Dhin Dhaa, Dhaa Tin Naa, Naa Dhin Dhaa Clap, 2, 3, 4, Clap 2, 3, 4, Wave, 2, 3, 4, Clap, 2, 3, 4
I feel that the best rendition of Charukesi in a Hindi films is by Lata Mangeshkar in the 1970 Rajinder Singh Bedi movie Dastak (the Knock) that starred Sanjeev Kumar and Rehana Sultan. The movie has some of the best lyrics by the only Dadasaheb Phalke Award Winner Lyricist Majrooh Sultanpuri; eg, this song, Mai ri main kase kahun, and Hum hain mata-e-kuucha-o-bazaar ki tarah.
A scene from the 1960 movie Dastak starring Sanjeev Kumar and Rehana Sultan (Picture courtesy: Rediff.com)
And as far as the composer Madan Mohan is concerned, what can you stay about him? I feel that he was the best in composing songs with poignancy and even melancholy.
Ladies and gentlemen, please enjoy: Bainya na dharo, O balma…
Bai.nyaa na dharo, o balamaa,
bai.nyaa na dharo, o balamaa
bai.nyaa na dharo, o balamaa
na karo mose raa… r
bai.nyaa na dharo
Dhalegii chunariyaa, tan se
Dhalegii chunariyaa, tan se … tan se …
aa aa aa…
Dhalegii chunariyaa, tan se
ha.Nse.ngii re chU.Diyaa.N chhan se
ha.Nse.ngii re chU.Diyaa.N chhan se … chhan se chhan se
ha.Nse.ngii re chU.Diyaa.N chhan se
machegii jhanakaa … r …
bai.nyaa na dharo … na dharo … na dharo, o balamaa
Mohe chho.Do hAy … sajanaa …
mohe chho.Do hAy … mohe chho.Do
mohe … chho.Do … chho.Do sajanaa …
mohe chho.Do hAy sajanaa …
diyaa siis uThaaye … sajanaa
diyaa siis uThaaye … uThaaye sajanaa …
rahaa mohe nihaa … r
bai.nyaa na dharo … na dharo … na dharo, o balamaa
Mai.n to aap bahakii bahakii
mai.n to aap bahakii bahakii bahakii, aa … aa … aa
mai.n to aap bahakii bahakii
chaluu.N jaise mahakii mahakii
chaluu.N jaise mahakii … mahakii
chaluu.N jaise mahakii
chameliyaa kii Daa … ra
bai.nyaa na dharo, o balamaa
na karo mose raa … ra
bai.nyaa na dharo … na dharo … na dharo, o balamaa
We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:
On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
On the twelfth day, we learnt about Khammaj Thaat.
And today, on the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
There is much more still to be learnt and enjoyed.
Raaga Based Song of the Day:Zara sun haseena ai nazneen…
Raag Pahadi, Tal Rupaktal
We have completed seven 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. Yesterday onwards, I am merging these posts.
Our seventh post or the last post was titled ‘Raaga Based Song Of The Day #7’ and the song was a Geeta Dutt (when she was still Geeta Roy) song from the 1951 Guru Dutt movie Baazi: Aaj ki raat piya dil na todo. It is in Raag Pahadi, Tal Dadra.
There is no doubt in my mind that the best of any genre’ of music has been sung by the god of songs: Mohammad Rafi.
The best in Raag Pahadi is also by him: Chaudhvin ka Chand, in Taal Kaherava.
By the way, my favourite lyricist Shakeel Badayuni received his first Filmfare Award in 1961 for this song. Shakeel’s association with Ravi resulted in some remarkably beautiful songs sung by Mohammad Rafi. The theme of describing husn (beauty) of the woman was prominent in these songs. Indeed the second song for which Shakeel received his Filmfare Award in 1962 was also a husn song: Husn wale tera jawab nahin for the movie Gharana.
