If for changing your mood you look for reason,
That makes you happy when you have been sad,
Well, moods are not unlike climates or seasons,
Suddenly from being melancholic you can be glad.
Don’t you accept the sun shining through rain?
Or bright flowers blooming in deserts or in frost?
So why is it difficult to smile through your pain?
Or feel like a winner when you think you’ve lost?
If sometimes you can be sad for no reason,
Why can’t, without a reason, you feel bright?
Will it, against yourself, be counted as treason,
If, of your troubles and miseries, you make light?
Smile through problems and see the change,
In those who want to see you sad and down;
They would be defeated, they’d find it strange,
You’ve joy on face when they expect a frown.
And such situations you face almost everyday,
When you can’t find a cause for your mood;
Just accept it without any alarm or dismay,
And don’t look for reason that may be skewed.
Control your moods and not other way round,
Be a master of your emotions and not a slave,
Don’t let a wave sweep you off the ground,
Wherever you go take with you your own wave.
The world is a large place to live in,
Even a metropolitan city is rather huge.
Believe you me you don’t have to give in,
To becoming someone’s pliable stooge.
You can simply decide which is your world,
A world that is always entirely your own;
In which your own flag is sometimes unfurled,
Wherein you are a king who sits on a throne.
I’ve myself been using such a world for long,
And retire there when I feel down and out;
Lo and behold, I am loved there and I belong;
Many a times it has been my favourite hangout.
In this world I choose my own music and books,
And how and when to speak or to be silent;
In this world I don’t care about my looks,
I choose when to be calm and when violent.
Here I am Jolly Miller living on the River Dee,
There is no one to disturb my peace and pride;
I don’t care for those who don’t care for me,
Anything that ruffles me I simply override.
You too can have a virtual world of your own,
It doesn’t cost a thing to have and maintain;
A world where you are with yourself alone,
Where your true self you can easily unchain.
So the person who you loved has left,
As everyone must some time or the other;
The heart is aching and the soul is bereft,
It could be lover, brother, sister, or mother.
There is a strange void, there is a heartache,
There appears to be nothing left to hold;
You feel it’s bad dream, though you’re awake,
Your heart is numb and your lips are cold.
You look for some sign of God’s secret plan,
A reassurance that all is not actually lost;
And then you remember how it all began,
Gradually, you see the clearing of the frost.
Memories come flooding in and you smile,
Thinking of the beautiful times you had spent;
There is gleam of sunshine in your hour of trial,
There is reason to rejoice even when you lament.
And now in you something curious takes place,
Your heart is gleeful even when eyes have tears;
Even in sadness and sorrow you still find solace,
Gradually you get the sign God still really cares.
God gave us memories to recall when in sorrow,
And wistfully think of happy times we’ve had;
So why not make great memories for tomorrow,
To make us cheerful when events make us sad?
Yes, if we cared to work on them when we had time.
It is always good to have lots of knowledge,
You may require it even to exist and survive;
But no one teaches you in school or college:
That with knowledge you can’t get into overdrive.
Also, knowledge is not just for acquiring,
It has to be put to practice or good use;
It surely is what can be called uninspiring,
If you think of your knowledge as an excuse.
People who value knowledge know its limits,
They don’t pretend to always know everything;
They know it is not really a cause for low spirits,
If they are sometimes ignorant about some thing.
Having knowledge should give one humility,
And not arrogant enough to win each clash;
A wise man always understands the futility,
Of using his knowledge that makes him brash.
Finding reasons for everything around us,
Is also great fallacy of modern education;
One doesn’t have to start making a fuss,
If one sees an exception or an aberration.
We should know beyond an iota of doubt,
That we shall never know everything;
Hence, it doesn’t make sense to go about,
Pretending we actually know all of anything.
And be humble when interacting with others. Think it possible that you may be wrong or mistaken.
From yesterday’s Heart and Mind debate,
Lets shift to that between Faith and Science.
Which one carries, for us, more weight?
On which should we have more reliance?
The fact is that we actually live by both,
Both Science and Faith make us complete;
We require Faith for our spiritual growth,
But, Science would never become obsolete.
When dealing with Truth, Reality and Facts,
Both show us the way, both have limitations;
Whilst a number of things Science attracts,
Its exceptions can simply lead to frustrations.
As seen by me, there is really no difference,
Between ‘Truth’, ‘Reality’ and ‘Perception.
Since there is no Absolute, it’s only inference,
Even Reality sensed by us can be misconception.
That should teach us humility in all interactions,
Even when we think all facts and truth we know;
We should avoid all rigid and angry reactions,
On someone’s reality, a fit we mustn’t throw.
Good Morning, my friends, who’ve stayed with me,
Each day brings us new knowledge and yearning;
We are all together on this fascinating journey,
Of carrying forward our collective learning.
Between Heart and Mind, which one to follow?
That’s the question that often stares us in the face,
Many a time our pride we need to swallow,
Following the Heart when Mind could win the race.
It is really dependent upon the situation at hand,
No one can have a clear-cut and ready answer;
Sometimes, it doesn’t come out as planned,
One has to walk carefully like a tight rope dancer.
I often give in to the heart when I should,
Really listen to the sane advice of the mind;
Many a times I haven’t really understood,
Whether it is better to be right or to be kind.
But, then I really have no regrets in the end,
Losing in a situation to give someone a smile;
It has been important for me to win a friend,
Than have many personal triumphs to compile.
So, in this case, I can’t give you a clear advice,
You have to find for yourself the right course;
All I can say is don’t try to be too precise,
Let the mind lead and let the heart endorse.
Nobody wants to be called a heartless person,
Who always follows the dictates of the reason;
But, sometimes so that things don’t worsen,
Your Mind has to be the Flavour of the Season.
Which has been the best period of your life?
Would you say it was childhood or your youth?
Or was it when you chose your husband or wife?
Ah, you try but you don’t really know the truth.
The problem with such nostalgia is always this:
The times you hated in the past later look good.
Recalling those times without drudgery is bliss,
Their innate appeal is then clearly understood.
Many of us hated going everyday to school,
But in later life those times we wistfully recall;
So, let’s think about what is the golden rule:
Great times are those that once seemed banal.
In it there is a lesson for us to remember:
Try to find happiness in drudgery and in grind;
God gave us memory to have roses in December,
We discover beauty later to which we were blind.
