Sunbyanyname

Jatt kudian ton darda maara….
Lyricis: Varma Malik
Composer: Hansraj Behl
Singer: Shamshad Begum, Mohammad Rafi

Third song of the new series that we started day before yesterday.

The two songs that I have given you so far are: Ik meri akh kashni (‘My Favourite Punjabi Songs – Song #1 – Ik Meri Akh Kashni‘) sung by the Nightingale of Punjab: Surinder Kaur; and Mainu tera shabaab lai baitha (‘My Favourite Punjabi Songs – Song #2 – Mainu Tera Shabaab Lai Baitha’).

This song is from the 1959 Punjabi movie Bhangra that was directed by Jugal Kishore and starred Sunder, Nishi and Manju.

All these Punjabi songs that I am giving you are nostalgic to me, Punjabi being my mother tongue. However, the songs of this movie are really very dear to me as I saw the movie with my parents and after all these years (59 to be exact), I can recall all the songs and most of the lyrics. During those days, if I would listen to a song on the radio just once I would remember the lyrics.

Have a look at the songs of the movie (many of you too would be filled with nostalgia):

• Rabb na kare ke meri akh fadke, uton wagda hai meenh chham chham.
• Batti baal ke banere utte rakhdi haan.
• Chitte dand hasno nahio rehnde.
• Jatt kudian on darda maara.
• Ambiaan de booteaan te (Rut hai milaapan wali chann mera door).
• Been na wajaeen mundia.
• Mull wikda sajjan mil jaave lai lanvan main jind vech ke.

The songs of this movie are nostalgic to me for one more reason. My family was in Mandi, Himachal. However, during our summer holidays we used to go to my maternal grandparents house in Village Urapur, Jullunder District, Punjab.

Very often in the evenings visiting song and drama groups would go from village to village performing. We used to sit on the ground in a circle around them munching pop-corn that would have been made from corn taken from the house to the Bhatti (where these would be roasted over hot-sand and the Bhatti owner would accept a handful of corn as his remuneration). This song was performed for us by a visiting theater group. Because of the popularity of the song and the acting skills of the actors of the drama company, everyone enjoyed it to the hilt.

Here is the story (Sunder is Sunder in the movie and Nishi is Banto):

Sunder, the son of the moneylender Kaude Shah, goes to a poor farmer, Bulaki, in the village of Rangpur to get money-with-interest back from him, but falls in love with his daughter Banto. A suspended Munshi of Kaude Shah, Mehnga Mall, also tries to get Banto; he steals Kaude Shah’s jewellery and reaches Rangpur. He gives the jewellery to Sunder for staying away from him and Banto. Sunder gives the jewellery to Bulaki to pay back his debt and so did the unconscious Bulaki, the truth comes out and Bulaki is charged for stealing jewellery. He explains that the jewellery was given to him by Sunder and so Sunder is arrested. Finally, Mehnga Mall confesses and Bulaki and Sunder go free. After a little protest Sunder’s father, Kaude Shah, agrees to Sunder and Banto’s marriage.

Not that it is required, but, let me tell you at this stage about the actress Nishi who lip-syncs the song to Sunder, the actor.

Nishi’s full name is Nishi Kohli. She acted in many Hindi movies with Dara Singh and then with co-stars Raj Kapoor, Balraj Sahni, Bharat Bhushan, Helen, Ashok Kumar, Shashi Kapoor, Madhubala, Mala Sinha, and Rajendra Kumar.

Her first movie was the 1955 Ramesh Saigal movie Railway Platform. Her last Hindi movie was the 1970 Ganwaar.

However, she made better name for herself in Punjabi movies wherein she emerged as the heart-throb of many. Bhangra was her first Punjabi film and then she went on to act in Banto, Main Jatti Punjab Di and finally in 1969 Nanak Naam Jahaz Hai wherein my favourite hymn: Mere sahib, mere sahib, sung by Asha Bhosle, is picturised on her.