In 1963 movie Kaun Apna Kaun Praya, Shakeel, Ravi and Rafi made yet another enchanting husn song that Vijay Kumar lip-synced to Waheeda Rehman.
This song and a part of the movie was shot in the picturesque hill station of Nainital.
You can feel the Pahadi dhun with Rupaktal. I have told you enough about Pahadi, let me give you a few songs in Rupaktal though not in Pahadi. Before that: Rupak is unique among the tals in that the first beat (ie, the sam) is khali (ie., represented by a wave of the hand).
wave, 2, 3, clap, 2, clap, 2
Some songs in Rupaktal: Aap ki nazaron ne samajha, Ghar aaja ghir aaye badra sanwariya, Haay re vo din kyun na aaye, Kisi raah pe kisi mod par, Piya tose naina laagi re, Tum gagan ke chandrama and Megha chhaye aadhi raat.
What about the value-added learning for today? Well, today, we shall learn about parts of a compostion in Indian Classical Music.
In Indian Classical Music, a composition has four parts, of which only the first two are performed regularly:
Asthaai including mukhda.
Antara.
Sanchari.
Abhog.
The other day (Raaga Based Song Of The Day #2), I mentioned to you the concept of Sam – the first beat of a taal (rhythm) cycle. It is also the syllable(s) of the bandish (composition) on which the first beat of the taal cycle falls. When an artist begins a composition, the tabla enters at the sam syllable.
Reshma Hingorani, in her celebrated blog on Indian Classical Music explains this with an example (a bandish in afternoon raag, Shuddha Sarang: Ab mori baat maan le piharava) and it is worth going through that.
She then gives description of each part:
Asthaai (pallavi in Carnatic music, base or refrain in western music) is the first part of a composition, its first line serving as a Mukhda, while the Asthaai itself serves as a base for the singer to returns to, repeatedly.
Mukhda: literally ‘face’, is the opening phrase of an asthaai, which comes before, leads up to, and arrives on the sam. So a mukhda introduces and sets the tone. When artists improvise, they return to the Asthaai periodically, by picking up the mukhdaa at the right time.
Antara: literally ‘within’; (Anupallavi in Carnatic music, “Stanza” or “verse” in western music). It is the second part, a continuation from where the mukhda left off, sung in a high octave, focusing on the taar shadaj, with a good deal of text manipulation and repeated forays into asthaai.
Sanchari: literally, “wandering”; the 3rd section (Charanam in Carnatic music) – remains a free-flowing, section.
Abhoga: 4th or concluding section (Pallavi in Carnatic music); includes notes from all three octaves, and in present-day performances, may well be sung with the Sanchari, if these two sections are included.
The song Zara sun haseena ai naazneen takes you straight to the hills (where I am) with its Raag Pahadi, Tal Rupaktaland beautiful rendition by Mohammad Rafi.
Please enjoy: Zara sun haseena ai nazneen…
Zaraa sun hasiinaa ai naazanii.n
meraa dil tujh hii pe nisaar hai
tere dam se hii mere dilarubaa
merii zi.ndagii me.n bahaar hai
hu_ii jab se mujh pe terii nazar
mai.n huu.N apane aap se beKabar
hu_aa jab se dil me.n teraa guzar
mujhe chain hai na qaraar hai
tere husn se jo sa.Nvar ga_ii
vo fizaa_e.n mujhako aziiz hai.n
terii zulf se jo lipaT ga_ii.n
mujhe un havaa_o.n se pyaar hai
ye hasiin phuulo.n kii Daaliyaa.N
tujhe de rahii hai salaamiyaa.N
mujhe kyo.n na rashq ho ai sanam
tere saath fasl-e-bahaar hai
We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:
On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
And today, on the eighth day, we learnt the parts of a composition in Indian Classical Music.
There is much more still to be learnt and enjoyed.