Why can’t we see beauty in the present and now,
And enjoy that loveliness whilst we still can?
For that we have to open our heart and allow,
Us to believe God thinks what’s best for Man.
Enjoy each moment that is given to you to enjoy,
Don’t live in the distant future or some misty past;
Rejoice, for example, as a school-girl or school-boy,
And later, for whatever age, be an equal enthusiast.
Say with confidence: Now is the best period of my life.
The day is full of work and chores,
Commuting, meetings and eating;
Most of us are in offices indoors,
One’s life, like a short play, is fleeting.
There is no time to stand and stare,
We are always on a virtual treadmill,
We don’t really have any time to spare,
Like driving, without brakes, downhill.
There is no button that says ‘pause’,
It is always ‘forward’ or ‘fast forward’;
There is in it money but no joy, because,
The entire thing seems so awkward.
Sometimes or the other you’d realise, You are more important than all the work;
If not, in future, you’d know it was unwise,
To miss out on what was life’s biggest perk.
Try it, you’d meet the most beautiful person,
That God ever intended you to befriend,
Don’t allow relationship with him/her to worsen,
Until, in your sunset years, you can’t even mend.
Finally, when all the work and crowd leaves,
You realise you’d live with that person alone;
When and if no one else in you believes,
Your trust in him or her would have grown.
The fastest thing in the universe used to be light,
But we’ve discovered two more things that are faster;
Still, there is something so fast it is always out of sight,
That can make Man, of the Universe, a real master.
When God gave it to Man, he won’t have ever known,
It would be the fastest thing anyone ever sought;
At its speed no one had ever, in the universe, flown,
Man had been blessed with the Speed of Thought.
One moment it is here, the next it is light years away,
Light and everything else come a distant second;
No obstruction or barrier can ever come in its way,
It is much faster than anything anyone has reckoned.
With such proud possession with him why is it true,
That Man gets stuck in the desolation of his situation?
Why can’t he fly at the speed of thought and say adieu,
To all sadness, negativity, despondency and frustration?
Just think what miracle God has placed in your mind,
You are really the Master of the entire Universe;
Just fly at the speed of your thought and you can find,
You can get out of any situation that is adverse.
In any case the Universe is what you and I think about,
There is no difference between Reality and Imagination;
Yes, some will always be full of one or the other doubt,
You can get the proof with a little bit of meditation.
Your thoughts are indeed the fastest. Allow them to go astray you are a slave; Keep them under your control, you are the master.
Raaga Based Song of the Day:Aayi diwali, aayi diwali….Raag Bhairavi, Tal DadraFinally on the day of the Diwali today, 07 Nov 2018, I have the hundredth song in my Raaga Based Songs series.This song is from the 1944 movie Rattan that was an Abdul Rashid Kardar production that was directed by M Sadiq and starred Swaran Lata and Karan Dewan. Here is the story in brief to understand the song:Govind (Karan Dewan) and Gauri (Swaran Lata) are childhood friends and are in love. But both are from different castes and hence their marriage is not possible in those social times. One day Gauri is married off to a person who is much older to her, by keeping him in dark. Gauri is seen pining for Govind in this song.This is the ninth time I am taking up a song in this raaga. We have completed ninety-five days of Raaga Based Songs of the Day. Our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.Our ninety-eighth post or the last post here was titled ‘Raaga Based Song Of The Day #99‘ and the song was a Mohammad Rafi song from the 1963 Brij movie Ustadon Ke Ustad starring Praddep Kumar, Shakila, Ashok Kumar and Sheikh Mukhtar: Sau baar janam lenge sau baar fanaa honge. It is in Raag Kaushik Kanada, Tal Kaherava. This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: ‘The Best Raaga Based Songs in Hindi Movies – Raaga Jhinjhoti – Part I‘. In the last ninety-eight days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi, Kalavati, Hamir, Bhatiyar, Gawati, Shyam Kalyan, Gorakh Kalyan, Madhamat Sarang, Manj Khammaj, Darbari Kanada, Vibhas, Shankara, Bahar, Nand, Mian Ki Malhar and Jog; making it a total of 62 raagas. The raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti, Bhairavi, Gara, Basant Mukhari, Malkauns, Bhairavi, Mand, Sohani, Madhuvanti, Shivaranjani and Adana. Today, I am giving you a song in Raag Bhairavi, the Queen of all Raagas for the ninth time. The song, as I said earlier, is from the 1944 movie Rattan, an Abdul Rashid Kardar production directed by M Sadiq, which starred Swaran Lata and Karan Dewan. The song Aayi Diwali, Aayi Diwali was penned by DN Madhok and composed by Naushad. The songs of the movie made Naushad so famous that he started charging Rupees 25000 per movie. This was about one third of the production cost of the movie at that time. It is another fact that Swaran Lata, in an interview with Pakistan Television, claimed that the composition of this song was done by DN Madhok himself. The songs of the movie also made both the female playback singers Zohrabai Ambalewali and Amirbai Karnataki very famous. Here is a list of songs of the movie; the last song (duet) was equally popular:
“Jab Tum Hi Chale Pardes Laga Kar Theis” -Karan Dewan
“O janewale Balamwa” – Amirbai Karnataki and Shyam Kumar
“Jab Tum Hi Chale Pardes Laga Kar Theis”
“Pardesi Balma Baadal Aaya”
“Sawan Ke Baadalo Unn Se Yeh Jaa Kaho”- Zohrabai Ambalewali and Karan Dewan
Zohrabai Ambalewali was from Ambala in Punjab. She was a classical singer of Hindustani Music trained under Ghulam Hussain Khan and Ustad Nasir Hussain Khan. Subsequently, she joined the Agra Gharana.She started singing at All India Radio at the age of 13. Eventually she made her Hindi film debut as a playback singer with film Daku Ki Ladki (1933) with music by Pransukh Nayak. After initial years in Lahore-based film industry, she shifted to Bombay. As already mentioned, the movie Rattan’s songs made her famous. Some of the popular songs of Zohrabai Ambalewali are: Aankhon mein intezaar ki duniya liye huye (Caravan 1944), Ho meri baali umariya saanwariya (Nateeja 1947), Pardesi baalma saawan aaya (Rattan 1944), Rut rangeeli aayi chandini chhayi (Mirza Sahiban 1947), Shayad woh jaa rahe hain chhupkar meri nazar se (Mela 1948, Shakeel Badayuni), Suno ji pyaari kayaliya bole (Sanyasi 1945, also with Naushad), Udhan khatole pe udh jaayun (Anmol Ghadi 1946, Naushad), Ye raat phir na aayegi (with Rajkumari Dubey in Mahal 1949).
