Raaga Based Song Of The Day #49

Raaga Based Song of the Day: Balma anaadi man bhaye…
Raag Hemant, Tal Kaherava

Yesterday, I introduced the music instrument Veena to you but didn’t give you a song with that. The reason was that I was still giving you songs on Mukesh’s Birth Anniversary four days ago, on 22 Jul. I make up for that now and today’s is a remarkably beautiful song sung by Lata Mangeshkar.

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

Our forty-eighth post was titled ‘Raaga Based Song Of The Day #48‘ and the song was a Mukesh song from the 1964 Ravindra Dave movie Dulha Dulhan: Hamne tujhako pyar kiya hai jitna.  It is in Raag Tilak Kamod, Tal Kaherava.

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

In the last forty-eight days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti and Tilak Kamod. The only two raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, and Maru Bihag.

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

However, first, lets take up the value added learning of today. Today, for the first time, I am repeating learning about Veena; with just one request for you: You have to identify the Veena that Mala Sinha is holding (what type of Veena is it?) and give me your answers in the comments of this post. Also, please do let me know as to why do you think I didn’t share the obvious Veena song from 1957 movie Dekh Kabira Roya: Meri veena tum bin roye composed by Madan Mohan in Raag Ahir Bhairav?

Veena is one of the oldest of Indian musical instruments. If you look at a picture of Goddess Saraswati, the goddess of learning, you see her sitting with a Veena. It is so ancient that the word Veena in Sanskrit used to genrecally mean any plucked stringed instrument. Veena is mentioned in the Rigveda, Samaveda and other Vedic literature such as the Shatapatha Brahmana and Taittiriya Samhita. In the ancient texts, the sage Narada is credited with inventing the Veena and even his pictures show him carrying Veena.

The construction of Veena varies between the Hindustani music and Carnatic Music. In Hindustani music, it is a stick zither about 3.5 to 4 feet. It has a hollow body and two large resonating gourds under each end. There are a total of seven strings; four main strings which are melody type, and three auxiliary drone strings. To play, the musician plucks the melody strings downward with a plectrum worn on the first and second fingers, while the drone strings are strummed with the little finger of the playing hand. The musician stops the resonating strings, when so desired, with the fingers of the free hand. The veena has been generally replaced with the sitar in north Indian performances.

In the Carnatic music design, Veena is a long-necked, pear shaped lute. It has a pear shaped wooden piece in place of the lower gourd of the Hindustani music Veena. It too, however, has 24 frets, four melody strings, three drone strings, and played quite similar. Unlike, in Hindustani music, Veena continues being an important and popular stringed instrument in Carnatic music.

Veena strings can produce pitches in full three octave range.

Veenas are of different types. Some of these are:

  • Rudra Veena is a fretted veena, with two large equal size tumba (resonators) below a stick zephir.
  • Saraswati Veena is similar to Rudra Veena with the two resonators being of different sizes. The veena is played by sitting cross-legged with the instrument held tilted slightly away from the player. The small gourd on the left rests on the player’s left thigh, the left arm passing beneath the neck (of the Veena) with the hand curving up and around so that the fingers rest upon the frets. The palm of the right hand rests on the edge of the top plank so that the fingers (usually index and middle) can pluck the strings. The drone strings are played with the little finger. The veena’s large resonator is placed on the floor, beyond the right thigh.
  • Vichitra Veena does not have frets. It sounds close to humming human singer.
  • Tritantri (3 string) Veena, now called Sitar (a Persian word meaning three strings).
  • Saradiya Veena, now called Sarod.
  • Pinaki Veena, related to Sarangi.
  • Kachapi Veena, now called Kachua Sitar.
  • Others such as Shatatantri Veena (Santoor), Gayatri Veena (with one string only) and Saptatantri Veena.

As I mentioned, today’s song is composed in Raag Hemant, Tal Kaherava.

Hemant belongs to Bilawal Thaat in Bhatkhande’s system of raagas. Its Jati is Audhav-Sampoorna, ie, five notes in Aaroha (Re and Pa are excluded) and all seven notes in Avaroha. Let me see now how attentive you have been. Do you recall a week back I gave you a Shobha Gurtu song (Thumri): Yaad piya ki aaye? (Please read: ‘Raaga Based Song Of The Day #41’). Do you recall that I called that Raag Bhinna Shadja or Kaushik Dhwani? I told you that its Jati was Audhav-Audhav, that is five notes or swar each in Aaroha and Avroha. Now in Raag Bhinna Shadja or Kaushik-Dhwani when Pancham (Pa) and Rishabh (Re) are used in Avroha, Raag Hemant is conceived (this is exactly how one raag leads you to another).

Hemant, as you can make out, is a very melodious raag and creates a deep and soothing atmosphere (just listen to the song and you will know). The time for playing this is second prahar of the night (9 PM to midnight).

Some of the popular songs composed in this raaga are: Rooth ke tum to chale gaye (Tal Dadra), Sudh bisar gayi aaja (Tal Jhaptal), Tum bin jeevan kaisa jeevan (Tal Punjabi Theka), and Jaane kaise sapno mein kho gayi akhiyan (beautiful song from the movie Anuradha).

Today’s song is from the 1963 T Prakash Rao movie Bahurani starring Guru Dutt, Mala Sinha and Feroze Khan. The movie had really exquisite songs penned by Sahir Ludhianvi and composed by C Ramchandra:

  1. Umr hui tumase mile (Hemant Kumar and Lata Mangeshkar).
  2. Ye husn mera ye ishq tera rangeen to hai badnam nahin (Asha Bhosle).
  3. Main jaagun sari rain sajan tum so jaayo (Lata Mangeshkar).
  4. Kaam krodh aur lobh ka maara (Mahendra Kapoor).
  5. Etal ke ghal mein tital bahar achha ya bheetar (Hemant Kumar).
  6. Kab gham ki ghatayen (Lata Mangeshkar).
  7. Bane aisa smaaj (Lata Mangeshkar, Asha Bhosle, Manna Dey).

The story could be that of Ram Aur Shyam and Seeta Aur Geeta except that no one has double role. It is Mala Sinha as Padma who prepares a simpleton Guru Dutt as Raghu to stand up to his oppressors: his step-brother Feroze Khan as Vikram and his father, the Zamindar’s (Nazir Hussain’s) second wife Lalita Pawar as Rajeshwari. Mala Sinha marries Guru Dutt accidentally but later falls in love with him and his simple ways. This song depicts the beginning of transformation of Guru Dutt.

Please enjoy a delightful Veena song composed by C Ramchandra in Raag Hemant, Tal Kaherava, on the lyrics of Sahir Ludhianvi, and sung by Lata Mangeshkar for Mala Sinha: Balma anaadi man bhaye….

Balma anadi man bhaye balma anadi man bhaye
Ka karu samjh na aaye ka karu samjh na aaye
Haye Ram, balma anadi man bhaye
Man bhaye balma anadi man bhaye

Mose prem se puche prem ka matlab
Jane na kuch puche sab hum se
Jane na kuch puche sab hum se
Uljhan badhti jaye uljhan badhti jaye
Haye Ram, balma anadi man bhaye
Balma anadi man bhaye balma anadi man bhaye
Man bhaye balma anadi man bhaye

Honth hile to bat na jane honth hile to bat na jane
Nain mile to ghat na jane nain mile to ghat na jane
Nis din jee tarsaye nis din jee tarsaye
Haye Ram, balma anadi man bhaye

Neha laga aise preetam se neha laga aise preetam se
Bin karan jo ruthe hamse bin karan jo ruthe hamse
Samjhe na samjhaye samjhe na samjhaye
Haye Ram, balma anadi man bhaye
Balma anadi man bhaye bhaye balma anadi man
Bhaye bhaye balma anadi man bhaye
Man bhalye balma man bhaye
Balma anadi man bhaye balma anadi man bhaye

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. And today, on the forty-ninth day, we repeated our learning of Veena with a small excitement added.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #48

Raaga Based Song of the Day: Hamne tujhako pyar kiya hai jitna…
Raag Tilak Kamod, Tal Kaherava

The other day, commenting on my post on Mukesh, a friend remarked that he hasn’t sung many raaga based songs. This is not really correct. Shankar Jaikishan have composed hundreds of raaga based songs and in most of these the male voice has been that of Mukesh. These also include their (Jaikishan’s) favourite raaga: Bhairavi. I checked up this raag, Tilak Kamod, that is. It appears that many of the songs in this raaga have been sung by Mukesh.

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

Our forty-seventh post was titled ‘Raaga Based Song Of The Day #47‘ and the song was a Lata Mangeshkar song from the 1955 Amiya Chakravarty movie Seema: Man mohana bade jhoothe.  It is in Raag Jaijaiwanti, Tal Ektal.

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

In the last forty-seven days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep and Jaijaiwanti. The only two raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, and Maru Bihag.

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

However, first, lets take up the value added learning of today. Today, we shall learn about Veena.

Veena is one of the oldest of Indian musical instruments. If you look at a picture of Goddess Saraswati, the goddess of learning, you see her sitting with a Veena. It is so ancient that the word Veena in Sanskrit used to genrecally mean any plucked stringed instrument. Veena is mentioned in the Rigveda, Samaveda and other Vedic literature such as the Shatapatha Brahmana and Taittiriya Samhita. In the ancient texts, the sage Narada is credited with inventing the Veena and even his pictures show him carrying Veena.

The construction of Veena varies between the Hindustani music and Carnatic Music. In Hindustani music, it is a stick zither about 3.5 to 4 feet. It has a hollow body and two large resonating gourds under each end. There are a total of seven strings; four main strings which are melody type, and three auxiliary drone strings. To play, the musician plucks the melody strings downward with a plectrum worn on the first and second fingers, while the drone strings are strummed with the little finger of the playing hand. The musician stops the resonating strings, when so desired, with the fingers of the free hand. The veena has been generally replaced with the sitar in north Indian performances.

In the Carnatic music design, Veena is a long-necked, pear shaped lute. It has a pear shaped wooden piece in place of the lower gourd of the Hindustani music Veena. It too, however, has 24 frets, four melody strings, three drone strings, and played quite similar. Unlike, in Hindustani music, Veena continues being an important and popular stringed instrument in Carnatic music.

Veena strings can produce pitches in full three octave range.

Veenas are of different types. Some of these are:

  • Rudra Veena is a fretted veena, with two large equal size tumba (resonators) below a stick zephir.
  • Saraswati Veena is similar to Rudra Veena with the two resonators being of different sizes.
  • Vichitra Veena does not have frets. It sounds close to humming human singer.
  • Tritantri (3 string) Veena, now called Sitar (a Persian word meaning three strings).
  • Saradiya Veena, now called Sarod.
  • Pinaki Veena, related to Sarangi.
  • Kachapi Veena, now called Kachua Sitar.
  • Others such as Shatatantri Veena (Santoor), Gayatri Veena (with one string only) and Saptatantri Veena.

As I mentioned, today’s song is composed in Raag Tilak Kamod, Tal Kaherava.

Tilak Kamod belongs to Khammaj Thaat in Bhatkhande’s system of raagas. Its Jati is Shadava-Sampoorna, ie, six notes in Aaroha (Dha is excluded) and all seven notes in Avaroha. All the notes are shuddha except Ni which is sometimes Komal. Indeed, use of Komal Ni is the characteristic of Khammaj Thaat.

Raag Desh has some similarities with Tilak Kamod, especially when the latter also includes flat Ni.

A large number of compositions are based on this raag. These include compositions in genres such as: dhrupad, dhamar, sadra, khayal as well as semi-classical genres such as thumri and dadra and popular forms like ghazal.