There are many Song and Music groups on the Facebook; but, ‘Yaad Kiya Dil Ne‘ is different. Most other groups simply have members putting up urls of songs from YouTube and other sources and then members congratulate the choice of the one who has posted by such comments as “Wow”, “I love this too”, “Really nice” and so on.
‘Yaad Kiya Dil Ne‘ is different and unique. It is a successor to my group ‘Dil Ki Nazar Se‘, which I had to abandon when some of the members insisted on just putting up urls from YouTube with very little or no contribution of their own. Here is the description o ‘Yaad Kiya Dil Ne‘:
“A group for serious music lovers who not just relish putting up and listening to songs but also identify these with Lyricists, Music Directors, Singers and Actors who brought the songs to us. The group pays tributes to these four classes of people on their birth and death anniversaries. The group is also interested in sharing knowledge about all aspects of songs including Raagas. The group also has thematic Music Fests at least once in a month. If you are a casual copy-paste music lover who can copy-paste ten songs (urls) from You Tube in ten minutes, this group is NOT recommended for you.
The name of the group has been derived from the title of a duet between Hemant Kumar and Lata Mangeshkar from the 1953 movie Patita starring Dev Anand and Usha Kiran.”
From its inception in Nov 2013, the group has come a long way off. Many of the members research everything about the song that they are going to put up, write descriptions that can compete with the best blogs, and everyone is on a learning curve of knowing more about songs and music.
Now who says Facebook is for dumbos only?
As far as thematic fests are concerned, from the days of DKNS we have had as many as 61 fests so far including a Live Fest on the Theme: Raat and/or Din in Kandaghat on the 22nd April 17.
The winning ‘Bahaar’ team at the end of Kandaghat Live Fest (KLF) on 22nd Apr 17
When I started the thematic Fests, in Dec 2012, I started off on my most favourite topic Chand. The next fest on Sat/Sun 13th/14th May 17 is important to me as Aansu is my second most favourite topic for Fest (If you read the last poem in this post, you will know why).
In no other Fest, I have built up to the Fest by Preludes like I have done for Aansu Fest. One of the reasons is because at a very early stage itself I took out the usual interpretations of the theme so as to somehow get one’s songs included. Taste this:
“The songs are to have the word Aansu or any of its synonyms either in the mukhada or the antara. (Rona may produce aansu or ashq but is not a synonym of Aansu. Similarly ‘Naina Barse’ is not a synonym of Aansu. Hint: Don’t use logic/reasoning later; there are enough songs with Aansu/Ashq in them)”.
क्या फर्क है आंसू और रोने में,
उम्र बीत गयी हमारी दामन धोने में,
उन्हें फिर भी रूल्स न समझ आये तो क्या,
तरस आता है अपने एडमिन होने पे!
And since the stubborn in the group were bemoaning the letting go of such songs, I started with a Prelude or Doubt Clearance #1:
Aansu Songs Fest Doubt Clearance #1
Imagine this one put together by Raja Mehdi Ali Khan, Madan Mohan and Lata ji not qualifying for the Fest! Raag Bhimpalasi, Taal Kaherava at that.
How unfair the Admin can get!
https://www.youtube.com/watch?v=VXbJwAstSR4
I also brought out another one of the rejects. And see how closely it comes to Aansu. At this juncture I reminded everyone that I had personally checked at least 80 songs on the theme before announcing the Fest and now the list had crossed 100!
गाए जा गीत मिलन के, तू अपने लगन के
सजन घर जाना है
काहे छलके नैनों की गगरी काहे बरसे जल
तुम बिन सूनी साजन की नगरी परदेसिया घर चल
प्यासे हैं दीप नयन के, तेरे दर्शन के
सजन घर…
लुट न जाए जीवन का ढेरा मुझको है ये ग़म
हम अकेले, ये जग लुटेरा बिछड़ें न मिलके हम
बिगड़े नसीब न बनके ये दिन जीवन के
सजन घर…
डोले नयना प्रीतम के द्वारे मिलने की ये धुन
बालम तेरा तुझको पुकारे याद आनेवाले सुन
साथी मिलेंगे बचपन के खिलेंगे फूल मन के
सजन घर…
And, I continued with my own preludes in the form of either comical or serious poems:
Aansu Songs Fest Prelude #2
आंसू गाने याद आये, होंठो पे आ गयी मुस्कान,
फेस्ट के लिये तैयार करूँगा छे हसीन पैगाम।
‘कर चले हम फ़िदा’ तो किसी तरह से फिट नहीं होता,
Unless: ‘मान न मान, मैं तेरा मेहमान’!