Zohrabai Ambalewali’s popular number Udhan khatole pe udh jaayun from the 1946 movie Anmol Ghadi, composed by Naushad on the lyrics of Tanvir Naqvi
Lets take up the lyricist DN Madhok at this stage. Just as Zohrabai Amablewali was one of the first generation of female playback singers, Dina Nath Madhok was amongst the first generation of lyricists (1930s to 1950s). Kidar Sharma and Kavi Pradeep were the others. So fine was his art that he earned himself the sobriquet of Mahakavi Madhok. He started his career with the 1932 movie Radhey Sham and ended up penning about 800 songs. In addition he wrote screenplays and directed about 17 films including Baghdad Ka Chor (1934), Mirza Sahiban (1939), Biwamangal (1954) and Naata (1955). Here are some of my favourite songs penned by him: Aa ja balmaa raat andheri dar laage and Mere mundere na bol (Suraiya in 1947 movie Parwana), Aayi diwali aayi diwali (Zohrabai Ambalewali in 1944 movie Rattan), Beimaan tore nainva nindiya na aaye (Lata Mangeshkar in 1951 movie Taraana), Ham aankh macholi khelenge (Noorjahan, Khandan 1942), Ishq ka dard sohana (Vatsala Kumthekar, Ishaara 1942), Jab tum hi chale pardes laga ke thes (Karan Dewan, Rattan 1944), Jhuthe hain sab sapne suhaane (Manju, Rattan 1944), Kaagaz ki meri naav aur duur kinaara hai (Mukesh Suraiya, Do Dil 1947), Khamosh nigaahen ye sunaati hain kahaani (SD Batish, Daasi 1944), Madhukar Shyam hamare chor, Nis din barsat nain hamaare and Rain gayi ab huaa savera (KL Saigal, Bhakt Surdas 1942), Madhur Madhur ga re manwa and Panchhi bawra (Khursheed, Bhakt Surdas 1942), Meri zindagi mein tum kyun aaye (Suraiya, Goonj 1952), Mohe mera bachpan laa de (With Shakeel Badayuni in Kajal 1948; song sung by Suraiya), More sainya ji ne bheji chunari (Zohrabai Ambalewali, Pehle Aap 1944), Mohabbat ne kaise diye hamako dhokhe (Lata Mangeshkar, Oot Pataang 1955), Naa thamate hain aansu naa rukte hain naale (Mohammad Rafi, Meena Bazaar 1950), Naino mein naina mat dalo, and Pardesi baalma baadal aaya (Zohrabai Ambalewali, Jeewan 1944), O jaanewale baalmwa laut ke aa (Shaam Kumar and Amirbai Karnataki, Rattan 1944), Panghat pe more Shyam bajaaye muraliya (CH Atma, Bilwamangal 1954), Rum jhum barse baadarva (Amirbai Karnataki, Rattan 1944), Sawan ke baadlo unase ye jaa kaho (Zohrabai Ambalewali, Rattan 1944), Taare wahin hain chand wahin hai (Lata Mangeshkar, Anmol Ratan 1950), Tuut gaye sab sapne mere (KL Saigal, Parwana 1947), and Wo din kahan gaye bataa (Lata Mangeshkar, Taraana 1951).
DN Madhok’s Madhukar Shyam hamare chor was made famous by KL Saigal. It was also immortalised by Pandit Bhimsen JoshiUntitled 55.tif
Naushad Ali, the composer, lived between 25 Dec 1919 to 05 May 2006. He won only one Filmfare Award, for the music and songs of the 1952 Vijay Bhatt movie Baiju Bawra. However, he could have won many including for Mughal-e-Azam. Eventually, he was conferred with the highest, that is, Dadasaheb Phalke Award in 1982 and Padma Bhushan in 1992. He is credited with having brought in Raaga Based Songs in the movies and Baiju Bawra is a fine example of that. Various singers and lyricists (especially Shakeel Badayuni) looked up to him as a guide and mentor. For example, he encouraged Mukesh to have his distinctive style of singing rather than imitate KL Saigal. He launched the careers of quite a few of them such as Zohrabai Ambalewali and Uma Devi. As far as my favourite songs of Naushad are concerned, I have penned volumes in this blog on them. As an example, just go through: ‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad and Dilip Kumar Together’.
(Picture courtesy: Film Heritage Foundation)
Before we take up the song, lets learn a little about Abdul Rashid Kardar, the producer of this movie from where the song has been taken. He was the pioneer in establishing film industry in Bhati Gate, Lahore (later Pakistan). In 1924, the first silent film (11 years after Dadasaheb Phalke made his first silent movie: Raja Harishchandra), The Daughters of Todaywas released in Lahore at a time when the city only had nine operational cinema houses. Most of the films shown in theatres in Lahore were either made in Bombay or Calcutta, besides ones made in Hollywood or London. The Daughters of Today was the brain-child of GK Mehta, a former officer with the North-Western Railway, who had imported a camera into the country for this very project from London. He asked Kardar to assist him as an assistant director on the project and ended up giving Kardar his début role in his film as an actor. Muhammad Ismail, his friend and fellow calligraphist, accompanied Kardar in the making of the film. Kardar shifted to Calcutta in 1930 and after working in various production houses, he made his own Kardar Studios in 1940 (he shifted to Bombay in 1937) and started making films under the banner Kardar Productions. His 1946 film Shahjehan starred KL Saigal and the songs were by Majrooh (debut movie) and Naushad Ali. He worked with Naushad in a number of movies including the unforgettable Dil Diya Dard Liya starring Dilip Kumar, Waheeda Rehman and Pran.
(Pic courtesy Flickr)
M Sadiq, the director of the highly successful movie Rattan from where this song has been taken was born on 10 Mar 1910 in Lahore and died on 03 Oct 1971 in Lohore. He was a director, writer and producer. Some of the other movies that he directed are: Jeewan (1944), Dak Bangla (1947), Anmol Ratan (1950), Shabaab (1954), Chaudhvinh Ka Chand (1960), Full Moon (1961), Taj Mahal (1963), Bahu Begum (1967) and Noorjehan (1967).