Guess what? I still remember her role in Bhangra and when she lip-synced the sad numbers Mul wikda sahan mil jaawe lai lanva main jind vech ke, and Batti baal ke banere utte rakhdi haan, my heart went out to her. I was only six years old though.

I loved Sunder‘s acting too. He was the hero in many Punjabi movies and comedian and hero in many Hindi movies. He died on 05 Mar 1992 in Mumbai and was active from 1938 to 1980s.

Madari was his debut Punjabi movie in 1950 though he had acted in many Hindi movies before that. His memorable roles are in Do Lachhian, Vilayati Babu and Chann Pardesi.

Sunder watches Banto perform bhangra/giddha with another person in the song and then in the end he (Sunder) steps in to claim her for the first time, captivated by her beauty and her pleasing ways. This song is, therefore, important in the movie as Sunder expresses his interest in her. In the end, she responds in kind and tells him in a boli to disregard her earlier bolis and that she loved his ways.

This song is in the form of Boliyan. What exactly are Boliyan? Boliyan or Bolis are Punjabi couplets. These days these are written as lyrics but, during my boyhood days and before, these used to be passed from generation to generation; each generation adding some more.

Initially, as I remember, Boliyan used to be sung by women and some of them would break out in giddha, becoming much more energetic during the interludes. Here, these are performed in the form of bhangra (the name of the movie) with one boli by female and an answering one by him and vice-versa. The energetic interludes are not after every boli but after three or four boliyan, every time.

For me, these are very nostalgic as I have listened to my mother and her sisters singing Boliyan and dancing giddha. Also, in many Punjabi weddings that I have attended Jaago aayiyan boliyan is sung on the night before the wedding (the night of awakening and that’s why Jaago aayiyan).

Varma Malik, the lyricist, made a name for himself with the song Ek Tara Bole in the 1970 Manoj Kumar movie Yaadgaar.

He was born on 13 Apr 1925 in Ferozepur (now in Pakistan). He was an active freedom fighter during the British Raj. The composer of this song and other songs in the movie, Hansraj Behl, actually launched his career as a lyricist.

Hansraj Behl was born on 19 Nov 1916 in Ambala (then in Punjab). He received his early education in music from Pandit Chunnilal.

He opened a music school in Lahore and recorded a few songs for HMV. In 1944, he traveled to Bombay to seek a career in movies. He managed to make his debut as a composer with Pujari, (1946), directed by Ardeshir Irani. Noted playback singer Asha Bhosle made her Hindi film debut when she sang the song Saawan aaya for Hansraj Behl’s film Chunariya (1948).

In 1964 he gave music for hit Punjabi film by Padam Prakash Maheshwary titled Satluj De Kandhe, starring Balraj Sahni, Nishi, Wasti, and Mirza Musharraf. The patriotic hit, ‘Jahan Daal Daal Pe Sone Ki Chidiya Karti Hai Basera’ sung by Mohammed Rafi in the film Sikandar-e-Aazam (1965), starring Prithviraj Kapoor was one of his last memorable numbers.

I think in the movie Bhangra, he really excelled as the movie has a very good mix of fast dance numbers, slow romantic numbers and sad numbers. All songs became popular.

No lyrics of the song are available on the net. I have written them down both from my recollection and after listening to the song.

Please enjoy Shamshad Begum and Mohammad Rafi sing on the lyrics of Verma Malik and composition of Hansraj Behl, a song in the form of Boliyan in the 1958 Jugal Kishore movie Bhangra starring Sunder and Nishi: Jatt kudiyan to darda maara……..(F is for Female and M for Male)

F: Jatt kudiyan ton darda maara
Ke mode’ ute daang rakhda – 2
(Jatt, afraid of the girls,
Keeps a stick on his shoulder)

M: Othe daang na kise’ di chaldi
Ke jithe chale teer akh da – 2
(There no stick would be effective
Where the arrow of the eyes shoots)

F: Kaanu muchh nu maroden denven,
kehda tera saag todeya?
(Why are you twirling your moustache,
As I have I have picked your saag?)