आहों और आँसुयों में फर्क न होता तो पूरे कर लेता,
‘आज पुरानी राहों से’ ही दिल के सारे अरमान।
रवि भाई को क्या सूझी है, मुझे कुछ अंदाज़ नहीं,
रोने और आँसुयों को अलग करके ले आये हैं तूफ़ान।
चलो सब लूट नहीं गया, ‘याद में तेरी जाग जाग कर’ तो है ही,
शकील ने तो आँसुयों की खोल रखी है दूकान!
मुझे तो अपना दोस्त याद है, सफ़ेद निक्कर में हम गाते थे,
गाड़ी बुला रही है और यह भूली दास्तान।
मैं तो कम controversial हूँ, मेरा एक दोस्त है विशवास,
उसके doubt clear करते करते, रवि को हो जाएगा जुकाम!
खैर आंसू और रोना अलग हैं, पर आँखें तो common हैं,
और आंसू बन ही जाते हैं आशिक़ के दिल की ज़ुबान।
भाई ने मोटीवेट किया है तो ऐसे गीत लायूँगा मैं फेस्ट में,
भाई भी कहेगा: “हम सब फ़क्त आदमी हैं, तुम्ही हो इन्सान”!
Aansu Songs Fest Prelude #3
Those who know me well – and all of you in YKDN do – know that Aansu is my second most favourite Fest theme after Chand.
We have had discussion on Aansu before too. I cry easily and not only when I cook and cut onions! I hope I don’t offend my sisters here but, for the kind of sensitivity God has given me, I could very well have been a woman!
Last time when you contributed your views on Aansu, I recorded them. Please read what YOU penned about Aansu earlier (Please read: ‘Why Do We Sometimes Cry Listening To Old Songs?’). All of you, without exception, are the best that God could have gifted me and he did!
मेरी ख़ुशी में आपकी झलक, आँसुयों में है आपकी छवि,
दोस्तों आप के दम से ही जीता है आपका रवि।
खुदा ने गीत दिए, संगीत दिया, और दी प्यार की रौशनी,
और मुझ जैसा ज़ाहिल भी बन बैठा छोटा सा कवि।
अपने छोटे पन का एहसास मुझे सताता था हर दम,
आपकी ताक़त और इल्म से मैं भी जचता हूँ अनुभवी।
मिल के आंसू छलक जाएँ, ख़ुशी के हों या ग़म के,
पर दुबारा कभी भी हम ना होंगे अजनबी।
फेस्ट आयेंगे, फेस्ट चले जायेंगे मेरे साथियो,
अपने ‘भैया’ और ‘वीरजी’ से ना रूठना कभी।
आपके इशारे से ही चलती है दिल की धड़कन,
कल भी, आज भी और आने वाले कल में भी।
There are, of course, one or two members who invariably have doubts even after the Fest is over. This is a tribute to them:
Aansu Songs Fest Prelude/Doubt Clearance #4
TRIBUTE TO YOU-KNOW-WHO!
What would Fests be without a doubt?
What would suave be without a lout?
Tears can be even in pants and shirts,
But we talk about only those in the eyes sprout.
Weeping like a willow is alright in a way,
But in the Fest we’d like to see drops about.
There are many songs on Aansu and synonyms,
But remember what is IN and what is OUT.
You will have to wait until the end of the Fest,
To beat your ‘bhaiyya’ with a stick that is stout!