(Pic courtesy: Flickr)
Swaran Lata, the actress on whom this song is picturised, was born in a Siyal Khatri Sikh family in Rawalpindi. Her debut movie was the 1942 movie Awaaz. She married Nazir Ahmed, a famous actor, director and producer at that time. She converted to Islam at that time and assumed the name of Saeeda Bano. At the time of partition of India in 1947, she migrated to Pakistan with her husband after leaving everything they owned in Bombay. They started the Pakistani Film Industry from a scratch. By the time she shifted to Pakistan, in five years she had acted in as many as 16 Hindi movies. Her first movie in Pakistan was the 1948 movie Sachai. She was known as the Tragedy Queenmuch before Meena Kumari was so dubbed. This was mainly due to her emotional dialogue delivery. It is a delight to see her enact the song: Aayi Diwali Aayi Diwali. This song, as I told you, is in Raag Bhairavi, Tal Kaherava.Raag Bhairavi is the basic raag of the Bhairavi Thaat. Bhairavi makes use of all the komal swars, Rishabh, Gandhar, Dhaivat, Nishad. When singing compositions in Bhairavi raag, the singers however take liberty to use all the 12 swars. Bhairavi raag is named after the shakti or feminine aspect of the cosmic life force, which is personified as a consort to Lord Shiva. Bhairavi is a powerful raag filled with devotion and compassion. Its Jati is Sampurna – Sampurna, which means all seven swar (heptatonic) both in Aaroha and Avaroha. I have already told you that in a concert Bhairavi is usually the concluding raaga since it is supposed to cure mistakes of the earlier performances. Hence, if a concert has started at night (which is usually the case), Bhairavi would be played in the wee hours of the morning. A pleasant sobering atmosphere full of love and piety is created with this raag and one feels so close to the Supreme. Its compositions include several Thumris, Bhajans, Ghazals, Songs etc. Since it is an ocean of immense possibilities the melodic combinations can include all the twelve notes with skill. I am not giving you again a list of songs composed in Raag Bhairavi as I have given this adequate number of times. As far as Tal Dadra is concerned, 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 gave you a song in this Tal and Raag Bhimpalasi as m 3rd song in the series: Maine chand aur sitaaron ki tamanna ki thi.After that I have given you several songs in the Tal such as: Tere sur aur mere geet (Bihag), Aaj ki raat piya dil na todo (Pahadi), Beqasi hadd se jab guzr jaay (Desh and Khammaj), Dukh bhare din beete re bhaiya (Megh Malhar), Kesariya Balma (Nand), Kuchh aur zamaana kehta hai (Gaur Sarang), Taqdeer ka fasaana (Desh), Bhooli hui yaadon (Kalyan), Benuravvat bewafa (Shankara), Jhumati chali hawa (Sohani), Dil Ke jharokhe mein (Shivaranjani), and Paan khaayo sainya hamaro (Kalyan). However, in the eight songs based on Raag Bhairavi that I have given you, there has never been one in this Tal; most of these have been in Tal Kaherava. Before we actually take up the song, first, lets take up the value added learning of today. From the last eighteen times we started learning about some of the leading personalities in Indian Classical Music or Shastriya Sangeet. The first one that we took up was Ustaad Asad Ali Khan,thefinest Rudra Veena player in the country. Then we took up Pandit Hari Parsad Chaurasia, the greatest Bansuri player in the country. Then we talked aboutAli Akbar Khan, the greatest Sarod player in the country. Then we took upPandit Ravi Shankar, the greatest Sitar player in the world. Then we took up the greatest classical singer in the country (of Carnatic tradition): MS Subbulakshmi. Then, we took upthe greatest classical singer in the country (of Hindustani tradition): Pandit Bhimsen Joshi. Then, we learnt about theShehnai maestro Ustad Bismillah Khan.Then, we learnt aboutAnnapurna Devi, a great Surbahar (bass sitar) player of Hindustani Classical Music.Thereafter, we took upPandit Shiv Kumar Sharma, the grestest Santoor player in the country.Then we learnt a little more aboutUstaad Alla Rakha Qureshi or simply Alla Rakha, the Tabla Maestro and father of Ustaad Zakir Hussain.Then we learnt about the master and one of the pioneers of fusion:Anand Shankar.Thenwe learnt about aVeena player who was also a great filmmaker: Sundaram Balachander. Then we learnt about Sarod Player Ustad Amjad Ali Khan. And then we learnt about Ustaad Zakir Hussain, the Tabla maestro.Then we learnt about Sitar Player and Composer Anoushka Shankar.And then we covered vocalist Pandit Jasraj. We then covered violinist L Subramaniamfollowed by SitaristsUstaad Vilayat Khan and Nikhil Banerjee.Tonight, we shall take up the great vocalist Kishori Amonkar. She lived between 10 Apr 1931 and 03 Apr 2017. She was a leading Indian vocalist of the Jaipur Gharana. She was a performer of the classical genre khyal and the light classical genres thumri and bhajan. Amonkar trained under her mother, classical singer Mogubai Kurdikar also from the Jaipur gharana, but she experimented with a variety of vocal styles in her career. Amonkar’s later work in light music reformed her classical singing and she modified her Jaipur gharana performance style by applying features from other gharanas. She has been both praised and criticized for pushing the boundaries of the Jaipur tradition. She was a romanticist and her approach prioritized emotional expression over tradition, so she often departed from the Jaipur gharana’s rhythmic, melodic, and structural traditions. Amonkar received several of India’s national awards and civilian honours, including the Padma Bhushan, in 1987, and Padma Vibhushan in 2002. She was awarded the Sangeet Natak Akademi Award for 1985 and the Sangeet Natak Akademi Fellowship for 2009. She was awarded the prestigious Dr. T. M. A. Pai Outstanding Konkani Award in 1991. In 2016, she was one of seven recipients of the M.S. Subbulakshmi Award for classical music. Returning to the song now. The song, as I told you, is from the 1944 M Sadiq movie Rattan that proved the genius of one of Hindi movies greatest music directors: Naushad Ali. He is the one who for the first time introduced Raaga based songs in Hindi movies. His selection of Bhairavi here is masterly: an atmosphere of total love and piety. M Sadiq has followed it up with the lamps and lamp-bearing female dancers. However, there is emptiness in the eyes of Swaran Lata when she asks who should he dance with since her consort (Karan Dewan) is not there. She mourns about life slipping by without them being together. The matching lyrics rendered by DN Madhok do touch your heart and would apply to anyone of us.Ladies and gentlemen, please enjoy in Raag Bhairavi Tal Dadra, Zohrabai Ambalewali sing a composition of Naushad on the lyrics of DN Madhok in the 1944 M Sadiq movie Rattan (produced by AR Kardar) starring Swaran Lata and Karan Dewan: Aayi diwali, aayi diwali…..