M: Saara khet hawaale tere,
Ni asan tainu kadon modeya?
(The whole field (of crop) is yours
When have I stopped you?

F: Ve main haan pandran murebbeya waali,
Kachehri wich mile kursi
( I have 15 murabba of land in my name (One murabba = 25 acres)
I get a seat in a court.

M: Mainu bin tankha vich kudiye
Murebbeyan te rakh munshi
(You can keep me without pay
As a Munshi (clerk) in your lands)

M: Teri hasiyan chalan te chadiyan
Ki ik waar has ke vikha
(Your laughter can send one high,
Just once show your laughter)

F: Putt hatt da bada tut bhaida,
Hasdi de dand ginada
(As a Jatt’s son, you are naughty,
You count my teeth when I laugh)

M: Kithe wajadi patal wang kajadi,
Ni kaali daang meri soniye
(It bangs with the sound of metal,
My black stick, O beautiful)

F: Laddu vandadi gali te vich niklan
Ve shaala teri daang tut paye
(I’d walk through the street distributing laddus,
If sometime your stick would break)

M: Teri dhaun surahi wargi
Ki chak na tu tin matke
(Your neck is like a surahi
You shouldn’t balance three pitchers over it)

F: Hath laayin na beganiyan mundeyan,
Ke gal kar pare hat ke
(Don’t touch (me) you stranger boy,
Talk to me (only) from a distance.

M: Teri gutt gitteyan te wajadi,
Ke hauli hauli nach kudiye
(Your braids fall up to your knees,
You should dance very very slowly)

F: Kale naag de vaangan dang maare
Ke ede kolon wach mundeya
(It would bite like a black snake,
You should protect yourself, boy)

M: Tainu chand di main sait karaanva,
Ke Roos de rocket te
(I would take you for a moon-walk
On a Russian rocket)

F: Othe jaake main charkhi chalanvan
Ke jithe tera hal wagde
(There I would work on the spinning wheel
Where you plough the lands)

M: Saare pind wich chaanan tera,
Ke maan diye mombatiye
(Whole village is lit with your light,
You are your mom’s candle)

At this stage Sunder (who was a spectator so far) comes dancing in:

Sunder: Tainu lai jaanwan Kashmir,
Je tu ban jaayen meri Heer,
Paanvan sone di zanjeer
Ni tu bindiye…..
(I’d take you to Kashmir,
If you agree to become my Heer,
I’d give you a gold chain (for your neck)
You are like a bindi.

Nishi suddenly becoming aware of his presence. This is her first reaction

Nishi: Tere naal kadin na jaawan,
Tere bapu nu bulwaawan,
Ohnu jaa fariyaadan laanvan,
Jatt vairya -2
(I’ll never go with you,
I’d call your father,
I’d go there and pray to him (to keep you away)
My enemy Jatt

Sunder: Koi mere pind da raah
beshak bapu kol tu jaa
Nahin hai bapu di parwah
Ni tu bindiye
(You can find the path to my village,
Even if you go to my father,
I don’t care for my father
You are like a bindi

Nishi: Main taan ainvin kardi saan,
Mere dil wich teri thaan,
Aaja phad lai meri baanh
Mere makhna, mere sajna
(I was just like that saying it,
In my heart there is place for you,
Come and hold my arm
My dearest, my lover)

https://youtu.be/xFLXRH9828U

The song, in the form of Boliyan, is not just in Punjabi but, it also has the flavour of Punjab that was there in its villages; where men and women broke into bhangra and giddha; where love stories began and ended with songs.

In this case, since the name of the movie was Bhangra, this song had the beginning of the love between Sunder and Banto, he having gone there to collect money with interest from Banto’s father.

I hope you too enjoyed it.

Please await the next song in this series.

 

Raaga Based Song of the Day: Jeet hi lenge bazi ham tum….
Raag Bhairavi, Tal Dadra

I am returning to Raaga based songs of the day after 02 Feb 18.

And, I am returning with the raaga most widely used in Hindi films songs: Bhairavi.