I am hell-bent to give you negative marks,
If you continue to rules and norms flout.
And those of you who like to take up the cudgels,
Remember, it is just a Fest and not a boxing bout!
(Surprise! Surprise!)
Let me see you laugh and smile in Aansu Fest,
No long face, no grudge, no anger, no pout.
Aansu Songs Fest Prelude/Doubt Clearance #5
RARE KI KHOJ
बीसियों गाने हैं आंसू और अश्क़ पर लेकिन,
हमें ढूंढना है कुछ हटके,
रवि भैया ने लंबी लिस्ट बनायीं होगी फेस्ट से पहले,
पर हम लगे रहेंगे डट के।
कल रात मैंने फिर से लिस्ट देखी, क्या अनोखे गीत हैं आँसुयों पे!
समझ नहीं आता क्यों हैं मेरे दोस्त, rare की खोज में सटके?
जब आंसू और अश्क़ पर ही हैं इतने प्यारे नग्में,
तो यह सब नीर, बदरा, घटा, बरसात में क्यों अटके?
कहीं ऐसा तो नहीं के अभी से महसूस हो रहे हैं,
After Fest के भूकंप के ज़ोरदार झटके?
सिर्फ मेरी बहनें चुप हैं, क्योंकि आंसू उनके अपने हैं,
Rare की खोज में उनके तो नैन भी ना मटके।
बाकी रहे मेरे भाई, यूँ लगता है मुझे तो हुज़ूर,
आसमान से गिरे, ख़जूर पे लटके!
लगे रहो Munna भाई!
Aansu Songs Fest Prelude #6
I agree with you that most things in this universe are inter-connected. Hence, some of the causes of Aansu would be crying, wailing, screaming, cutting onions and weeping. There are others who would like to reason out that even uncontrolled laughter can cause Aansu and hence even Hansi, Muskaan, Khushi, Gham, Sorrow, Miseries all should be under the general heading AANSU.
This time, unlike the working of your complex minds, I made it very simple. ONLY Aansu and its direct synonyms such as Ashq and Tears are included. No Rona Dhona, Aankhon se Barsaat, Naino mein Badra, Motiyon ki ladhi, Neer, Paani, NOTHING. If you have the slightest doubt whether what you are putting up is a synonym or your interpretation of Aansu, DON’T PUT IT UP.
I have already done the homework for you and confirmed that there are adequate songs on Aansu and its direct synonyms.
AANSU AUR DIL by Sunbyanyname (First Look here, as always)
लोग कहते हैं आंसू दिल की जुबां हैं,
मैं सोचता हूँ आंसुओं के अपने अरमान हैं,
कई बार लगता है इन नन्हे आंसुओं में,
गौर से देखें तो सारा जहान है I
आंसू चुप रह के भी सब कुछ बोल जाते हैं,
किस खूबी से दिल से दिल को टोल जाते हैं,
राज़ – ऐ – दिल लाख आप छुपाते रहें,
खामोशी में छुपे राज़ अक्सर खोल जाते हैं I
आंसुओं के साथ जुड़े हैं कई जज़्बात,
आंसू ही तो हैं एहसास – ऐ – कायनात,
खशी में, ग़म में, उदासी में, हँसते हुए,
आंसू हैं सुहाना दिन, आंसू हैं हिज्र की रात I
आंसुओं की बौछार से खिल जाते हैं फूल,
वल्लाह, कई बार चुभते हैं बनके गरम शूल,
बेकसी के आलम में तो यौन भी लगता है हमें,
हमारे आंसू हैं किसी और की भूल I
आंसुओं का फेस्ट मेरा दिल – पसंद और अज़ीज़ है,
चाँद के बाद एहि तो मेरे करीब है,
साड़ी उम्र गुज़री है यह खज़ाना जमा करने में,
आंसुओं के बग़ैर रवि फ़क़त गरीब है !