आई दीवाली, आई दीवाली – २ दीपक संग नाचे पतंगा मैं किसके संग नाचूँ बताजा आई दीवाली, आई दीवाली … (बचपन जवानी संग नाचके चला गया अब नाचे जवानी बुढ़ापे संग वो दिन आ गया ) – २ अब नाचे जवानी बुढ़ापे संग वो दिन आ गया बिछड़े हुए साथी ज़रा आ मैं किसके संग नाचूं बताजा आई दीवाली, आई दीवाली … (किसको गुमान था वो दिन भी गुज़र जायेंगे और एक बार जाके वो फिर लौट के ना आयेंगे ) – २ बिछड़े हुए साथी ज़रा आ मैं किसके संग नाचूँ बताजा (आई दीवाली, आई दीवाली ) – २ दीपक संग नाचे पतंगा मैं किसके संग नाचूँ बताजा आई दीवाली, आई दीवाली …
https://youtu.be/rSRPU_yXOx4
https://youtu.be/rSRPU_yXOx
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.
On the fifty-fifth day, we learnt about Harmonium.
On the fifty-sixth day, we learnt about Santoor.
On the fifty-seventh day, we learnt about Swarmandal.
On the fifty-eighth day, we learnt about the Shruti Box.
On the fifty-ninth day, we learnt about Alankar.
On the sixtieth day, we learnt about singing in Aakaar.
On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
On the sixty-second day, we learnt a little about Carnatic Music.
On the sixty-third day, we learnt about Natya Shastra.
On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
On the sixty-fifth day, we learnt about Riyaaz.
On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
On the sixty-seventh day, we learnt about the health benefits of raagas.
On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
On the seventieth day, we learnt about Melakarta Raagas.
On the seventy-first day, we learnt about Sangita Makarand.
On the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.
On the seventy-third day, we learnt about Indian Classical Ragas, an Android application for mobile phones.
On the seventy-fourth day, we learnt about Saregama Classical, another application for Classical Raagas.
On the seventy-fifth day, we learnt about a free online service available to learn Indian Classical Music.
On the seventy-sixth day, we learnt about List of Hindustani Classical Musical Festivals in India and Abroad.
On the seventy-seventh day, we learnt about List of Carnatic Musical Festivals in India and Abroad.
On the seventy-eighth day, we learnt about Jhaptal.
On the seventy-ninth day, we learnt about Ektal.
On the eightieth day, we learnt about Tivra Tal.
On the eighty-first day, we learnt about the greatest Rudra Veena player ever: Ustaad Asad Ali Khan.
On the eighty-second day, we learnt about the greatest Bansuri player alive: Pandit Hariprasad Chaurasia.
On the eighty-third day, we learnt about the best Sarod player in the country: Ustaad Ali Akbar Khan.
On the eighty-fourth day, we learnt about the greatest Sitar player in the world: Pandit Ravi Shankar.
On the eighty-fifth day, we learnt about the greatest Indian vocalist of Carnatic tradition: MS Subbulakshmi.
On the eighty-sixth day, we not just learnt about the greatest vocalist of Hindustani tradition: Pandit Bhimsen Joshi but also learnt about Tal Hinch.
On the eighty-seventh day, we learnt about the Shehnai maestro Ustaad Bismillah Khan.
On the eighty-eighth day, we learnt about Annapurna Devi, the greatest Surbahar player in India.
On the eighty-ninth day, we learnt about Pandit Shiv Kumar Sharma, the greatest Santoor Player in the country.
On the ninetieth day, we learnt about Ustaad Alla Rakha, the Tabla maestro.
On the ninety-first day, we learnt about Anand Shankar, the great fusion musician from Bengal.
On the ninety-second day, we learnt about Sundaram Balachander, the great Veena player and film-maker.
On the ninety-third day, we learnt about Ustaad Amjad Ali Khan, the great Sarod player.
On the ninety-fourth day, we learnt about the Tabla maestro: Ustaad Zakir Hussain.
On the ninety-fifth day, we learnt about the Sitar player and Composer:Anoushka Shankar.
On the ninety-sixth day, we learnt about the Vocalist Pandit Jasraj.
On the ninety-seventh day, we learnt about the great violinist L Subramaniam.
On the ninety-eighth day, we learnt about one of the greatest sitarists: Ustaad Vilayat Khan.
On the ninety-ninth day, we learnt about another great sitarist: Nikhil Banerjee.
And today, on the hundredth day, we learnt about the great vocalist: Kioshori Amonkar.
There is much more still to be learnt and enjoyed. Please stay tuned!
Diwali or Deepawali is the most major Indian festival,
That symbolises victory over Darkness of Light;
It has been held, over centuries, fully acceptable,
That such Light (as of knowledge) drives away the (ignorance) of the night.
Of course we illuminate our buildings and houses,
But more important is to lighten up heart and mind;
To clean these two spaces of evil thoughts and grouses,
And put all animosity, bitterness and sadness behind.
It is only then that the goddess of prosperity and wealth,
Would visit our home, heart, mind and soul;
When negativity leaves we’re assured of good health,
And all those things that put us back in control.
(Image courtesy: santabanta.com)
One is stunned at the wisdom of Indians of yore,
Who thought of a festival that signifies so much;
As spiritual festivals go, you can’t ask for more,
Than to have one that has such a sagacious touch.
Lets light these lamps today in home and heart,
And replace ignorance with knowledge in our lives;
Today, once again, lets give ourselves a fresh start,
And ensure that Lord Ram, again, in our midst arrives.