Some of the popular songs composed in this raaga are:

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.		 More Baalapan Ke
Ab Raja Bhae
Koi Roke Usse
Man Bhooli Kathaen
Dekho jee Mora
Man Re Hari Ke
Tere Pyar Ka
Kisko Khabar Thi
Ae Ri Jaane Na
Sharabi Sharabi Yeh
Jia Jarat Rahat
Yeh Neer Kahan Se
Thandi Thandi Saawan Ki
Tumhare Bina Jeena
Badi Der Se Megha
Jhoola Kinne Dara Re
Badaria Baras Gayi
Mujhe Mil Gayi Hai
Sada Khush Rahe Tu
Na Shikwa Hai Koi
Humne Tumko Pyar Kiya Hai
Jao Re Jogi
Chhed Diye Mere
Sakhi Ri Sun		 Tansen
Tansen
Sindoor
Dooosri Shaadi
Nau Bahar
Musafir
Dhool Ka Phool
Devdas
Chitralekha
Noorjahan
Godaan
Prem Parbat
Jaagte Raho
Bhumika
Namkeen
Umrao Jaan
Moorti
First Love
Pyar Ka Sagar
Amar
Dulha Dulhan
Amrapali
Raagini
Miss Mary		 Khursheed, K. L. Saigal
Khursheed
Ameer Bai
Shamshaad
Lata
Lata
Lata, Mahendra
Talat
Asha, Usha
Suman Kalyanpur
Mukesh
Lata
Asha
Preeti Sagar
Asha
Shahida
Mukesh, Hamida
Mukesh
Mukesh
Lata
Lata, Mukesh
Lata
Amanat Ali, Fateh Ali
Lata, Asha

Today’s song is from the 1964 Ravindra Dave movie Dulha Dulhan starring Raj Kapoor and Sadhana. The movie had beautiful songs penned by Indeevar and composed by Kalyanji Anandji:

1 “Mujhe Kahte Hai Kallu Qawal” Mukesh, Lata Mangeshkar
2 “Main Tera Hoon Dulha Tu Meri” Mukesh, Lata Mangeshkar
3 “Hamne Tujhko Pyar Kiya Hai (Male)” Mukesh
4 “Hamne Tujhko Pyar Kiya Hai (Female)” Lata Mangeshkar
5 “Jo Pyar Tune Mujhko Diya Tha” Mukesh
6 “Jumme Ki Raat Ho Ya Din” Mukesh, Lata Mangeshkar
7 “Piya Kheenche Huye Bandhe Huye” Kamal Barot, Lata Mangeshkar
8 “Tum Sitam Aur Karo” Mukesh

The story revolves around Chanda (Sadhana) who lives a wealthy lifestyle in Jaipur along with her father, Thakur Dharam Singh (KN Singh), and mom. Since she is of marriageable age, her dad wants her to get married to a wealthy male of his choice, but she dislikes him. Arguments ensue at home and her dad slaps her, she falls down and passes out. When she regains her senses she finds herself in a hospital in Bombay with her dad at her bedside, who tells her that she was unconscious for 3 days, apologizes and promises never to pressurize her to get married. She forgives him and they return home. A few days later she gets a visitor, a male Akashwani singer by the name of Raj Kumar (Raj Kapoor), who claims to be her husband, calls her by the name of Rekha, and wants her to accompany him back to Bombay where he lives in a Chawl along with a two-bit Bollywood actor, Bansi (Agha).

The song Hamne tujhako pyar kiya tha jitna sung by Lata in the movie and lip-synced by Sadhana.

Please enjoy Mukesh sing a song composed by Kalyanji Anandji in Raag Tilak Kamod, Tal Kaherava, on the lyrics of Indeevar: Hamne tujhako pyar kiya hai jitna….

Hamane tujhako pyaar kiyaa hai jitanaa
Kaun karegaa itanaa -2

Aa.Nkh churaaii Thes lagaaii dil bhii tuune to.Daa
Laakh chhupaayaa tuune daaman ham ne saath na chho.Daa
Tere karam ko tere sitam ko sahate rahe.n ham jitanaa
Kaun karegaa itanaa…

Tuu hii tuu hai in aa.Nkho.n me.n aur nahii.n koii duujaa
Tujh ko chaahaa tujh ko saraahaa aur tujhe hii puujaa
Tere dar ko maan ke ma.ndir jhukate hai.n ham jitanaa
Kaun karegaa itanaa…

Tere jaisaa saathii jisame.n tere jaisaa dil hai
Taakh burii ho duniyaa phir bhii jiine ke qaabil hai
Tere saath jiine kii khaatir miTate rahe ham jitanaa
Kaun karegaa itanaa…

Ham ne tujh ko pyaar kiyaa
Ham ne tujh ko pyaar kiyaa hai jitanaa
(kaun karegaa itanaa)-2

Roye bhii to dil hii dil me.n, mahafil me.n musakaaye
Tujh se hii ham teraa ye Gam, baraso.n rahe chhupaaye
(Pyaar men tere chhupake chhupake)-2
Jalate rahe ham jitanaa
(Kaun jalegaa itanaa)-2
Ham ne tujh ko pyaar kiyaa hai jitanaa
(Kaun karegaa itanaa)-2

Pyaar pe mere naaz tumhe thaa, yaad karo vo nazaaraa
Haath pe apane likh lete the, jab tum naam hamaaraa
(Terii adaa ke bhole pan pe)-2
MiTate rahe ham jitanaa
(Kaun miTegaa itanaa)-2
Ham ne tujh ko pyaar kiyaa hai jitanaa,
(Kaun karegaa itanaa)-2

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. And today, on the forty-eighth day, we learnt about Veena.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #47

Raaga Based Song of the Day: Manmohana bade jhuthe…
Raag Jaijaiwanti, Tal Ektal

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

Our forty-sixth post was titled ‘Raaga Based Song Of The Day #46‘ and the song was a Mukesh and Lata Mangeshkar song from the 1967 Adurthi Subba Rao movie Milan: Sawan ka mahina pawan kare sor.  It is in Raag Pahadi, Tal Kherava.

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

In the last forty-six days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani and Patdeep. The only two raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, and Maru Bihag.

Today, I give you a song in Raag Jaijaiwanti, Tal Ektal.

However, first, lets take up the value added learning of today. Today, we shall learn about two things: firstly, since this is the first song that we are taking up with Ektal, I shall tell you a little more about Ektal; secondly, the accompanying musical instrument with this song pictured on Nutan is Tanpura. So, I shall tell you about Tanpura.

Ektal, a popular tal in Indian classical music, is commonly used in classical music style such as Khayal and semi-classical style such as Rabindra Sangeet. Ektal has 12 matras divided into six vibhags:

clap, 2, wave, 2, clap, 2, wave, 2, clap, 2, clap, 2

Now, you are bound to ask me: “That makes it four claps; then why is it called Ektal?” Guess what? I have studied varied literature and couldn’t find an answer to it. If you have the answer, please educate all of us in the comments below.

It has a characteristic pattern of bols (theka) which goes as follows:

The Theka for Ektal
Dhin Dhin | DhaGe TiRaKiTa |
x 0
Tun Na | Kat Ta |
2 0
DhaGe TiRaKiTa | Dhin Na |
3 4

Some of the popular Hindi movies songs in Ektal are: Ja re beimaan tujhe jaan liya (Raag Bageshri), Jago re jago prabhat aaya (Raag Todi), Ketaki, gulab, juhi, champak bana phule (Raag Basant Bahar from the movie Basant Bahar, song sung by Bhimsen Joshi on composition by Shankar Jaikishan, on the lyrics of Shailendra), and Tori jai jai kartaar (a song sung by Ustad Amir Khan for the 1952 movie Baiju Bawra, a composition of Naushad on Shakeel Badayuni’s lyrics).

That brings us to Tanpura. Tanpura is called a drone because this musical instrument doesn’t provide melody but supports the melody of another instrument or a singer by constantly providing a continuous harmonic bourdon or drone. It is therefore easy to guess that it doen’t change throughout the performance. Watch the accompanying song and you will know.

The meaning of the name Tanpura is contained in two words: Tan or Taan (that is, a musical phrase); and Pura, that is complete. Carnatic musicians refer to Tanpura as Tambura or Tanpuri. Tanpuras come in different sizes and pitches: larger ‘males’, smaller ‘females’ for vocalists, and a yet smaller version is used for accompanying sitar or sarod, called tamburi.

It is not an ancient instrument like Bansuri and has no mention of it before the early seventeenth century. Its construction is similar to Sitar except that it has no frets. Its strings (four or five) are always plucked at full length in a continuous unchanging pattern.

Tanpuras are designed in three different styles:

  • Miraj style: the favourite form of tanpura for Hindustani performers.
  • Tanjore style: this is a south Indian style of tambura, used widely by Carnatic music performers.
  • Tanpuri: small-scale instruments, used for accompanying instrumental soloists such as with Sitar, Sarod and Sarangi.
(Pic courtesy: tosslevy.nl)

As I mentioned, today’s song is composed in Raag Jaijaiwanti, Tal Ektal.

Jaijaiwanti is a complex Raaga devised by the ninth Guru of the Sikhs: Guru Tegh Bahadur ji. His son, the tenth Guru, Gobind Singh, introduced this Raaga in Sri Guru Granth Sahib ji. Surprisingly though, it is not mentioned in the Raagmala on the last two pages of SGGS.

It is a combination of two other Raagas in SGGS: Raag Bilawal and Raag Sorath. It belongs to Kafi Thaat. Its Jati is Audhav Sampurna (Vakra). Gandhar & Dhaivat are Varjya in Aaroh, Both Gandhars & Both Nishads. Rest all Shuddha Swaras.

The Raaga is meant to be sung during the second prahar of the night, ie, between 6 to 9 pm.

Some of the popular songs composed in this raaga are:

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.		 Man Mohana Bade Jhoote
Jab Raat Ho Aisi
Bairan Ho Gayi Raen
Tere Mere Sapne
Mohabbat Ki Raahon Mein
Pyare Darshan Dijo
Baandh Preet Phool Dor
More Mandir Ajahoon
Mare Gaye Gulfam
Zindagi Aaj Mere
Meri Aankhon Se
Badle4 Badle Mere
Mere Jeevan Mein Kiran
Ae Ri Aali Piya
Chandi Ka Badan
Tere Mere Khayalon
Dhal Chuki Shaame Gam
Dil Shaam Se
Ankhein Keh Gayeen		 Seema
Mughal-E-Azam
Dekh Kabira Roya
Guide
Udankhatola
Meera
Malti Madhav
Mahatma Kabir
Teesri Kasam
Son Of India
Pooja Ke Phool
Chaudhavi Ka Chand
Talaaq
Raagrang
Tajmahal
Barsaat Ki Raat
Kohinoor
Sanskaar
Bhai Sahab		 Lata
Lata
Manna Dey
Rafi
Rafi
Vani Jayram
Lata
Asha
Lata
Rafi
Lata
Lata
Asha, Manna Dey
Lata
Manna Dey, Sudha
Rafi
Rafi
Asha
Batish

Today’s song is from the 1955 Amiya Chakravarty movie Seema starring Nutan and Balraj Sahni. The story centres around Gauri played by Nutan who is ill treated by her paternal uncle and his wife who undertake to look after her after her parents pass away. She has to work as a maid-servant and her uncle and aunt use her money. She is framed of theft and she beats up the person accusing her and runs away. She finally lands up with Shree Satyanand Anathalaya, an orphanage run by a compassionate Manager, Ashok, played by Balraj Sahni. He tries to get justice for her and she doesn’t run away anymore.

The famous scene from the 1957 movie Seema: Tu pyar ka sagar hai.