Log kehte hain aansu dil ki zubaan hain,
Main sochata hoon aansuyon ke apne armaan hain,
Kayi baar lagta hai in nanhe se aansuyon mein,
Gaur se dekhen to saara jahaan hai.
Aansu chup reh ke bhi sab kuchh bol jaate hain,
Kis khoobi se dil ko dil se tol jaate hain,
Raaz-e-dil laakh aap chhupate rahen,
Khaamoshi mein chhupe raaz aksar khol jaate hain.
Aansuyon ke saath judhe hain kayi jazbaat,
Aansu hi to hain ehsaas – e – kayinaat,
Khushi mein, gham mein, udaasi mein, hanste huye,
Aansu hain suhaana din, aansu hain hijr ki raat.
Aansuyon ki bauchhar se khil jaate hain phool,
Wallah kayi baar chubhate hain banake garam shool,
Bekasi ke aalam mein to youn bhi lagta hai hamen,
Hamaare aansu hain kisi aur ki bhool.
Aansuyon ka Fest mera dil-pasand aur azeez hai,
Chand ke baad yehi to mere kareeb hai,
Saari umr guzari hai yeh khazaana jama karne mein,
Aansuyon ke bagaair Ravi faqt gareeb hai!
Aansu Songs Fest Prelude #7 (Six Hours to Go!)
AANSUYON KI TAMANNA!
आज तो आंसुओं की बरसात होने वाली है,
थाम लो दिल अब मुलाक़ात होने वाली है I
अजीब तमन्ना – ए – आंसू लेकर उठेंगे दोस्त मेरे,
ख़ुशी अब मिले अब अश्क़ों की बरात होने वाली है I
बहारों से दिन रात सजे थे पिछले फेस्ट में,
अब तो सुनते हैं ग़म – ए – हयात होने वाली है I
सुलगते अश्क़ों से दिल के फ़साने सुनाएंगे,
मुझे लगता है करामात होने वाली है I
दोस्तो, अल्लाह का फज़ल हो आप पे और आप की कलम पे,
खामोश लबों की आँखों से बात होने वाली है I
आपकी सालगिरह पर आपको बधाई हो,
आपके प्यार में हर दम गहराई हो,
और कुछ ऐसा संगीत और गीत बनें,
अपनी अपनी बीन नहीं, सांझी शहनाई हो !
आप दोनों ही प्यार की हसीन मूरत हो,
आपसी ख्वाइश ही नहीं ज़िन्दगी की ज़रुरत हो,
आपको देख के लगता है कुछ यूँ हमें,
सारे जहाँ में आप दोनों सबसे खूबसूरत हो I
खुदा ने बनाई है यह जोड़ी बड़े प्यार के संग,
सुन्दर मीना है फ़रिश्ते राज कुमार के संग,
फिर ऊंचे बादल क्यों न हों पैरों तले?
बसंत जब जुड़ी हो बहार के संग !
अगर शहनशाह है राज तो मीना है मुमताज़,
राज की गहरी आवाज़ और मीना का अंदाज़,
सच पूछो तो ऐसा महसूस होता है हमें,
राज गर गीत का सुर है तो मीना है साज़ I
आपके प्यार में खुशबु हो, कभी न हो गन्दगी,
मीना की हो इबादत और राज की हो बंदगी,
हज़ारों जनम आप का बार बार मिलन हो,
हसीं ख़ुशी से गुज़रे मुहब्बत की ज़िन्दगी I
Aapki saalgirah par aapko badhayi ho,
Aapke pyaar mein har dam gehrayi ho,
Aur kuchh aisa sangeet aur geet banen,
Apni apni been nahin saanjhi shehnayi ho!
Aap dono hi pyaar ki haseen murat ho,
Aapsi khwaaish hi nahin zindagi ki zaroorat ho,
Aapko dekh ke lagta hai kuchh youn hamen,
Saare jahan mein aap dono sabse khoobsurat ho.