Happy Deepawali, my friends, both near and far,
I wish you prosperity, happiness, glory and success;
May you and your homes shine like the brightest star,
And may Laxmi quickly reach (and stay at) your address.
Raaga Based Song of the Day:Sau baar janam lenge…. Raag Kaushik Kanada, Tal Kaherava
The ninety-ninth song; one more to go before I reach hundred. The average length of these blogs is about four thousand words – the amount in which average bloggers write about eight to ten posts. Each one of these is a product of hours (if not days) of research and gives you compendium of information that you would cherish.
(Poster courtesy: cinematerial.com)
This song is from the 1963 movie Ustadon Ke Ustad directed by Brij and starring Pradeep Kumar and Shakeela. Recently, I gave you a song: Woh jab yaad aaye bahut yaad aaye that was penned by Asad Bhopali for the 1963 movie Parasmani. Well, this song too has been penned by him and composed by Ravi. It was sung by Mohammad Rafi.
Lets look at the story-line to see how the song cane about in the movie:
Pradeep Kumar plays Dinesh, a poor engineer in love with a rich woman Nita (Shakila). He is apprehended by the police after they suspect him of being a bank robber. In the police cell he meets dacoit Mangal Singh (Sheikh Mukhtar). The latter plans an escape so as to sell Dinesh to a violent gang.
After their escape Dinesh tells Mangal that not just police he is in trouble with a vindictive gang of thieves hell bent on killing him for having identified Rita (Helen), the dancer, who was involved in a theft. This makes Mangal think of a plan to sell Dinesh to the gang leader for a bigger sum of money.
Mangal’s plan fails. Saaya (Ashok Kumar) follows Mangal’s people to a hiding place where Dinesh is locked up. After his escape from dacoit Mangal, Dinesh makes another escape attempt from the hideout, this time with attempted suicide near a waterfall. This is where Nita comes searching for him and he feigns being a ghost. This is where this lovely song is sung as a mystery song.
The story takes another twist when Saaya (everyone thought he was a police officer in disguise) betrays Dinesh. Nita is still searching for Dinesh and Mangal assists her by becoming her brother. The story takes some more twists and turns and has a happy ending when the lovers are united and the bad man Saaya (Ashok Kumar) is killed. Rita (Helen) is killed too.
This is the first time I am taking up a song in this raaga.
We have completed ninety-five days of Raaga Based Songs of the Day. Our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.
Our ninety-eighth post or the last post here was titled ‘Raaga Based Song Of The Day #98‘ and the song was a Yesudas and Hemlata song from the 1976 Basu Chatterjee movie Chitchor starring Amol Palekar, Zarina Wahab and Vijayendra: Tu jo mere sur mein sur mila le. It is also in Raag Pilu Tal Kaherava.
In the last ninety-eight days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi, Kalavati, Hamir, Bhatiyar, Gawati, Shyam Kalyan, Gorakh Kalyan, Madhamat Sarang, Manj Khammaj, Darbari Kanada, Vibhas, Shankara, Bahar, Nand, Mian Ki Malhar and Jog; making it a total of 62 raagas. The raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti, Bhairavi, Gara, Basant Mukhari, Malkauns, Bhairavi, Mand, Sohani, Madhuvanti, Shivaranjani and Adana. Today, I am giving you a new Raag Kaushik Kanada for the first time.
I have already given you the story of the movie and where exactly the song fits into the plot. Let me just add that this plot was found by audiences as of riveting interest and the movie is still remembered as highly watchable. Here is the list of songs in the movie:
1
“Sau Baar Janam Lenge Sau Baar Fanah”
Mohammed Rafi
2
“Milte Hi Nazar Tumse Ham Ho Gaye Diwane”
Asha Bhosle, Mohammed Rafi and Manna Dey
3
“Hasino Se To Bas Sahab Salamat Dur Ki Achhi”
Mohammed Rafi
4
“Mainne Kahaa Thaa Aanaa Sunday Ko, Sunday Ko”
Asha Bhosle, Mohammed Rafi
5
“Raat Chup Hai Chandni Madhosh Hai Muskura Bhi Do”
Asha Bhosle, Ravi
6
“Mere Dil Ko Jiski Talash Thi Maine Vo Sitamghar Pa Liya”
Asha Bhosle, Mohammed Rafi
All these songs were penned by Asad Bhopali.He was born as Asadullah Khan on 10 Jul 1921 in Bhopal.
Asad Bhopali wrote two songs for Fazli Brothers’ Duniya (1949): Rona hai to chupke chupke (sung by Mohammad Rafi) and Armaan lute, dil toot gaya (sung by Suraiyya). The next year, he wrote songs for a couple of films; these songs were sung by Lata Mangeshkar and Shamshad Begum. Bhopali’s big break was BR Chopra’s Afsana (1951), for which he wrote 5 songs.
One of his early songs that really made him famous was ‘Woh jab yaad aaye bahut yaad aaye’ for the 1963 movie Parasmani (the debut movie of Laxmikant Pyarelal) (Please see: ‘Songs That Tug At Your Emotions #36‘).
He received his only Filmfare Award for Best Lyricist very late for the 1989 movie Maine Pyar Kiya’s song: Dil deewana bin sajna ke maane na.
Mohammad Rafi recording a song with the music director Ravi in the recording studio
I am fond of Music Director Ravi Shankar Sharma or simply Ravi, not just because he is my namesake. First of all, he was the discovery of my favourite Hemant Kumar. Together with Kalyanji, he was assistant to Hemant da in the 1954 movie Naagin. The film included thirteen tracks, including the hit ‘Man Dole Mera Tan Dole’, whose ‘Been Music’ was performed by Kalyanji on clavioline and by Ravi on harmonium. I am also fond of Ravi for having got two of the three Filmfare Awards for Best Lyricist: Chaudhvin ka chand ho and Husn waale tera jawaab nahin. The instrument Sitar figured in many of Ravi’s songs, just like the one that I have selected for you tonight. Ravi was known for bringing poignancy of some of his songs to the fore through his excellent compositions. The song that comes to mind is Shakeel Badayuni’s Do Badan song picturised on Asha Parekh and sung by Lata Mangeshkar: Lo aa gayi unaki yaad woh nahin aaye.