Nutan, the great actress she was, received the Filmfare Best Actress Award for her role in this movie too. Shankar Jaikishan used both their lyricists: Shailendra and Hasrat Jaipuri to create the following songs:

1 Tu Pyar Ka Sagar Hai Manna Dey Shailendra 05:22
2 Kahaan Jaa Raha Hain Mohammed Rafi Shailendra 04:26
3 Man Mohana Bade Jhoothe Lata Mangeshkar Shailendra 04:09
4 Ye Duniya Gam Ka Mela Hai (Hame Bhi De Do Sahara, Ke Besahare Hain) Mohammed Rafi Hasrat Jaipuri 04:19
5 Baat Baat Me Rutho Na Lata Mangeshkar Hasrat Jaipuri 04:08
6 Suno Chhoti Si Gudiya(Happy) Lata Mangeshkar Hasrat Jaipuri 02:40
7 Suno Chhoti Si Gudiya(Sad) Lata Mangeshkar Hasrat Jaipuri 05:45

Please enjoy Lata Mangehskar a song composed by Shankar Jaikishan in Raag Jaijaiwanti, Tal Ektal, on the lyrics of Shailendra: Man mohana bade jhoothe….

Manamohanaa ba.De jhuuThe
Haar ke haar nahii.n maane
Manamohanaa …

Bane the khilaa.Dii piyaa
Nikale anaa.Dii piyaa
Mose beimaanii kare
Mujhase hii ruuThe
Manamohanaa …

Tumharii ye baa.Nsii kaanhaa
Banii galaa phaa.Nsii
Taan sunaake meraa
Tan man luuTe
Manamohanaa …

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. And today, on the forty-seventh day, we learnt about Ektal and Tanpura.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #46

Raaga Based Song of the Day: Sawan ka mahina pawan kare sor…
Raag Pahadi, Tal Kaherava

Yesterday was the Birth Anniversary of singer Mukesh (this post was meant to be published on 23rd Jul but I broke my reading glasses!) and I gave you one of his best raaga based songs; in Raag Maru Bihag, Tal Kaherava: Matwali naar thumak thumak chali jaaye, a song put together by all the greats: Shailendra, Shankar Jaikishan and Mukesh.

Mukesh, of course, was the singer who won the first ever Filmfare Award for a Singer with his song Sab kuchh seekha hamane na seekhi for the 1959 Raj Kapoor movie Anari with the same team.

And today, I am back with another song that he sang for the 1967 Adurthi Subba Rao movie Milan. Coincidentally, the song has been pictured on Sunil Dutt again, this time with Nutan.

Why this song? Well, need you guess? It is in the raag of my home-station: Pahadi and this is the fourth occasion that I am giving you one composed in this raag. Normally, in order to come up with popular tunes, the composers take lots of liberties with the raag; it is not their concern to maintain purity of raag but to come up with catchy tunes. However, in this song, Laxmikant Pyarelal have stayed as close as possible to Pahadi.

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

Our forty-fifth post was titled ‘Raaga Based Song Of The Day #45‘ and the song was a Mukesh song from the 1960 Bhappie Sonie Ek Phool Chaar Kaante: Matwali naar thumak thumak chali jaaye.  It is in Raag Maru Bihag, Tal Kherava.

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

In the last forty-five days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani and Patdeep. The only two raag that has been repeated so far are Pahadi, the raaga of my home place in the Himalayas, and Maru Bihag.

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

However, first, lets take up the value added learning of today. Today, we shall learn about – you can very well guess it – the musical instrument that goes best with Pahadi, that is, Bansuri or Flute:

Bansuri is the most loved of Indian musical instruments. And the reason is that our most adored god, Lord Krishna, used to play it. So much so that an Indian cannot think of Bansuri without relating it to Krishna and Ras Leela with Radha and Gopikas.

Bansuri used to be the instrument of choice in Hindi movies for heroes to call the heroine (in the likeness of Radhe-Krishna) and there are hundreds of songs with Bansuri, if not thousands.

(Pic courtesy: hariprasadchaurasia.com)

During my younger days, when my brother was studying in St. Xaviers College, Mumbai, I used to attend, with him, over-night Indian Classical Music concerts. One of the most sought after items in the itinerary used to be Bansuri-Vaadan by Padma Vibushan Pandit Hari Prasad Chaurasia, the most accomplished bansuri player in the world. Just like raag Pahadi, the sound of Bansuri immediately transports you to another world.

Bansuri is an aerophone, originally made of bamboo. However, these days one sees Bansuris made of metals, fibreglass and even ivory. Bansuri’s origin is Bans (Bamboo) plus Sur (Notes or Melody). The length of the Bansuri is between 12 to 30 inches. Sound is produced by resonating air column trapped inside the Bansuri. Various swar are produced by changing the length of the air-column by opening one of the six to eight holes that are manipulated by fingers of both the hands.

In South Indian or Carnatic music, a similar flute is called Venu. Bansuri is regarded amongst the most ancient of Indian musical instruments. It is called Nadi and Tunava in the Rigveda and others. Sanskrit treatise Natya Shastra has extensive mention of Bansuri.

There are two varieties of bansuri: the transverse, and the fipple. The fipple variety is usually played in folk music and is held away from the lips like a whistle. Because of the flexibility and control it offers, the transverse variety is preferred in classical music. It is played by blowing into a hole close to the closed end of the Bansuri.

Pandit Pannalal Ghosh (1911-1960) elevated the Bansuri from a folk instrument into serious classical music. He improvised with the length and number of holes and eventually came up with longer bansuris with larger bores and a seventh hole placed 90 degrees around from the line of the other six holes. Longer bansuris provided better coverage in the lower octaves. Hence, eventually, we have Bansuris ranging from 7.5 inches to 42 inches in length.

The distance of a finger-hole from the mouth-hole, and the diameter of the finger-hole controls the note it plays. Adjustments to the diameters of various holes is made by the artisans to achieve purity of the musical notes produced. The wall thickness of the Bansuri determines the tone, range and octave tuning.

Six holes are sufficient to produce the seven basic Swaras: sa, re, ga, ma, pa, dha, and ni. When all holes are closed, it produces the bass scale, that is the root note of the Bansuri (pa). With one hole farthest from the closed end of the Bansuri open, the instrument plays the dha. Similarly, ni is produced with two farthest holes open, sa with three farthest open, ri with four, ga with five, and ma is produced with all holes open.

Every Bansuri by its design and construction has a specific key and tonal center, corresponding to sa.

As I mentioned, today’s song is composed in Raag Pahadi, Tal Kaherava.

I have already given you three songs in Pahadi: On the 7th day: Aaj ki raat piya dil na todo (Tal Dadra), on the 8th day: Zara sun haseena ai nazneen (Tal Rupaktal) and on the 32nd day: Chal udd jaa re panchhi (Tal Kaherava). If you recall, I had told you that Pahadi is as much a raag as a dhun. It belongs to Bilawal Thaat and Audhav-Audhav Jati, that is six each notes in Aaroha and Avroha. It is normally played in the first prahar of the night.

It is a very popular raaga for composing soings in Hindi movies. Some of the songs composed in this raaga are:

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.		 Parbaton Ke Pedon Par
Chahoonga Main Tujhe
Baharon Mera Jeevan
Jawa hai Muhobbat
Chhod Babul Ka Ghar
Chaudhavi Ka Chand Ho
Tujhko Pukare Mera
Door Koi Gaye
Karvatein Badalte Rahe
Meri Aankhon Mein
Suhani Raat Dhal
Tod Diya Dil Mera
Isharon Isharon Mein
Jane Kya Dhoonhati
Tum Apna Ranj-o-Gam
Apne Aap Raaton Mein
Patta Patta Boota Boota
Kahan Hai Tu
Tum Na Aaye Sanam
Deewana Mujhsa Nahin
Sun Mere Saajana
Saeeyan Bina Ghar
Piya Bin Jiya
Mehelon Ne Chheen
Dil Ne Phir
Aaja Re
Chhoomkar Raat Sulaye
Kaheen Ek Masoom
Aawaz De Kahan Hai
Mere Mundere Na Bol
Aao Mil Jaayen
Saanjh Bhayee Nahin Aaye
Neela Aasma So gaya
Ih hawaon Mein
Main Tulsi
Jeevan Se Na Haar
Main Teri Chhoti Behena
Kabhi To Milegi Bahaaron Ki
Kanchi Re Kanchi Re
Tum Jahan Ho		 Shagun
Dosti
Aakhri Khat
Anmol Ghadi
Babul
Chaudhavi Ka Chand
Neel Kamal
Baiju Bawara
Aapki Kasam
Barsaat
Dulari
Andaaz
Kashmir Ki Kali
Shola Aur Shabnam
Shagun
Shankar Husain
Ek Nazar
Afsana
Bhootnath
Teesari Manzil
Goonj Uthi Sehnaibr
Aangan Ki Kali
Dasi
Jabak
Dil Ne Phir Yaad Kiya
Noorie
Razia Sultan
Shankar Husain
Anmol Ghadi
Parwana
Prem Geet
Shama Parwana
Silsila
Gumrah
Main Tulsi Tere Aangan Ki
Door Ka Rahi
Soutan
Aarti
Hare Rama Hare Krishna
Road To Sikkim		 Rafi, Suman Kalyanpur
Rafi
Lata
Noorjahan
Shamshad
Rafi
Rafi
Shamshad, Lata, Rafi
Kishore, Lata
Lata
Rafi
Lata
Rafi and Asha
Rafi
Jagjeet Kaur
Lata
Lata, Rafi
Lata
Lata
Rafi
Lata, Rafi
Lata, Bhupendra
Bhupendra
Lata, Mukesh
Rafi, Suman, Mukesh
Lata, Nitin Mukesh
Lata
Rafi
Noorejahan, Surendra
Suraiya
Suresh Wadekar, Anuradha
Nirmala Devi
Lata & Amitabh
Mahendra, Asha
Lata
Kishore Kumar
Lata
Lata
Kishore, Lata
Mukesh

 

I have, at various places earlier, told you about the commonest Tal in raagas: Kaherava and I know that by now you know enough about it.

Today’s song is from the 1967 Adurthi Subba Rao movie Milan starring Sunil Dutt and Nutan getting born in each life, only to be tied to each other in love. In their life depicted in the movie, Sunil Dutt is Gopinath, a poor orphan and a boatman and Nutan is Radha, the daughter of a Zamindar. Gopi transports Radha everyday across the river by his boat. One day, she tells him that she has to prepare a song for her college singing competition. And, he teaches her this. He insists on calling Shor (noise) as Sor (in the local dialect) and she eventually learns to sing it in the local dialect.

Nutan received the Filmfare Best Actress Award for her role in the movie and Laxmikant Pyarelal for Best Music Director. Even though Anand Bakshi missed getting the Best Lyricist award, many feel that the songs of the movie are amongst the best penned by him:

1 “Sawan Ka Mahina” Mukesh, Lata Mangeshkar
2 “Hum Tum Yug Yug Se (Part 1)” Mukesh, Lata Mangeshkar
3 “Bol Gori Bol Tera Kaun Piya” Mukesh, Lata Mangeshkar
4 “Aaj Dil Pe Koi” Lata Mangeshkar
5 “Hum Tum Yug Yug Se (Part 2)” Mukesh, Lata Mangeshkar
6 “Main To Diwana” Mukesh
7 “Ram Kare Aisa Ho Jaye” Mukesh
8 “Ye Geet Milan Ke” Mukesh, Lata Mangeshkar
9 “Bol Gori Bol Tera Kaun Piya” Mukesh, Lata Mangeshkar
10 “Aaj Dil Pe Koi Zor Chalta Nahin” Lata Mangeshkar
11 “Tohe Sanwariya” Lata Mangeshkar

Please enjoy Mukesh and Lata sing one of the best songs composed in Raag Pahadi (by Laxmikant Pyarelal) on the lyrics of Anand Bakshi: Sawan ka mahina pawan kare sor….