Today is the ninth time that I give you a song in this raaga. I took my time to give you the first song in Bhairavi on the 11th day: Babul mora naihar chhooto hi jaaye (Please see: ‘Raaga Based Song Of The Day #11’). That, I believe is the best song composed in Bhairavi. As I went along, I gave you several others including some of the favourite songs composed by Shankar Jaikishan. The last song in Bhairavi was on the 86th day: Aapki yaad aati rahi raat bhar (Please see: ‘Raaga Based Song Of The Day #86’).

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

Our ninety-second post or the last post here was titled ‘Raaga Based Song Of The Day #92‘ and the song was an Asha Bhosle song from the 1963 SS Vasan production and Kishore Sahu directed movie Grahasti starring Ashok Kumar, Manoj Kumar, Rajshree, Nirupa Roy and Mehmood.. It is in Raag Sohani, Tal Tintal.

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

In the last ninety-two days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, 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 and Mian Ki Malhar; making it a total of 61 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 and Shivaranjani. Today, I am repeating Raag Bhairavi for the ninth time.

Today’s song is from the 1961 Ramesh Saigal movie Shola Aur Shabnam starring Dharmendra and Tarla Mehta together with M Rajan, Abhi Bhattacharya and Vijayalaxmi. Its lyrics are by Kaifi Azmi that have been composed by Khayyam and sung by Mohammad Rafi and Lata Mangeshkar. As in many other movies, this duet reminds the lovers of their childhood love.

It is amongst the hundred movies or so that I watched on the net, fascinated by its songs and for once, I was not disappointed though, in the second half, the movie does drag on a bit; which was the case with most movies of that era.

The story is about Dharmendra and Tarla being childhood friends, very close and in love. They grow up after having been separated at childhood. He is poor and his friend M Rajan gives him a much-needed job in his timber business. M Rajan is engaged to be married to Tarla. Dharmendra doesn’t recognise Tarla who has grown up. His friend M Rajan asks him to sing when they meet and he sings their childhood favourite. She joins in the second stanza.

Another song from the movie became very popular: Jaane kya dhoondati rehati hain ye aankhen mujh mein, which was Dharmendra’s way of telling Talrla that he couldn’t possibly return to their loving days since he owed it all to his friend and benefactor M Rajan.

The lyricist of the song is Kaifi Azmi. I have as many as three blog posts on him: ‘The Best Songs Of Kaifi Azmi – A Great Lyricist And Poet’, ‘Part II’ and ‘Part III’. He was the only famous lyricist whom I heard live in a mushaira (in my college Govt College Dharamshala). I have found his poetry and lyrics so powerful that I wonder how could he write these in such simple words.

Of all the lyricists that I know of, Kaifi Azmi mastered the art of giving vent to the most intense and most powerful emotions through simplest words. One author who did that is my favourite: Ernest Hemingway. Likewise, taste this from Kaifi in this song: 

मिलने की खुशी ना मिलने का गम, खत्म ये झगड़े हो जाएं
तू तू ना रहे, मैं मैं ना रहूँ
इक दूजे मैं खो जाएं
मैं भी ना छोड़ूं पल भर दामन
तू भी पल भर रूठे ना, प्यार का बंधन ..

These are the kind of simple words that take you another world altogether; the world of pure love and enchantment.

Now, about music director Khayyam, the composer of this delightful song.

Khayyam and his wife Jagjit Kaur are from the town of Rahon, near Nawanshahr in Punjab. This is close (14 Kms) from my maternal grandparents place in Urapur. Khayyam is not just the gentlest of the music directors, he has affinity towards the raaga of my place: Pahadi.

Mohammad Zahur Khayyam Hashmi decided to donate his entire wealth of about Rupees Ten Crores to the trust founded by him as KPJ Trust (K for Khayyam, P for their late son Pradeep (they lost him in 2012) and J for his wife Jagjit) to support budding artists and technicians in India.

In this song, he surprised us by composing it in Raag Bhairavi.

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.