Asad Bhopali and Ravi came together for the 1962 Nisar Ahmad Ansari movie Tower House starring Ajit and Shakila. The movie had very good songs:
Ai mere dil-e-nadaan tu gham se na ghabrana.
Main khushnaseeb hoon mujhako kisi ka pyar mila.
Aaj ki raat andhera bhi hai tanhai bhi.
Mausam hai jawan noor mein dube hain nazaare.
Ye sitam kya hai hamako bana kar deewana chale.
Zara bach ke shikari shikar karna.
And then there was this movie whose songs list I have already given you.
Ai mere dil-e-nadaan tu gham se na ghabrana enacted by Shakila in 1962 movie Tower House was another very popular number of Asad Bhopali and Ravi
Surprisingly, for someone who learnt music mostly by himself Ravi was well rooted in raagas. His favourite raaga appears to be Bhopali or Bhupali. In the 1963 BR Chopra movie Ravi had two out of the seven songs composed in this raaga: Ye hawa ye fiza, and Tujhako mera pyar pukaare. One of the best songs in Raag Kedar: Darshan do Ghanshyam has also been composed by Ravi. Nobody can ever forget his Chaudhvinh ka chand ho in Raag Pahadi and Ye raatein ye mausam nadi ka kinara in Raag Kirwani.
This song, as I told you, is in Raag Kaushik Kanada, Tal Kaherava.
Raag Kaushik/Kaushi/Kausi Kanada belongs to the Asawari thaat. Its Jati is Shadhav – Sampurna Vakra, which means it is hexatatonic (six notes or swar) in Aaroha (ascending) with Re (Rishab) and Pa (Pancham) varjay. All seven swar (heptatonic) in Avroha (descending). Gandhar, Dhaivat and Nishad are Komal. Rest all swar are Shuddha. The raaga is well suited for the third prahar of the night (Midnight to 3 AM).
Other than this song there are no notable songs in Hindi movies composed in Kaushik or simply Kaushi/Kausi Kanada.
I have, at various places earlier, told you about the Kaherava Tal and hence don’t feel the need to repeat it here.
Before we actually take up the song, first, lets take up the value added learning of today. From the last sixteen times we started learning about some of the leading personalities in Indian Classical Music or Shastriya Sangeet. The first one that we took up was Ustaad Asad Ali Khan,thefinest Rudra Veena player in the country. Then we took up Pandit Hari Parsad Chaurasia, the greatest Bansuri player in the country. Then we talked aboutAli Akbar Khan, the greatest Sarod player in the country. Then we took upPandit Ravi Shankar, the greatest Sitar player in the world. Then we took up the greatest classical singer in the country (of Carnatic tradition): MS Subbulakshmi. Then, we took upthe greatest classical singer in the country (of Hindustani tradition): Pandit Bhimsen Joshi. Then, we learnt about theShehnai maestro Ustad Bismillah Khan.Then, we learnt aboutAnnapurna Devi, a great Surbahar (bass sitar) player of Hindustani Classical Music.Thereafter, we took upPandit Shiv Kumar Sharma, the grestest Santoor player in the country.Then we learnt a little more aboutUstaad Alla Rakha Qureshi or simply Alla Rakha, the Tabla Maestro and father of Ustaad Zakir Hussain.Then we learnt about the master and one of the pioneers of fusion:Anand Shankar.Thenwe learnt about aVeena player who was also a great filmmaker: Sundaram Balachander. Then we learnt about Sarod Player Ustad Amjad Ali Khan. And then we learnt about Ustaad Zakir Hussain, the Tabla maestro.Then we learnt about Sitar Player and Composer Anoushka Shankar. And then we covered vocalist Pandit Jasraj in the last post. We then covered violinist L Subramaniam. And finally we learnt about Sitarist: Ustaad Vilayat Khan.
(Picture courtesy: discogs.com)
Tonight, we shall take up another great sitarist: Nikhil Banerjee. He was born on 14 Oct 1931 in Calcutta. His father, Jitendranath Banerjee, was an amateur sitarist and Banerjee was fascinated by his father’s playing. Initially, his father didn’t encourage Nikhil becoming a sitarist but relented when he was five. The initial training of the young child was at the hands of his father. He became a child prodigy. He won an all-India sitar competition and became the youngest musician employed by All India Radio at the age of nine. Around 1946 Nikhil Banerjee met the great khyal singer Amir Khan through the master’s teaching of Nikhil Banerjee’s sister, and his enthusiasm for his music was reinforced by hearing him in concert a couple of years later.
In 1947 Banerjee met Ustad Allauddin Khan, who was to become his main guru along with his son, Ali Akbar Khan. Both were sarod players. Banerjee went to Allauddin Khan’s concerts and was desperate to have him as his teacher. Allauddin Khan did not want to take on more students, but changed his mind after listening to one of Banerjee’s radio broadcasts. Allauddin Khan was Banerjee’s main teacher, after he left Maihar he also learned from Ali Akbar Khan, the son of Allaudin Khan, for many years.
Ustad Allauddin Khan passed on to Nikhil not only playing technique but the musical knowledge and approach of the Maihar gharana. After Maihar, Banerjee embarked on a concert career that was to take him to all corners of the world and last right up to his untimely death on 27 Jan 1986. All through his life he kept taking lessons from Ustad Allauddin Khan and his children, Ustad Ali Akbar Khan and Smt. Annapurna Devi. Perhaps reflecting his early upbringing, he always remained a humble musician, and was content with much less limelight than a player of his stature could have vied for. Even so, in 1968, he was decorated with the Padma Shri, and in 1974 received the prestigious Sangeet Natak Akademi Award.
Today, he is commonly regarded as one of the greatest sitarists of the 20th century and is often spoken of as being on a level with the other two masters Ravi Shankar and Vilayat Khan.
Returning to the song now. The song, as I told you, is from the 1963 Brij movie Ustadon Ke Ustad. It is a soft melody in Raag Kaushik or Kaushi/Kausi Kanada that lends to the song a certain enigma that goes well with the vapour that rises from the water-fall. In that respect the song is in line with – though with better lyrics and picturisation – than such songs as Gumnaam hai koi.