Mu: saavan kaa mahiinaa, pavan kare sor
La: pavan kare shor
Mu: pavan kare sor
La: pavan kare shor
Mu: are bAbA shor nahI.n sor, sor, sor
La: pavan kare sor

HA.n, jiyaraa re jhuume aise, jaise banamaa naache mor
Ho saavan kaa mahiinaa …

Maujavaa kare kyaa jaane, hamako ishaaraa
Jaanaa kahaa.N hai puuchhe, nadiyaa kii dhaaraa
Marazii hai tumhaarii, le jaao jis or
Jiyaraa re jhuume aise …

Raamaa gajab Dhaae, ye purava_iyaa
Na_iyaa sambhaalo kit, khoe ho khiva_iyaa
Purava_iyaa ke aage, chale naa koii zor
Jiyaraa re jhuume aise …

Jinake balam bairii, gae hai.n bidesavaa
Laa_ii hai jaise unake, pyaar kaa sa.ndesavaa
Kaalii a.ndhiyaarii, ghaTaae.n ghanaghor
Jiyaraa re jhuume aise …

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. And today, on the forty-sixth day, we learnt about Bansuri.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #45

Raaga Based Song of the Day: Matwali naar thumak thumak chali jaaye…
Raag Maru Bihag, Tal Kaherava

Today is the Birth Anniversary of singer Mukesh and even though, so far, I haven’t repeated a raaga so far except the raag of my home place: Pahadi, I am giving you Mukehs’s popular song in Raag Maru Bihag (the earlier song in Maru Bihag that I gave you was some eight days ago: Tum toh pyaar ho sajana sung by Mohammad Rafi and Lata Mangeshkar for the 1963 V Shantaram movie Sehra).

From the time Mukesh sang his first song as playback singer: ‘Dil jalata hai to jalane de’ for the 1945 Motilal (a distant relative of his) film Pehli Nazar, Mukesh came a long way off. The first song reminds you of KL Saigal‘s way of singing. However, soon, Mukesh acquired a style of his own. He did playback singing for Raj Kapoor (he was known as Raj Kapoor’s singing voice in the movies), Manoj Kumar, Feroze Khan and Sunil Dutt. He sang occassionally for Dilip Kumar and some of those songs became very popular, eg, Tu kahe agar jeevan bhar main geet sunaata jaayun in 1949 Mehboob Khan movie Andaz and Suhana safar aur ye mausam haseen in 1958 Bimal Roy movie Madhumati.

As far as Sunil Dutt, the hero of the current song is concerned, some of my favourite Mukesh songs pictured on him are for the 1967 Adurthi Subba Rao movie Milan: Saawan ka mahina pawan kare sor, Ram kare aisa ho jaaye, and Mubarak ho sabako sama ye suhaana.

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

Our forty-fourth post was titled ‘Raaga Based Song Of The Day #44‘ and the song was a Mohammad Rafi song from the 1966 Subodh Mukherji movie Saaz Aur Awaz: Saaz ho tum awaz hoon main.  It is in Raag Patdeep, Madhuwanti, and Kafi; Tal Tintal, Punjabi Theka (Sitarkhani), and Kherava.

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

In the last forty-three days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani and Patdeep. The only raag that has been repeated so far is Pahadi, the raaga of my home place in the Himalayas.

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

However, first, lets take up the value added learning of today. Today, we shall learn about Sarod:

(Pic courtesy: Indian Musical Instruments)

Sarod is similar to Western instrument Lute. It is, together with Sitar, one of the most important instruments in Hindustani classical music. If you have ever listened to such great Sarod players as Amjad Ali Khan, Ali Akbar Khan, Allauddin Khan and Hafiz Ali Khan, you would know that Sarod produces deep and heavy sounds (Mujhe tumse kuchh bhi na chahiye, which too is a Mukesh song from Raj Kapoor movie Kanhaiya. Indeed, another song that comes to mind is, coincidentally, also a Mukesh song: Bhooli hui yaadon mujhe itana na satayo) as compared to light and sweet sound of Sitar (Tora man darpan kehlaaye and Hum tere pyaar mein saara aalam kho baithe hain).

The origin of Sarod is Rubab, an Afghani instrument. Many experts on Indian classical music trace Sarod’s origin to ancient Chitra Veena, Afghani Rubab and modern Sursingar. It is believed that Sarod maestro Amjad Ali Khan’s ancestor Mohammad Hashmi Khan Bangash, a musician and horse trader, came to India with the Afghan Rubab in the mid-18th century, and became a court musician to the Maharajah of Rewa (now in Madhya Pradesh). It was his descendants, notably his grandson Ghulam Ali Khan Bangash, a court musician in Gwalior, who changed the Rubab into the Sarod we know today.

Anyway, what a coincidence that we took up Sarod as a musical instrument today and found that though rarely used in Hindi songs, two of the songs that we could think of have been both sung by Mukesh, whose birth anniversary we are celebrating today.

As I mentioned, today’s song is composed in Raag Maru Bihag, Tal Kaherava.

Maru Bihag, as I already told you on the 37th day (Please go through ‘Raaga Based Song Of The Day #37’) is a very melodious raaga that belongs to the Kalyan Thaat. It is to be sung during the second prahar of the night: from 9 PM to midnight. Its Jati is Audhav-Sampoorna. Maru Bihag is a variation of Raag Bihag in which I gave you the song Tere sur aur mere geet from Goonj Uthi Shehnai that had Shehnai-vaadan by Ustaad Bismillah Khan. In the Sri Guru Granth Sahib, Raag Bihagara occurs on 20 pages from 537 to 557 and is similar to its modern version: Raag Bihag.

Some of the other songs composed in Raag Maru Bihag are: Tum to pyar ho sajna (Tal Kaherava), Dil jo na keh saka(Tal Kaherava), Payal wali dekhana (Tal Kaherava) and Radha jaaye na (Tal Dadra).

I have, at various places earlier, told you about the commonest Tal in raagas: Kaherava and I know that by now you know enough about it.

Today’s song is from the 1960 Bhappi Sonie movie Ek Phool Chaar Kaante, the name having come about from Waheeda Rehman, the Phool that Sunil Dutt loves. However, he has to win her over from the Chaar Kaante, her four uncles. The song was penned by Shailendra and composed by Shankar Jaikishan.

Please enjoy Mukesh sing a composition of Shankar Jaikishan in Raag Maru Bihag, Tal Kaherava, on the lyrics of Shailendra: Matwali naar thumak thumak chali jaaye…..

Matavaalii naar Thumak Thumak chalii jaaye
In kadamo.n pe kis kaa jiyaa naa jhuk jaaye
Matavaalii naar …

Phuul badan mukha.Daa yuu.N damake
Baadal me.n jyo.n bijalii chamake
Giit sunaa ke tuu chham chham ke
Lalachaaye, chhup jaaye, aay haay
Matavaalii naar …

Ye cha.nchal kajaraarii aa.Nkhe.n
Ye chitachor shikaarii aa.Nkhe.n
Gaii dil chiir kaTaarii a.Nkhe.n
Muskaaye, shaamaaye, jhuk jaaye
Matavaalii naar …

 

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. And today, on the forty-fifth day, we learnt about Sarod.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #44

Raaga Based Song of the Day: Saaz ho tum awaz hoon main…
Raag Patdeep, Madhuwanti, Kafi; Tal Tintal, Punjabi Theka (Sitarkhani), and Kaherava

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

Our forty-third post was titled ‘Raaga Based Song Of The Day #43’ and the song was a Ustad Amir Khan that he sang for 1954 M Sadiq movie Shabaab: Daya kar he Giridhar Gopal.  It is in Raag Multani, Tal Tintal.

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

In the last forty-three days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani and Multani. The only raag that has been repeated so far is Pahadi, the raaga of my home place in the Himalayas.

Today, I give you a song in three different raagas and tals: Raag Patdeep, Madhuwanti, Kafi; Tal Tintal, Punjabi Theka (Sitarkhani), and Kaherava.

However, first, lets take up the value added learning of today. Today, we shall learn about Shehnai:

(Pic courtesy: Indian Music School)

Shehnai is a variation of music instrument been or pungi used for snake-charming. It is similar to oboe, made of wood, and measures about 12 to 20 inches in length. The origin appears to be two words: Sur (Tone or tune) and Nal (Pipe or reed). This Sur-nal has a metal or flared bell at one end and a double-reed (two pieces of cane to produce resonation) as a mouth-piece. Melodies are produced by manipulating 6 to 8 keyless finger-holes (like in a flute). The range of Shehnai is two octaves. It is a difficult instrument to master as one has to become expert at fingering techniques as also in blowing into the instrument. The world-renowned Shehnai

Bharat Ratna Bismillah Khan (Photo courtesy: Outlook India)

 player of India has been Bharat Ratna (India’s highest award) recipient Ustad Bismillah Khan. At a very early stage in the present series I gave you a song in Raag Bihag, Tal Dadra from the movie Goon Uthi Shehnai (Please go through ‘Raag Based Song Of The Day #6‘). The song and the movie has extensive Shehnai-vaadan by Bismillah Khan.

Shehnai is a popular instrument in India, Pakistan and Bangladesh. Its sound is believed to be auspicious and hence it is used extensively in weddings and commencement of functions.

To the credit of composer Naushad Ali, Shehnai is used in the composition of the song that I am giving you today. Indeed, Joy Mukherjee is seen playing it in the accompanying video.

As I mentioned, today’s song is composed in three different raagas and tals: Raag Patdeep, Madhuwanti, Kafi; Tal Tintal, Punjabi Theka (Sitarkhani), and Kaherava.

We have already taken up a song in Raag Madhuwanti on 5th day: Ajahun na aaye (Please go through: ‘Raaga Based Song Of the Day #5‘) as also in Raag Kafi on the 26th day: Ye raat ye chandini phir kahan (Please go through ‘Raaga Based Song Of The Day #26‘). These two raagas are represented in Antaras 2 and 3 of the song that I have selected for you. Hence, I need only to tell you about Raag Patdeep, which is in the Mukhada and first Antara.

Patdeep is a raaga that belongs to Kafi Thaat. Its Jati is Audhav – Sampoorna, ie, five notes in Aaroha (Ni Sa ga Ma Pa Ni Sa) and and all seven notes in Avroha (Sa Ni dha Pa Ma ga re Sa). The time for performing this raaga is in the third prahar of the day, that is, from 1 to 4 PM. Patdeep is a flitting light melody and its bhaav is eagerness, pangs of separation and intrigue. If you take Raag Bhimpalasi and use Shuddha Nishad, it would become Patdeep. However the Vadi swar for Bhimpalasi is Madhyam (Ma) whereas for Patdeep it is Pancham (Pa).

One of the other songs composed in Raag Patdeep is a beautiful song put together by Neeraj as lyricist, SD Burman as composer and Lata mangeshkar as singer. It is from the 1971 movie Sharmilee; Raag Patdeep, Tal Rupaktal: Megha chhaye aadhi raat.

About Tintal, I told you on the 19th day and 25th day, ie, in ‘Raaga Based Song Of The Day #19‘ and ‘Raaga Based Song Of The Day #25‘. About Tal Punjabi Theka (Sitarkhani) I told you on the 13th day, ie, in ‘Raaga Based Song Of The Day #13‘. About Tal Kaherava, I told you on several days, two of these being 2nd and 5th day, ie, in ‘Raaga Based Songs Of The Day #2‘ and ‘Raaga Based Song Of The Day #5‘.

(Poster courtesy: torrentking.eu)

Today’s song is from the 1966 Subodh Mukherji movie Saaz Aur Awaaz starring his nephew Joy Mukherjee and Saira Bano. The song was penned by Khumar Barabankwi, Barabanki being merely 300 Kms from Badayun in Uttar Pradesh from where his contemporary and my favourite lyricist Shakeel Badayuni hailed from. One has to handover to Naushad Ali for having composed the song so well and to Mohammad Rafi for his superb singing that both of them covered for Joy Mukherjee‘s lack of understanding of classical based music (and gestures) and for Saira Bano‘s almost complete lack of dancing skills. The movie had another beautiful song sung by Mohammad Rafi: Dil ki mehfil saji hai chale aayiye.