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

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

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

Before we actually take up the song, first, lets take up the value added learning of today. From the last eleven 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, the finest Rudra Veena player in the country. Then we took up Pandit Hari Parsad Chaurasia, the greatest Bansuri player in the country. Then we talked about Ali Akbar Khan, the greatest Sarod player in the country. Then we took up Pandit 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 up the greatest classical singer in the country (of Hindustani tradition): Pandit Bhimsen Joshi. Then, we learnt about the Shehnai maestro Ustad Bismillah Khan. Then, we learnt about Annapurna Devi, a great Surbahar (bass sitar) player of Hindustani Classical Music. Thereafter, we took up Pandit Shiv Kumar Sharma, the grestest Santoor player in the country. Then we learnt a little more about Ustaad 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. And finally, we learnt about a Veena player who was also a great filmmaker: Sundaram Balachander.

Tonight, we shall take up the Sarod Player Ustad Amjad Ali Khan, the recipient of second highest civilian award in India: the Padma Vibhushan. Indeed, Amjad Ali Khan is the recipient of the three awards in 2nd, 3rd and 4th position, that is, Padma Vibhushan, Padma Bhushan, and Padma Shri.

Born on 9 October 1945 as Masoom Ali Khan Bangash, the youngest of seven children, to Gwalior court musician Hafiz Ali Khan and Rahat Jahan. His family is part of the Bangash lineage and Khan is in the sixth generation of musicians; his family claims to have invented the Sarod.

I have heard him live a number of times and it is sheer magic seeing him perform.

As far as the singers Mohammad Rafi and Lata Mangeshkar are concerned, I have only this to say: People have brought out that the best duets are between A, B, and C. However, both Rafi and Lata have etched names for themselves as the best playback singers there ever were.

Ladies and gentlemen, please enjoy in Raag Bhairavi Tal Dadra, Mohammad Rafi and Lata Mangeshkar sing a composition of Khayyam on the lyrics of Kaifi Azmi in the 1961 Ramesh Saigal movie Shola Aur Shabnam starring Dharmendra and Tarla Mehta: Jeet hi lenge bazi ham tum…..

रफ़ी:
जीत ही लेंगे बाज़ी हम तुम, खेल अधूरा छूटे न
प्यार का बंधन, जन्म का बंधन, जन्म का बंधन टूटे न

मिलता है जहाँ धरती से गगन, आओ वहीं हम जाएं
तू मेरे लिये, मैं तेरे लिये – २
इस दुनिया को ठुकरायें – २
दूर बसा ले दिल की जन्नत – २
जिसको ज़माना लूटे ना, प्यार का बंधन

लता:
मिलने की खुशी ना मिलने का गम, खत्म ये झगड़े हो जाएं
तू तू ना रहे, मैं मैं ना रहूँ – २
इक दूजे मैं खो जाएं – २
मैं भी ना छोड़ूं पल भर दामन – २
तू भी पल भर रूठे ना, प्यार का बंधन …