Ladies and gentlemen, please enjoy in Raag Kaushik Kanada Tal Kaherava, Moahammad Rafi sing a composition of Ravi on the lyrics of Asad Bhopali in the 1963 Brij movie Ustadon Ke Ustad starring Pradeep Kumar, Shakila, Ashok Kumar and Sheikh Mukhtar: Sau baar janam lenge, sau baar fana honge…..
सौ बार जनम लेंगे, सौ बार फ़ना होंगे
ऐ जान-ए-वफ़ा फिर भी, हम तुम न जुदा होंगे
क़िस्मत हमे मिलने से, रोकेगी भला कब तक
इन प्यार की राहों में, भटकेगी वफ़ा कब तक
क़दमों के निशाँ खुद ही, मंज़िल का पता होंगे
ये कैसी उदासी है, जो हुस्न पे छाई है
हम दूर नहीं तुम से, कहने को जुदाई है
अरमान भरे दो दिल, फिर एक जगह होंगे
https://www.youtube.com/watch?v=CTprvBjARLY
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.
On the fifty-fifth day, we learnt about Harmonium.
On the fifty-sixth day, we learnt about Santoor.
On the fifty-seventh day, we learnt about Swarmandal.
On the fifty-eighth day, we learnt about the Shruti Box.
On the fifty-ninth day, we learnt about Alankar.
On the sixtieth day, we learnt about singing in Aakaar.
On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
On the sixty-second day, we learnt a little about Carnatic Music.
On the sixty-third day, we learnt about Natya Shastra.
On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
On the sixty-fifth day, we learnt about Riyaaz.
On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
On the sixty-seventh day, we learnt about the health benefits of raagas.
On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
On the seventieth day, we learnt about Melakarta Raagas.
On the seventy-first day, we learnt about Sangita Makarand.
On the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.
On the seventy-third day, we learnt about Indian Classical Ragas, an Android application for mobile phones.
On the seventy-fourth day, we learnt about Saregama Classical, another application for Classical Raagas.
On the seventy-fifth day, we learnt about a free online service available to learn Indian Classical Music.
On the seventy-sixth day, we learnt about List of Hindustani Classical Musical Festivals in India and Abroad.
On the seventy-seventh day, we learnt about List of Carnatic Musical Festivals in India and Abroad.
On the seventy-eighth day, we learnt about Jhaptal.
On the seventy-ninth day, we learnt about Ektal.
On the eightieth day, we learnt about Tivra Tal.
On the eighty-first day, we learnt about the greatest Rudra Veena player ever: Ustaad Asad Ali Khan.
On the eighty-second day, we learnt about the greatest Bansuri player alive: Pandit Hariprasad Chaurasia.
On the eighty-third day, we learnt about the best Sarod player in the country: Ustaad Ali Akbar Khan.
On the eighty-fourth day, we learnt about the greatest Sitar player in the world: Pandit Ravi Shankar.
On the eighty-fifth day, we learnt about the greatest Indian vocalist of Carnatic tradition: MS Subbulakshmi.
On the eighty-sixth day, we not just learnt about the greatest vocalist of Hindustani tradition: Pandit Bhimsen Joshi but also learnt about Tal Hinch.
On the eighty-seventh day, we learnt about the Shehnai maestro Ustaad Bismillah Khan.
On the eighty-eighth day, we learnt about Annapurna Devi, the greatest Surbahar player in India.
On the eighty-ninth day, we learnt about Pandit Shiv Kumar Sharma, the greatest Santoor Player in the country.
On the ninetieth day, we learnt about Ustaad Alla Rakha, the Tabla maestro.
On the ninety-first day, we learnt about Anand Shankar, the great fusion musician from Bengal.
On the ninety-second day, we learnt about Sundaram Balachander, the great Veena player and film-maker.
On the ninety-third day, we learnt about Ustaad Amjad Ali Khan, the great Sarod player.
On the ninety-fourth day, we learnt about the Tabla maestro: Ustaad Zakir Hussain.
On the ninety-fifth day, we learnt about the Sitar player and Composer:Anoushka Shankar.
On the ninety-sixth day, we learnt about the Vocalist Pandit Jasraj.
Onthe ninety-seventh day, we learnt about the great violinist L Subramaniam.
On the ninety-eighth day, we learnt about one of the greatest sitarists: Ustaad Vilayat Khan.
And today, on the ninety-ninth day, we learnt about another great sitarist: Nikhil Banerjee.
There is much more still to be learnt and enjoyed.
How big or long a Life should be?
Should one be able to live forever?
Who knows what couldn’t or could be,
If on this earth one were to die never?
The easy answer, my friends, to remember,
Is that Life doesn’t consist of days and years;
If Life could be just from January to December,
Who would remember all the joys and tears?
Life is measured by smiles, joys and cheers,
That you bring on the faces of those you assist;
Life is gauged when all the pain disappears,
Of those whose wounds that you’ve kissed.
Life consists of all those beautiful occasions,
When you thanked God for what you’ve got;
When you didn’t think of those mental equations,
In which others have infinity and you’ve naught.
Life is there when you think of here and now,
Without thinking of the elusive there and then;
Life is found when you have sweat on your brow,
And still you say: give it to me again and again.
Life is in those times when you say with surety: I have lived every moment that was, to me, given; With the thoughts of self-doubt and insecurity, I was never never never never never never driven.
People ask what is the life’s purpose or aim,
As if they’d live better if they knew precisely.
I think it is an excuse that is totally lame,
For not doing what you have to do nicely.
Life has as much meaning as we put in it,
It is a clean canvas on which we have to paint.
For this God has given us the complete kit,
And even given us an idea, however faint.
It is for us to follow this rather faint light,
And go with confidence wherever it takes us;
Those who do, turn out to be bold and bright,
Others would have simply missed the bus.
We have to do the best in what our hands find,
Don’t look for lofty aims and even results;
You live well if you have this right in your mind,
Others would only exchange excuses and insults.
Here is an example, that makes it very clear,
If you are a cobbler, aim to be best in your trade.
At what you are required to do, don’t ever sneer,
Everyone is not born for a king to be made.
A bad king is much worse than a good farmer,
Who doesn’t waste his time thinking about things;
The king, in words and appearance, may be a charmer,
But it’s the farmer’s grit and resolve that gives him wings.
This song is from the 
Lets take up the 
Raag Bhairavi
Tonight, we shall take up the 
All these songs were penned by 