Please enjoy in Raag Patdeep, Madhuwanti and Kafi; and Tal Tintal, Punjabi Theka (Sitarkhani), and Kaherava: Saaz ho tum awaaz hoon main…….

SAz ho tum AvAz hU.N mai.n, tum bInA ho mai.n hU.N tAr
Rok sako to rok lo apanI, pAyal kI jha.nkAr
SAz ho tum …

Mere gIt ko gIt ne samajho, pyAr kI hai saragam
Mere rAg ke har ek sur pe, ghu.NgharU bole chham chham
PrIt kI lay par jhUm ke nAcho, ab na karo inakAr
Rok sako to rok lo apanI, pAyal kI jha.nkAr
SAz ho tum …

Prem tarAnA ra.ng pe AyA, rUp ne lI a.nga.DAI
TAl pe man kI jhA.njhar jhanakI, patalI kamar balakhAI
Sudh-budh khokar besudh hokar, nAch uThI gulanAr
Rok sako to rok lo apanI, pAyal kI jha.nkAr
SAz ho tum …

Tan man jhUme gagan to chUme, prIt huI matavAlI
Aj milA jIvan se jIvan, pyAr ne ma.nzil pAI
Dil kI bAjI jIt ke mai.nne, jIt liyA sa.nsAr
Rok sako to rok lo apanI, pAyal kI jha.nkAr
SAz ho tum …

https://www.youtube.com/watch?v=7oVnC2kXj8U

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. And today, on the forty-fourth day, we learnt about Shehnai.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #43

Raaga Based Song of the Day: Daya kar he Giridhar Gopal…
Raag Multani, Tal Tintal
(by Ustad Amir Khan)

We have completed forty-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 forty-second post was titled ‘Raaga Based Song Of The Day #42‘ and the song was a Ustad Bade Ghulam Ali Khan song that he sang for 1960 K Asif movie Mughal-e-Azam: Prem jogan ban ke.  It is in Raag Sohani, Tal Dipchandi.

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

In the last forty-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, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja and Sohani. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

However, first, lets take up the value added learning of today. Today, we shall learn about Sarangi:

(Photo courtesy: Tarang Indian Instruments)

Sarangi is a bowed string instrument that is popular both in India and Nepal. Many songs of courtesans (eg, Unako yeh shikayat hai ke ham kuchh nahin kehte from the movie Adalat) and others of nawabs (such as Unake khayal aaye to aate chale gaye from the movie Laal Patthar) have this instrument played prominently. Sarangi is an instrument that comes the closest to human voice, especially in Karuna rasa (as is the case with both songs that I have given you).

As far as the meaning of the word Sarangi is concerned, some feel that it is a combination of two Sanskrit words: Saar (summary) and Ang (form). This would mean that the instrument that can summarise every style of music or playing.

Then there are others who feel that the word sarangi is a combination of two words Seh(Persian equivalent of three) and Rangi (Persian equivalent of coloured). They feel that the term Seh-rangi represents the three melody strings. However the most common folk etymology is that sarangi is derived from sol rang (a hundred colours) indicating its adaptability to many styles of vocal music, its flexible tunability, and its ability to produce a large palette of tonal colour and emotional nuance.

Generally, you don’t come across Sarangi performances as solo. These are normally accompanied by vocal. Indeed, one hardly comes across a Sarangi player who is not well versed with the vocal lyrics of the composition. Later, in this article, you would read about Ustad Amir Khan whose father was an accomplished Sarangi player but trained his son in vocal singing when the son showed interest more in vocal than Sarangi.

As I mentioned, today’s song is composed in Raag Multani, Tal Tintal.

Multani is a raaga that belongs to Todi Thaat. Its Jati is Audhav – Sampoorna, ie, five notes in Aaroha (Ni Sa ga Ma Pa Ni Sa) and and all seven notes in Avroha (Sa Ni dha Pa Ma ga re Sa). The time for performing this raaga is in the third prahar of the day, that is, from 1 to 4 PM. Multani is a very melodious Raag belonging to Todi Thaat. But, it does not have any shadow of Todi Ang. It is a Meend Pradhan Raag.

One of the other songs composed in Raag Multani is a beautiful Mohammad Rafi and Geeta Dutt song composed by SD Burman for the 1953 movie Jeevan Jyoti (Tal Dadra): Laga gayeen akhiyan.

About Tintal, I told you on the 19th day and 25th day, ie, in ‘Raaga Based Song Of The Day #19‘ and ‘Raaga Based Song Of The Day #25‘.

Ustad Amir Khan was born on 15 Aug 1912 in a musicians’ family in Indore. He died in a car accident in Calcutta on 13th Feb 1971. The same year, GoI conferred the Padma Bhushan award on him.

His father, Shahmir Khan,  was a sarangi and veena player of the Bhendibazaar gharana. He served at the court of the Holkars of Indore. His grandfather, Change Khan, was a singer in the court of  the last mughal emperor of India: Bahadurshah Zafar. Amir Ali’s mother died when he was nine years old. He had a younger brother, Bashir, who went on to become a sarangi player at the Indore station of All India Radio.

Even though his father initially tried to train him in sarangi playing, he was more interested in vocal and he had a rich baritone voice. After his initial failure to impress at the court of Maharaj Chakradhar Singh of Raigadh Sansthan in Madhya Pradesh (where they wanted him to sing Thumri that he wasn’t interested in), he developed his own gayaki (singing style), influenced by the styles of Abdul Waheed Khan (vilambit tempo), Rajab Ali Khan (taans) and Aman Ali Khan (merukhand). This unique style, known as the Indore Gharana, blends the spiritual flavor and grandeur of dhrupad with the ornate vividness of khayal.

I have already told you several times that Naushad Ali was responsible for introducing raaga based songs in the Hindi movies. In his 1952 movie Baiju Bawra all 13 songs were based on some raaga or the other. Naushad roped in Amir Khan to sing five of them:

  • ‘Tori Jai Jai Kartar’ (Raag Puriya Dhanashree)
  • ‘Sargam’ (Raag Darbari)
  • ‘Langar Kankariya Ji Na Maro’ (Raag Todi, with DV Paluskar)
  • ‘Aaj Gaawat Man Mero Jhoomke’ (Raag Desi, with DV Paluskar)
  • ‘Ghanana Ghanana Ghana Garjo Re’ (Raag Megh)

I am, however, giving you this song from 1954 M Sadiq movie Shabaab starring Bharat Bhushan and Nutan. The songs were penned by my favourite lyricist Shakeel Badayuni. There are two other songs from the movie that are my favourites:

  1. Mohammad Rafi’s Aaye na baalam vaada karke.
  2. Hemant Kumar and Lata’s Chandan ka palna resham ki dori.

Of course the movie has another beautiful raaga based (Raag Bahar, with a trace of Raag Basant) song sung by Mohammad Rafi and Lata Mangeshkar: Man ki been matwari baaje, which I shall give you in due time.

I have already told you when I touched on the history of Hindustani Music (on the twenty-eighth day; please read: ‘Raaga Based Song Of The Day #28‘) that the fusion of Sanskrit and later Hindi style of music with Persian, Arabic and Sufi styles ensured that both Hindi Pandits and Muslim Ustads equally came up with songs that were to venerate gods and goddesses of each other. The most popular of these has been Lord Krishna. Indeed, many people are fond of bringing out this curious fact that the best Hindi bhajan: Man tadpat Hari darsan ko aaj has been put together by several muslims. Take this song itself: it has Shakeel Badayuni as lyricist, Naushad Ali as composer, Ustad Amir Khan as singer and it is from a movie Shabaab directed by M Sadiq. The raag Multani takes its name from the city of Multan (now in Pakistan). That’s been the beauty of our great nation: India.

Please enjoy Ustad Amir Khan sing in Raag Multani, Tal Tintal: Daya kar he Giridhar Gopal…….

Daya kar he Girdhar Gopal daya kar he Girdhar Gopal
Meera ke prabhu Nand Lal Meera ke prabhu Nand Lal
He Girdhar Gopal

Hath hai tore laaj hamari hath hai tore laaj hamari
O Mohan Banwari bigde kam sawar daya kar
Bigde kam saware he Girdhar Gopal
Daya kar he Girdhar Gopal daya kar he Girdhar Gopal
Meera ke prabhu Nand Lal Meera ke prabhu Nand Lal
He Girdhar Gopal.

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. And today, on the forty-third day, we learnt about Sarangi.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #42

Raaga Based Song of the Day: Prem jogan ban ke…
Raag Sohani, Tal Dipchandi
(by Ustad Bade Ghulam Ali Khan)

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

Our forty-first post was titled ‘Raaga Based Song Of The Day #41’ and the song was a Shobha Gurtu Thumri that she sang for 1991 Nana Patekar movie Prahaar: Yaad piya ki aaye.  It is in Raag Bhinna Shadja, Tal Kaherava.

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

In the last forty-one days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri and Bhinna Sahdja. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

Today, I give you a song in Raag Sohani, Tal Dipchandi.

However, first, lets take up the value added learning of today. Today, we shall learn about Chaiti:

Girija Devi, the most popular Chaiti singer in India (Pic courtesy: Wikimedia)

Chaiti is another semi classical genre of Hindustani music. You would recall that at a fairly early stage in the present series I had told you that Indian raagas are season and time of the day specific. Chaiti is to be sung in the Hindu month of Chait, roughly corresponding to March and April. This is exactly the time of Ram Navmi. Chaiti songs are, therefore, devoted to Lord Rama. You would normally have Ho Rama or Are Rama as the two words often found in Chaiti. Chaiti is traditionally sung in the villages and towns of Uttar Pradesh: around Banaras, Mirzapur, Mathura, Allahabad and the Bhojpur regions of Bihar. The language of Chaiti is Poorvi or Purbi spoken in Eastern Uttar Pradesh and in parts of Bihar. Smt Girija Devi, recipient of Padma Shri, Padma Bhushan, and Padma Vibushan, is the most popular singer of Chaiti in India.

If you recall, I had given you Girija Devi‘s name as one of the noted exponents of Kajari too.

As I mentioned, today’s song is composed in Raag Sohani, Tal Dipchandi.

Sohani, also known as Sohni and Sohini,  is a raaga that belongs to Marwa Thaat. Its Jati is Audhav – Shadav, ie, five notes in Aaroha and six in Avroha. The time for performing this raaga is in the wee hours of the morning pr last prahar of the night, that is, from 3 to 6 AM. In the Marwa thaat, Sohani is similar to Marwa and Puria raagas. In the Poorvi thaat, it is similar to Basant.

In the wee hours of the morning, you would find the atmosphere of dew. Hence, the mood of the raaga is the moist atmosphere that prevails in a tranquil and silent night.

Some of the other songs composed in Raag Sohani are:

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.		 Prem Jogan Ban Ke
Jhoomti Chali Hawa
Kuhu Kuhu Bole
Jeevan Jyot Jale
Saawan Ban Gaye Nain
Muft Hue Badnaam
Jhoote Zamane Bhar Ke
Bedardi Nazarein Mila Ke
Sajan Tori Preet
Naina Hai Jadoo Bhare
Payal Chham Chham		 Mughal-E-Azam
Sangeet Samrat Tansen
Suvarna Sundari
Grihasthi
Karorpati
Baraat
Musafir Khana
Aji Bas Shukriya
Sagai
Bedard Zamana Kya Jaane
Basant		 Bade Ghulam Ali Khan
Mukesh
Lata, Rafi
Asha
Asha
Mukesh
Nirmala Devi, Rafi
Lata
Asha
Mukesh
Asha

About Dipchandi Tal, I told you on the 35th day, ie, in ‘Raaga Based Song Of The Day #35‘.

Yesterday, I had given you a Thumri by Shobha Gurtu in Raag Bhinna Shadja: Yaad piya ki aaye. I had mentioned that the song sung by Shobha Gurtu in Nana patekar movie Prahaar was penned by Ustad Bade Ghulam Ali Khan after his wife died in 1932.