Khuda ne banayi hai yeh jodhi badhe pyaar ke sang,
Sundar Meena hai farishtey Raj Kumar ke sang,
Phir oonche baadal kyun na hon pairon tale?
Basant jab judhi ho Bahaar ke sang!
Agar Shehanshah hai Raj to Meena hai Mumtaz,
Raj ki gehri awaaz aur Meena ka andaaz,
Sach poochho to aisa mehsoos hota hai hamen,
Raj gar geet ka sur hai to Meena hai saaz!
Aapke pyar mein khushbu ho, kabhi na ho gandagi,
Meena ki ho ibaadat aur Raj ki ho bandagi,
Hazaaron janam aapka baar baar milan ho,
Hansi khushi se guzre aapki muhabbat ki zindagi.
My redicovery of him included learning about his abiding interest in old Hindi movies and songs. After the Antim Ardaas, on the night of 20th/21st Aug, we sat together to listen to songs and ghazals of Shakeel Badayuni. JP brought out that he had done eight years research on Shakeel’s song in Mughal-e-Azam that resulted in his most widely read piece on the song 
Harmonium is a popular insterument in many forms of Indian music. Although developed in the West (Christian Gottlieb Kratzenstein (1723–1795), professor of physiology at Copenhagen, was credited with the first free-reed instrument made in the Western world), Harmonium, the way it was developed in the Indian sub-continet, became a unique instrument with its drone stops and scale changing mechanism. It also became hand-held after Dwarkanath Ghose of Dwarkin company modified the Western and cumbersome harmony flute that was pedal pumped. Indeed, in many Indian movies, harmonium used to be played with hands and hung around the neck (eg, in the 1956 Raj Khosla movie C.I.D.’s song ‘Leke pehla pehla pyaar’.
Today, of course, I take recourse to being 
I am the one who has taken this song in the memory of and sadness for my mother. Originally, it was sung by 
On the Friday, 18th Aug 17, we started with the Akhand Path (continuous reading from the Sri Guru Granth Sahib) for her at about 1141 hours. My mamaji (mom’s younger brother) came from NOIDA to hold my hand since Akhand Path requires enormous support effort. We did 
duties in rotation and barely had any sleep during the 48 hours of Akhand Path. Mamaji’s effort is many times more appreciable since he left in Delhi an ailing wife requiring urgent medical treatment. Also, for most people, the 75th Birthday is an important milestone of life. Mamaji’s happened to be on the 18th and coincided with the start of the Akhand Path for my mom and his sister. Much against his strident objections, we had a cake made for him and celebrated life as much as we bemoaned death.
Viru, my course-mate arrived from Gurgaon on Saturday evening to attend mom’s Antim Ardaas. Very thoughtfully she brought for the memory of my mom, a brass embossed and beautifully framed picture of the Golden Temple, Amritsar. He didn’t just buy it; he got it made on the way at Ambala and hence, even though he started from Gurgaon at 5 AM, he reached in the evening only.
The kirtan for her started and I think the Bhaijis did a very good job of it. It was dignified, on the sober and quiet side, melodious and meaningful; the kind that mom would have enjoyed thoroughly. Said Viru about it later:
at Reliance, arrived all the way from Mumbai to attend the Bhog. Amongst the friends who visited, a number of friends from my music group Yaad Kiya Dil Ne visited: Viapn Kohli, Suman Saxena, Rakesh Aman Bhatia, Anindya Chatterjee and his wife Deepa and Jaswant Singh Lagwal and his wife Kavita. Just four months ago, mom was there attending the YKDN annual meet and now they were here at her last farewell. JP’s partner Chuck and friend David sent two of the prettiest bouquets of flowers for mom.
We had the langar after the bhog and then one by one everyone left. At night, just the three of us: my brother JP, my wife Lyn and I were at home. We would, of course, never be alone or lonely since my mother’s memories would always keep us company.