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
10. On the tenth day, we learnt about the sources of names of Raagas.
11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
12. On the twelfth day, we learnt about Khammaj Thaat.
13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
14. On the fourteenth day, we learnt about Alap.
15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
16. On the sixteenth day, we learnt about tips for raaga identification.
17. On the seventeenth day, we learnt the basics of Gharana system.
18. On the eighteenth day, we learnt about Filmi Sangeet.
19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
20. On the twentieth day, we learnt about the Kafi Thaat.
21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
25. On the twenty-fifth day, we learnt about Tintal.
26. On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
27. On the twenty-seventh day, we learnt about Lehar.
28. On the twenty-eighth day, we learnt about the history of the Hindustani Music.
29. On the twenty-ninth day, we learnt about Dhrupad.
30. On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
31. On the thirty-first day, we learnt about Khayal.
32. On the thirty-second day, we learnt about Thumri.
33. On the thirty-third day, we learnt about Tappa.
34. On the thirty-fourth day, we learnt about Tarana.
35. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
36. On the thirty-sixth day, we learnt about Tabla.
37. On the thirty-seventh day, we learnt about Kirtan.
38. On the thirty-eighth day, we learnt about Pakhawaj.
39. On the thirty-ninth day, we learnt about Hori.
40. On the fortieth day, we learnt about Dadra.
41. On the forty-first day, we learnt about Kajri.
42. On the forty-second day, we learnt about Chaiti.
43. On the forty-third day, we learnt about Sarangi.
44. On the forty-fourth day, we learnt about Shehnai.
45. On the forty-fifth day, we learnt about Sarod.
46. On the forty-sixth day, we learnt about Bansuri.
47. On the forty-seventh day, we learnt about Ektal and Tanpura.
48. On the forty-eighth day, we learnt about Veena.
49. On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
50. On the fiftieth day, we learnt about Dilruba/Esraj.
51. On the fifty-first day, we learnt about Jaltarang.
52. On the fifty-second day we learnt about Qawwali.
53. On the fifty-third day, we learnt about Sitar.
54. On the fifty-fourth day, we learnt about Surbahar.
55. On the fifty-fifth day, we learnt about Harmonium.
56. On the fifty-sixth day, we learnt about Santoor.
57. On the fifty-seventh day, we learnt about Swarmandal.
58. On the fifty-eighth day, we learnt about the Shruti Box.
59. On the fifty-ninth day, we learnt about Alankar.
60. On the sixtieth day, we learnt about singing in Aakaar.
61. On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
    
62. On the sixty-second day, we learnt a little about Carnatic Music.
63. On the sixty-third day, we learnt about Natya Shastra.
64. On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
65. On the sixty-fifth day, we learnt about Riyaaz.
66. On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
67. On the sixty-seventh day, we learnt about the health benefits of raagas.
68. On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
69. On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
70. On the seventieth day, we learnt about Melakarta Raagas.
71. On the seventy-first day, we learnt about Sangita Makarand.
72. On the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.
73. On the seventy-third day, we learnt about Indian Classical Ragas, an Android application for mobile phones.
74. On the seventy-fourth day, we learnt about Saregama Classical, another application for Classical Raagas.
75. On the seventy-fifth day, we learnt about a free online service available to learn Indian Classical Music.
76. On the seventy-sixth day, we learnt about List of Hindustani Classical Musical Festivals in India and Abroad.
77. On the seventy-seventh day, we learnt about List of Carnatic Musical Festivals in India and Abroad.
78. On the seventy-eighth day, we learnt about Jhaptal.
    
79. On the seventy-ninth day, we learnt about Ektal.
    
80. On the eightieth day, we learnt about Tivra Tal.
81. On the eighty-first day, we learnt about the greatest Rudra Veena player ever: Ustaad Asad Ali Khan.
82. On the eighty-second day, we learnt about the greatest Bansuri player alive: Pandit Hariprasad Chaurasia.
83. On the eighty-third day, we learnt about the best Sarod player in the country: Ustaad Ali Akbar Khan.
84. On the eighty-fourth day, we learnt about the greatest Sitar player in the world: Pandit Ravi Shankar.
85. On the eighty-fifth day, we learnt about the greatest Indian vocalist of Carnatic tradition: MS Subbulakshmi.
86. 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.
87. On the eighty-seventh day, we learnt about the Shehnai maestro Ustaad Bismillah Khan.
88. On the eighty-eighth day, we learnt about Annapurna Devi, the greatest Surbahar player in India.
89. On the eighty-ninth day, we learnt about Pandit Shiv Kumar Sharma, the greatest Santoor Player in the country.
90. On the ninetieth day, we learnt about Ustaad Alla Rakha, the Tabla maestro.
91. On the ninety-first day, we learnt about Anand Shankar, the great fusion musician from Bengal.
92. On the ninety-second day, we learnt about Sundaram Balachander, the great Veena player and film-maker.
93. And today on the ninety-third day, we learnt about Ustaad Amjad Ali Khan, the great Sarod player.

There is much more still to be learnt and enjoyed.

Please stay tuned!