It is, therefore, natural that today I should give you a song by the maestro himself who was a great influence on Shobha Gurtu.

Bade Ghulam Ali Khan was born on 02 April 1902 in Kasur, Punjab (now in Pakistan). At the age of five, Ustad Bade Ghulam Khan sahib started learning vocal music from his paternal uncle Ustad Kale Khan sahib, and later from his father Ustad Ali Baksh Khan sahib of Kasur Gharana. Bade Ghulam Ali Khan was the pillar of the Kasur Patiala Gharana, which was an amalgamation of all that he learnt from his father and uncles.

I mentioned to you yesterday that after the partition of India in 1947, Ustad Bade Ghulam Ali Khan went to his hometown Kasur in Pakistan, but returned to India later to reside permanently there in 1957, with the help of Bombay chief minister Morarji Desai, he acquired Indian citizenship and moved to a bungalow at Malabar Hill in Mumbai.

After the death of Ustad Bade Ghulam Ali Khan on 25 Apr 1968 at Basheerbagh Palace in Hyderabad, his legacy was carried by his younger son Ustad Munawar Ali Khan and after ustad Munawar Ali Khan’s death his four grandsons Ustad Mazhar Ali Khan, Ustad Jawaad Ali Khan, Ustad Raza Ali Khan and Naqqi Ali Khan.

Yesterday, if you recall, I told you that Bade Ghulam Ali Khan was wary of singing for the films and K Asif wanted him badly for his 1960 movie Mughal-e-Azam. So when K Asif approached him, in order to deter him he asked for Rupees 25000 per song (Lata and Mohammad Rafi were getting Rupees 500 per song at that time). To his surprise, K Asif agreed. If you recall, in K Asif’s movie Mughal-e-Azam, Ustad Bade Ghulam Ali Khan sang two songs based on Raag Sohni and Rageshri: Prem jogan ban ke and Shubh din aayo raj dulara. One of these I am giving you today.

The song was penned by my favourite lyricist Shakeel Badayuni and composed by Naushad Ali.

Please enjoy Ustad Bade Ghulam Ali Khan sing in Raag Sohani, Tal Dipchandi: Prem jogan ban ke…….

Prem jogan banke sundar piya or chale
prem gagan banke
prem jogan banke sundar piya or chale
prem gagan banke
jogan he jo jogan banke

Prem jogan banke, aa aa jogan banke
prem jogan banke
hai sajan ko jo main mile, he nain mile
te nain mile chain mile, sajan sajan mile
tumne bhi man ki pyas bujhe
prem jogan ban gayi, prem jogan

Me pi sang sari rain
bhigan sagri rain gujari, rain gujar
prem jogan banke sundar piya or chale
prem jogan banke, prem jogan banke

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. And today, on the forty-second day, we learnt about Chaiti.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #41

Raaga Based Song of the Day: Yaad piya ki aaye…
Raag Bhina Shadaj (Bhinna Shadja), Tal Kaherava
(a Thumri by Shobha Gurtu)

We have completed forty 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 fortieth post was titled ‘Raaga Based Song Of The Day #40’ and the song was a Swaranlatha & Hariharan song from the 1995 Ram Gopal Verma movie Rangeela: Haay Rama ye kyaa hua.  It is in Raag Puria Dhanashri, 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 forty days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit and Puria Dhanashri. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

However, first, lets take up the value added learning of today. Today, we shall learn about Kajri:

Kajri is another light classical genre of Hindustani music. Kajri (or Kajari), derived from the Hindi word Kajra or Kajal, (meaning Kohl or Black), is a genre of Hindustani classical music, popular in Uttar Pradesh and Bihar. In a country of sizzling hot summers, the black monsoon clouds bring with them relief and great joy. This is the moment for the Kajri to be sung. Even though Kajri is sung in a large region, Mirzapur is considered the real home of the Kajri. According to a folk tale of Mirzapur, there was woman called Kajli whose husband was in a distant land. Monsoon arrived and the separation became unbearable and she started crying at the feet of the Kajmal Goddess. These cries took the form of the popular Kajri songs. There are two forms of Kajri singing in UP: one within which it is sung on a performance platform and the other when it is sung by women on monsoon evenings, while dancing in a semi-circle; this is known as the ‘Dhunmuniya Kajri’.

Some noted exponents of Kajari are Pandit Channulal Mishra, Shobha Gurtu, Siddheshwari Devi, Girija Devi, Ustad Bismillah Khan, Sharda Sinha and Rajan and Sajan Mishra.

For today’s Thumri rendition by Shobha Gurtu, I am retaining yesterday’s distinction between Thumri and Dadra:

  1. As I have already told you Thumri is slower and Dadra is faster.
  2. Thumri has lengthy structure of improvisation whereas Dadra is crisp and compact.
  3. Thumri has lyrics with just two parts: Sthayi and Antara, whereas lyrics of Dadra have more than one Antara.
  4. Thumri as you know is mostly about human love relationship, whereas Dadra has seasons, nature and human relationships as subjects.

As I mentioned, today’s song is composed in Raag Bhinna Shadaj, Tal Kaherava.

Bhinna Shadaj, also known as Hindoli or Kaushik Dhwani,  is a raaga that belongs to Bilawal Thaat. Its Jati is Audhav – Audhav, ie, five notes in Aaroha and five in Avroha. The time for performing this raaga is midnight.

What is the meaning of the word Bhinna or भिन्न? All people, even with elementary knowledge of Hindi would know that Bhinna or भिन्न means ‘Different’. In the case of the present raaga under discussion, it is different in case of Shruti, Swar, Jati and Purity (Shuddha). Naturally it belongs to Audhav – Audhav Jati (I have already told you, at a very early stage in the present series, that the seven basic swaras of the scale are named Shadja, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad, and are shortened to Sa, Ri (Carnatic) or Re (Hindustani), Ga, Ma, Pa, Dha, and Ni). Bhinna Shadja doesn’t have Rishabh and Pancham, has Dhaivat as its initial and basic note and Madhyam as its final note.

The bhaav of the raaga is Shaant-Gambheer.

Two of the other songs composed in Raag Bhinna Shadaj are: Udd ja re kaaga from the Meera bhajan album: Dhala Vahi Des, and Tum bin jeewan kaisa jeewan from the movie Bawarchi.

(Pic courtesy: Saregama)

I could have given you a thumri bandish by Ustad Bade Ghulam Ali Khan. However, I have thought of giving you this rendition by Thumri Queen Shobha Gurtu. After the partition of India in 1947, Ustad Bade Ghulam Ali Khan went to his hometown Kasur in Pakistan, but returned to India later to reside permanently there in 1957, with the help of Bombay Chief Minister Morarji Desai, he acquired Indian citizenship and moved to a bungalow at Malabar Hill in Mumbai. If you recall, in K Asif’s movie Mughal-e-Azam, Ustad Bade Ghulam Ali Khan sang two songs based on Raag Sohni and Rageshri: Prem jogan ban ke and Shubh din aayo raj dulara. In order to deter K Asif from making him sing in his movie, he asked for Rupees 25000 per song (Lata and Mohammad Rafi were getting Rupees 500 per song at that time). To his surprise, K Asif agreed.

Hence, to sing this beautiful Thumri penned by Ustad Bade Ghulam Ali Khan, I have chosen Shobha Gurtu, who had him as one of her greatest influences.

(Pic courtesy: Alchetron)

Shobha Gurtu was born as Bhanumati Shirodkar in Belgaum (now Karnataka) in 1925. She was first trained by her mother Menekabai Shirodkar, a professional dancer, and a ‘gayaki’ disciple of Ustad Alladiya Khan of the Jaipur-Atrauli gharana. Ustad Alladiya Khan’s son Ustad Bhurji Khan trained her. She was thus associated in a huge manner with the Jaipur-Atrauli gharana. Later, she started learning from Ustad Natthan Khan, nephew of Ustad Alladiya Khan. Her training was, however, completed under Ustad Ghamman Khan who shifted with them in Mumbai.

Shobha Gurtu became an exponent of classical forms such as Thumri, Dadra, Kajri, and Hori, all of which I have told you about. With her intense training in classical singing, she was able to add classical passages into her singing. She was known as the Thumri Queen of India, having revived this form  of semi-classical singing. Her main influences were Begum Akhtar and Ustad Bade Ghulam Ali Khan. She has also sung a few songs in Hindi movies such as in 1972 Pakeezah (Bandhan bandho composed by Ghulam Mohammad), 1973 Phagun (Bedardi ban gaye koi jaao manaao more saiyyaan composed by SD Burman) and 1978 Main Tulsi Tere Aangan Ki (Sainya rooth gaye composed by Laxmikant Pyarelal).

Shobha Gurtu was the recipient of Sangeet Natak Akademi Award in 1987 and Padma Bhushan in 2002.

Please enjoy Shobha Gurtu sing a Thumri in Raag Bhinna Shadja, Tal Kaherava: Yaad piya ki aaye……. (The song was penned by Ustad Bade Ghulam Ali Khan at the passing away of his wife in 1932) (She sang it also for the movie Prahar, as a composition of Laxmikant Pyarelal)

yAd piyA kI AyE
yeh dukh sahA na jAyE – hAyE rAm

bAlI umariyA sUnI rI sajariyA
jOban bItO / bItA jAyE – hAyE rAm

bairI koyaliyA kUk sunAyE
mujh birhan kA jiyarA jalAyE
hA.n – pI bin rain jagAyE (alt: rahA nA jAyE ) – hAyE rAm

(Oh memories of my beloved haunt me! Alas, I cannot bear this grief! I am yet young but my bed is forlorn; my youth is passing by – Alas! The cuckoo, my enemy, coos his song. Bereft of my beloved, my heart burns. Yes, I am kept awake all night without my beloved! Alas!)

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. And today, on the forty-first day, we learnt about Kajri.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #40

Raaga Based Song of the Day: Haay Rama ye kyaa hua…
Raag Puria Dhanashri, Tal Kaherava

We have completed thirty-nine 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 thirty-ninth post was titled ‘Raaga Based Song Of The Day #39’ and the song was a Mohammad Rafi & Manna Dey song from the 1960 RK Rakhan movie Kalpana: Tu hai mera prem devta.  It is in Raag Lalit, 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 Bhimpalasi – Part I‘.

In the last thirty-nine days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga and Lalit. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

However, first, lets take up the value added learning of today. Today, we shall learn about Dadra:

Dadra is a light classical vocal genre of Hindustani music and is very similar to Thumri; one can say that it is actually the faster version of Thumri. This style of singing is mostly prevalent in Agra and Bundelkhand regions. The name Dadra refers to both Dadra as a Tal and as a genre’ of singing.

Dadra Tal consists of six beats in two equal vibhags (Clap, 2,3, Wave, 2,3). The most commonly accepted theka or basic pattern for this tal is Dha Dhin Na, Dha Tin Na. There is a higher emphasis laid on the first swar in comparison the following two, that is, Dha.

I have, in the last 39 days, given you a number of songs in this Tal:

  • On 30th May – Maine chand aur sitaaron ki tamanna ki thi. (Raag Bhimpalasi)
  • 31st May – Laage na mora jiya. (Raag Shivaranjani)
  • 02 June – Tere sur aur mere geet. (Raag Bihag)
  • 03 June – Aaj ki raat piya dil na todo. (Raag Pahadi)
  • 10 June – Beqasi hadd se jab guzr jaaye. (Raag Desh & Khammaj)
  • 16 June – Dukh bhare din beete re bhaiya. (Raag Megh Malhar)
  • 01 July – Kesariya baalma. (Raag Mand)
  • 12 July – Kuchh aur zamaana kehta hai. (Raag Gaur Sarang)

Dadra genre of singing used to be accompanied by Dadra Tal at one time. But, nowadays, other light tals such as Kaherava are also used.

At this stage, you would want to know if there are any distinctions between Thumri and Dadra. Well, here they are:

  1. As I have already told you Thumri is slower and Dadra is faster.
  2. Thumri has lengthy structure of improvisation whereas Dadra is crisp and compact.
  3. Thumri has lyrics with just two parts: Sthayi and Antara, whereas lyrics of Dadra have more than one Antara.
  4. Thumri as you know is mostly about human love relationship, whereas Dadra has seasons, nature and human relationships as subjects.

As I mentioned, today’s song is composed in Raag Puria Dhanashri, Tal Kaherava.

Puria Dhanashri is a raaga that belongs to Poorvi Thaat, indeed the type raaga of the Poorvi Thaat. The raaga is derived from the Janak raag. It is a Sampooran-Sampooran (Vakra) raag, that is, it contains all seven notes (ie, Sharaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad). But the rishabh and the dhaivat are komal both in ascent and descent and the madhyam varies from tivra to shuddh whereas the gandhar and the nishaad stay shudh throughout. It has to be performed in the fourth prahar of the day (3 PM to 6 PM).

Puria Dhanashri is a very compassionate and emotional raaga.

Some of the other songs composed in Raag Puria Dhanashri are: Kitane dino ke baad ye aayi sajana raat milan ki, Koyaliya udd ja yahan nahin koya, Labon se chuum lo aankhon se thaamlo mujhako, Meri saanson ko jo mehkaa rahi hai, Prem lagaana, Rut aa gayi re rut chha gayi re, Teri jai jai kartar, and Tumne kya kya kiya hai hamaare liye.

I have taken today’s song from the 1995 movie Rangeela, produced and directed by Ram Gopal Verma. The movie starred Aamir Khan, Urmila Mantodkar and Kackie Shroff.

Aamir Khan plays Munna, a street-toughened orphan, very friendly with a family whose daughter Mili (Urmila Mantondkar) becomes his best friend. Both Munna and Mili have ambitions about Hindi films; Mili wants to be a heroine and Munna sells cinema tickets in black. Whilst dancing once, Mili is observed by a famous actor Raj Kamal (Jackie Shroff). He has her auditioned and she soon lands a role as heroine opposite him. Both Munna and Raj Kamal fall in love with her. In the end, the man from the street, Munna, wins.

Before emerging in this movie as a sensuous heroine, Urmila was a child star in 1983 movie Masoom (Innocent or Naive). The movie posters of Rangeela showed her in revealing scenes with the caption: Masoom, no more. This was one of the two sensuous dances that she did in the movie with Jackie Shroff, whilst they were busy in the shooting of their film Rangeela; the other was: Tanha tanha yahan pe jeena.

The songs of the movie were composed by Oscar winner (for Slumdog Millionaire) AR Rehman and this movie was his debut Hindi movie that catapulted him to great fame. The song was sung by Swaranlatha and Hariharan.

Swaranlatha, AR Rehman and Hariharan

Please enjoy Swaranlatha and Hariharan sing in Raag Puria Dhanashri, Tal Kaherava: Haay Rama ye kyaa hua…….

Haay Raamaa ye kyaa huaa kyo.n aise hame.n sataane lage
(O lord Rama, what has this happened, why have you started toturing me like this?)

Tum itanii pyaarii ho saamane ham qaabuu me.n kaise rahe.n
(You are so much beautiful that in front of you how can i remain in control)

Jaa_o hamako to aatii sharm hai
(Go away, I am taken over by shame)

Terii aisii adaa pe to fidaa ham hai.n
(On your this style, I am attracted to)

Taubaa merii taubaa ye bhii kyaa sitam hai aisii zid karane lage
(O God forbid, what is this atrocity, you are insisting on this?)

Jaane tumane kyaa-kyaa sochaa aage-aage ham to ab Darane lage
(Who knows what all you have thought for things that will happen after that, now I feel afraid)

Are sochaa hai ye ki raat aur din tujhe pyaar kare.nge ham
(O, I have thought that day and night I will love you)

Darate ho kyuu.N o jaan-e-man mere pyaar se
(Why do you feel afraid of my love?)

Kaalii-kaalii zulfe.n gorii-gorii baa.Nhe.n mujhako ta.Dapaane lagii.n
(Your black hairlocks, your fair arms, are seducing me)

Ho.NTh bhiige-bhiige nashiilii ye aa.Nkhe.n pyaas ko jagaane lagii.n
(You wet lips, your intoxicating eyes, are making a thirst grow in me)

Chho.Do jii aisii baato.n ko roko naa raaho.n ko
(Please give up this line of talks, don’t hinder me)

Ho mo.Do naa merii baa.Nho.n ko jaane do naa
(Don’t twist my arms, let me go)

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. And today, on the fortieth day, we learnt about Dadra.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #39

Raaga Based Song of the Day: Tu hai mera prem devta…
Raag Lalit, Tal Tintal

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

Our thirty-eighth post was titled ‘Raaga Based Song Of The Day #38’ and the song was a Lata Mangeshkar & Manoj Kumar song from the 1960 Jaswant Jhaveri movie Banjarin: Chanda re mori patiya le jaa.  It is in Raag Durga, Tal Kaherava.

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

In the last thirty-eight days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag and Durga. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

However, first, lets take up the value added learning of today. Today, we shall learn about Hori:

Hori is the most popular type of Dhrupad sung on the festival of Holi. The compositions describe the spring season. These compositions are mainly based on the love pranks of Krishna and Radha. Holi khelat Nand Lal is one of the popular Horis. Interestingly Hori has both classical as well as semi-classical connections. Horis sung as a concluding portion of a Dhrupad recital are classical in nature as well as semi-classical. Those Horis, which are sung in semi-classical form, are in ragas like Khamaj, and Kafi. Significantly, these Horis are also set to a tala of 14 beats called Deepchandi.

Horis are most popular in regions of Uttar Pradesh and Bihar. The seasonal songs associated with Hori are: Chaiti, Sawani and Kajari.

As I mentioned, today’s song is composed in Raag Lalit, Tal Tintal.

Lalit is a raaga that belongs to Poorvi Thaat. It has to be performed in the wee hours of the morning (3 AM to 6 AM), which is actually, as per the Indian system of Samay, the last prahar of the night. The mood of the raaga is serene and devotional. Its Jati is Shadhav – Shadhav Vakra. The raag makes use of both Madhyams (Ma), that is Shuddha and Teevra, which not only makes the raag unique but also makes it very sweet, well suited for bhakti and karuna rasa.

Some of the other songs composed in Raag Lalit are:

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.		 Rain Ka Sapna
Ye Kaun Aaj
Ik Shahanshah Ne
Preetam Daras Dikhao
Tu Hai Mera Prem Devta
Duniya Na Bhaye
Jago Bansi Vare
Ghat Ghat Mein Ram
Bhor Bhaye Panghat
Bhor Bhaye Panchi
Aey Ishq Teri Talaash
Teri Jaat Pak Hai
Ye pyar tha ya
Main To Kab Se Teri Sharan
Jogiya More Ghar Aaye
Mast Mayura Nache
Vo Jo Milte The Kabhi		 Lalat
Nartaki
Leader
Chacha Jindabad
Kalpana
Basant Bahar
Meera
Bhumika
Satyam Shivam Sundaram
Aanchal
Cha Cha Cha
Main Hoon Alladin
Prem Rog
Ram Nagri
Ragini
Dil Ki Rahein
Akeli Mat Jaiyo		 Heerabai Barodkar
Pankaj Mallik
Mohd Rafi, Lata
Manna Dey, Lata
Manna Dey, Rafi
Mohd.Rafi
Vani Jayaram
Firoz Dastoor
Lata Mangeshkar
Lata Mangeshkar
Mohd.Rafi, Lata
Usha Khanna
Sudha malhotra,anwar
Suresh Vadekar
Amir Khan
Manna Dey
Lata Mangeshkar

I have taken today’s song from the 1960 movie Kalpana directed by RK Rakhan, this being the second song from the same movie after I had given you Beqasi hadd se jab guzr jaaye on the 15th day: ‘Raaga Based Song Of The Day #15’, which was in Desh & Khammaj, Tal: Dadra. The movie starred Ashok Kumar, Padmini and Ragini. In this song both the ladies dance in front of a statue of Lord Shiva.

Qamar Jalalabadi penned the song and OP Nayyar composed it. Those of you who ever entertained doubts about whether OP Nayyar was well versed in raagas or not, should have this controversy put to rest with this song.

The song also has Mohammad Rafi and Manna Dey singing together. What a veritable pleasure it must be for Manna Dey since he was fond of saying that in the ranking of male singers, Mohammad Rafi occupied all the top ten positions!

Manna Dey, OP Nayyar and Mohammad Rafi (Pic courtesy: Mohdrafi.com)

Please enjoy Mohammad Rafi and Manna Dey sing in Raag Lalit, Tal Tintal: Tu hai mera prem devta…….

Tuu hai meraa prem devataa
in charaNo.n kii daasii huu.N mai.n
man kii pyaar bujhaane aa_ii
antaraghaT tak pyaasii huu.N mai.n
tuu hai meraa prem devataa

ra : mai.n gaurii tuu kant hamaaraa
ma : mai.n ga.ngaa tuu meraa kinaaraa
ra : mai.n gaurii tuu kant hamaaraa

ra : mai.n gaurii tuu kant hamaaraa
ma : mai.n ga.ngaa tuu meraa kinaaraa
ra : a.ng lagaa_o pyaas bujhaa_o -2
ma : nadiyaa ho kar pyaasii huu.N mai.n
ra : man kii pyaar bujhaane aa_ii -2
antaraghaT tak pyaasii huu.N mai.n
do : tuu hai meraa prem devataa

ra : Dam Dam Dam Dam Damaruu baaje
ma : mai.n naachuu.N sha.nkar ke aage
ra : Dam Dam Dam Dam Damaruu baaje

ra : Dam Dam Dam Dam Damaruu baaje
ma : mai.n naachuu.N sha.nkar ke aage
ra : ho ke rahegii jiit usii kii -2
ma : jisakii kalaa se sha.nkar jaage
ra : man kii pyaar bujhaane aa_ii -2
antaraghaT tak pyaasii huu.N mai.n
do : tuu hai meraa prem devataa

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. And today, on the thirty-ninth day, we learnt about Hori.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #38

Raaga Based Song of the Day: Chanda re mori patiya le jaa…
Raag Durga, Tal Kaherava

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

Our thirty-seventh post was titled ‘Raaga Based Song Of The Day #37’ and the song was a Lata Mangeshkar & Mohammad Rafi song from the 1963 V Shantaram movie Sehra: Tum toh pyaar ho sajna.  It is in Raag Maru Bihag, Tal Kaherava.

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

In the last thirty-seven days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari and Maru Bihag. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

However, first, lets take up the value added learning of today. Today, we shall learn about Pakhawaj:

The pakhawaj (To be pronounced as पखावज) or mridang is an Indian barrel-shaped, two-headed drum, a variant and descendant of the older mridang. The larger bass skin of the drum is to the left of the player and the smaller treble skin to the right. I told you, a few days back, about Dhrupad. Pakhawaj is widely used as an accompaniment in Dhrupad and in other forms of music and dance. The pakhawaj has a low, mellow tone, very rich in harmonics.

The word Pakhawaj (Prakrit word) is derived from two words: the first is Paksha (a side), and Vaadya (a musical instrument). I told you that it is modern variation of Mridang. In the 14th century, Mridangists started experimenting with material used for its construction and replaced clay with wood. This gave birth to Pakhawaj.

Just like Tabla, Pakhawaj is used to produce rhythm (Tal) by a series of mnemonic syllables called bol. Naturally, the playing technique varies from that of tabla: in the bass face, the artist hits with his whole palm instead of the finger tip hitting which is done in tabla. In the treble face, the artist hits his whole palm with the fingers properly placed on the skin to produce different bols.

In Pakhawaj, a student learns various strokes to produce different bol. The very basic capacity is to play a theka in a particular tala or rhythmic cycle. I have already been giving you various theka that can be played.

Advanced students learn reelas that are virtuoso pakhawaj compositions.

As I mentioned, today’s song is composed in Raag Durga, Tal Kaherava.

Durga is another raaga that has been named after gods and goddesses. It belongs to the Bilawal Thaat. It is to be sung during the second prahar of the night: from 9 PM to midnight. Its Jati is Audhav-Audhav, that is, five notes each in Aaroha and Avroha. All notes or swar used are Shuddha (the raag is called Shuddha Saveri in the South). The two swar that are not used are: Gandhar and Nishad (Gaa and Ni). This Raag creates a very soothing atmosphere which is neither very deep nor very playful.

Some of the other songs composed in Raag Durga are:

1.
2.
3.
4.
5.		 Khet Ko Mooli Baag
Door Desh Ka
Geet Gaya Pattharon Ne
Jaane Wale O Mere
Sason Ke Taar Par		 Achuut Kanya
Jawab
Geet Gaya Pattharon Ne
Geet Gaya Pattharon Ne
Geet Gaya Pattharon Ne		 Ashok Kumar, Devika Rani
Kanan Devi
Kishori Amonkar
Asha Bhosle
Asha, Mahendra Kapoor
(Poster courtesy: lyricsbogie.com)

I have taken today’s song from the 1960 movie Banjarin directed by Jaswant Jhaveri. The movie starred Manhar Desai, Kanchan Kamini and Dalpat. The song is a popular song even after 57 years of its original release.

Pt. Madhur penned the song and Pardesi composed it.

Please enjoy Lata Mangeshkar and Mukesh sing in Raag Durga, Tal Kaherava: Chanda re mori patiya le jaa….

la : nainaa to dukhan laage
chandaa re morii ( patiyaa.n le jaa ) -2 saajan ko pahu.Nchaa de re
vo likh sake javaab unhe.n tuu meraa pataa bataa de re
chandaa re
mu : chandaa re morii ( patiyaa le jaa ) -2 sajanii ko pahu.Nchaa de re
vo likh sake javaab …

la : palako.n kii hai kalam banaa_ii kaajal bah kar banii siyaahii
kaise likhuu.N kahaanii Gam kii tuu hii mujhe bataa de re
chandaa re …

mu : ham Kush hai.n Gam diyaa hai tuune ye ehasaan kiyaa hai tuune
jahaa.N raho Kush raho merii is du_aa kaa asar dikhaa de re
chandaa re …

do : o aakaash ke sundar darpaN tuu hii sajanii tuu hii saajan
bichha.De dilo.n ko phir se milaa de rotaa chaman ha.Nsaa de re
chandaa re …

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. And today, on the thirty-eighth day, we learnt about Pakhawaj.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #37

Raaga Based Song of the Day: Tum toh pyaar ho sajna…
Raag Maru Bihag, Tal Kaherava

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

Our thirty-sixth post was titled ‘Raaga Based Song Of The Day #36’ and the song was a Lata Mangeshkar song from the 1949 DD Kashyap movie Badi Bahen: Chele jaana nahin nain mila ke.  It is in Raag Asavari, Tal Kaherava.

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

In the last thirty-six days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya and Asavari. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

However, first, lets take up the value added learning of today. Today, we shall learn about Kirtan:

At first instance, you are bound to ask me: “What is there to learn about Kirtan? We know it already.” Well, actually, there is a lot to learn. Kirtan is a Sanskrit word that means ‘narrating, reciting, telling or describing’ of a story or idea. In a religious gathering, Kirtan is a musical form of narration shared between the narrator and the congregation.

One can easily refer to Kirtan (Vedic anukirtana tradition) as song in which the narrator (kirtankara (or kirtankar)) or narrators takes a line in the hymn and expects the gathering to repeat the chant in the same melody. There are times when the singer’s singing is accompanied by dancing

Generally, the vocal performance by singers is accompanied by Harmonium and Tabla but may also include other instruments such as Mrdanga or Pakhwaj, Veena or Ektara, Flute, and Kartalas or Talas (Cymbals). The other day, in my home place Kandaghat, I attended a Kirtan performance for Sai Baba and they had a keyboard added too.

Kirtan is a routine practice in Sikh Gurudwaras, Vaishanavi devotion, and Sant tradition. Usually, Kirtan (as a form of eulogising gurus/gods) is accompanied by the singer pausing and telling the story (katha) and then resuming the singing.

The holy book of Sikhs is based on raagas and as I have been fond of saying, Sikhs carried forward the Vedic tradition of reciting scripture or religious texts through raagas with the accompaniment of music. In the Gurudwaras, a Shabad Kirtan is the musical recitation of the Sri Guru Granth Sahib itself.

Sikhs lay a lot of emphasis on Kirtan, generally performed by Ragi Jatha or those well versed in raagas. Generally, a Sikh Kirtan would be there in the forenoon before the final ardaas (prayer) on a Sunday. However, there are Gurudwaras wherein akhand kirtan (continuous unbreakable kirtan) takes place. The congregation in a Sikh Kirtan is known as Sangat or Satsang  meaning ‘fellow travelers on a spiritual journey’.

Live Kirtan at the Golden Temple, Amritsar (Photo courtesy: Gurmat Sagar)

You are bound to ask me at this stage what, if any, is the difference between Bhajan and Kirtan. Both have common objectives, and share similar raagas and subjects. A bhajan is generally singular and is more free flowing; whereas a Kirtan is generally more structured performance in which the singers and the congregation share a call and response form of singing.

As I mentioned, today’s song is composed in Raag Maru Bihag, Tal Kaherava.

Maru Bihag is a very melodious raaga that belongs to the Kalyan Thaat. It is to be sung during the second prahar of the night: from 9 PM to midnight. Its Jati is Audhav-Sampoorna. Maru Bihag is a variation of Raag Bihag in which I gave you the song Tere sur aur mere geet from Goonj Uthi Shehnai that had Shehnai-vaadan by Ustaad Bismillah Khan. In the Sri Guru Granth Sahib, Raag Bihagara occurs on 20 pages from 537 to 557 and is similar to its modern version: Raag Bihag.

Some of the other songs composed in Raag Maru Bihag are: Dil jo na keh saka(Tal Kaherava), Matwali naar thumak thumak (Tal Kaherava), Payal wali dekhana (Tal Kaherava) and Radha jaaye na (Tal Dadra).

(Poster courtesy: hindilinks4u)

I have taken today’s song from the 1963 movie Sehra directed by V Shantaram. The movie starred Sandhya, Prashant, Mumtaz, Lalita Pawar, Manmohan Krishan, Ulhas, Babloo, M. Rajan and Baburao Pendharkar. You would like the cinematography in the video of the song. Krishanrao Vashirde won the Best Cinematography (Colour) Filmfare Award.

Hasrat Jaipuri penned the songs of the movie and Ramlal Hirapanna composed them. The songs of the movie became very popular:

1 Mast Nazar Ki Katar Mohammed Rafi
2 Taqdeer Ka Fasana Mohammed Rafi
3 Ja Ja Ja Re Tujhe Ham Jaan Gaye Mohammed Rafi, Lata Mangeshkar
4 Tum Toh Pyar Ho Sajni Mohammed Rafi, Lata Mangeshkar
5 Taqdeer Ka Fasana Lata Mangeshkar
6 Pankh Hote To Ud Aati, Rasiyaa O Zalima Lata Mangeshkar
7 Ujad Gaya Hain Mohabbat Main Lata Mangeshkar
8 Na Ghar Tera Na Ghar Mera Hemant Kumar
9 Hum Hain Nashe Mein Asha Bhosle
  1. Please enjoy Lata Mangeshkar and Mohammad Rafi sing in Raag Maru Bihag, Tal Kaherava: Tum toh pyaar ho sajna….

la : tum to
tum to pyaar ho sajanaa tum to pyaar ho
mujhe tumase pyaaraa aur na ko_ii
tum to pyaar ho sajanaa

ra : tum to pyaar ho sajanii tum to pyaar ho
mujhe tumase pyaaraa aur na ko_ii
tum to pyaar ho

la : aa kitanaa hai pyaar hamase ye to bataa do
ra : a.mbar pe taare jitane itanaa samajh lo
la : sach merii qasam
ra : terii qasam terii yaad hame.n luuTe
la : qasame.n to khaane vaale hote hai.n jhuuThe
chalo jaa_o haTo jaa_o dil kaa daaman chho.Do
ra : tum to pyaar ho sajanii …

ho o aake na jaa_e kabhii aisii bahaar ho
la : tum bhii hamaare li_e jiivan si.ngaar ho
ra : sach merii qasam
la : terii qasam tuu hai aa.Nkh ke til me.n
ra : tum bhii chhupii ho mere shiishaa-e-dil me.n
o mere hamadam mere hamadam merii baat to maano
la : tum to pyaar ho sajanaa …

do : tum to pyaar ho

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. And today, on the thirty-seventh day, we learnt about Kirtan.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #36

Raaga Based Song of the Day: Chale jaana nahin nain chura ke…
Raag Asavari, Tal Kaherava

We have completed thirty-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 thirty-fifth post was titled ‘Raaga Based Song Of The Day #35’ and the song was a Mohammad Rafi song from the 1958 Shaheed Lateef movie Sone Ki Chidiya: Raat bhar ka hai mehman andhera.  It is in Raag Jogiya, Tal Dipchandi (Moghali).

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

In the last thirty-five days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang and Jogiya. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

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

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

Tabla is one of the two percussion instruments in Hindustani music that produces Tal or rhythm (the other is Pakhwaj) whereas the melody is produced by Vocals, Sitar, Sarod, Surbahar, Rudra Veena, Violin, Sarangi, Esraj/Dilruba, Bansuri, Shehnai, Santoor, Harmonium, and Jal Tarang, and Tanpura, Shruti Box and Swarmandal are used to producing drone.

Initially, when I started giving you the raaga based songs of the day, I mentioned to you that it was as late as in the 18th century that Tabla was used to keep the Tal. Before that, and to some extent even now, Tal is kept by the clap (Bhara) or wave (khali) of the hand. Tabla consists of a pair of drums (the word tabla is likely to have originated from the Persian word Tabl meaning drum). The pair is actually two small barrel drums (to be beaten with hands). Daya drum is the dahina drum or right and Baya is bahina or left. Out of the two, the Baya drum is a little bigger (about eight inches in dia and ten inches high) than the Daya (six inches by 10 inches). The Daya is tuned to the ground note of the raaga called Sa. Tal is produced both by the heel of the hand (to change the pitch) and the complex use of the fingers.

(Pic courtesy: Music Stack Exchange)

In the Hindustani style tabla is played in two ways: band bol (Tali) and khula bol (Khali). Tabla is used extensively in raaga based singing in gurudwaras and temples and in Sufi music.

Some basic strokes with the dayan on the right side and the bayan on the left side are:

  • Ta: (on dayan) striking sharply with the index finger against the rim while simultaneously applying gentle pressure to the edge of the syahi with the ring finger to suppress the fundamental vibration mode.
  • Ghe or ga: (on bayan) holding wrist down and arching the fingers over the syahi; the middle and ring-fingers then strike the maidan (resonant).
  • Thin: (on dayan) placing the last two fingers of the right hand lightly against the syahi and striking on the border between the syahi and the maidan (resonant).
  • Dha: combination of Na and Ghe.
  • Dhin: combination of Tin and Ghe.
  • Ka or kath: (on bayan) striking with the flat palm and fingers (non resonant).
  • Na: (on dayan) striking the edge of the syahi with the last two fingers of the right hand.
  • Te: (on dayan) striking the center of the syahi with the middle finger (non resonant).
  • Tu | Tun: (on dayan) striking the center of the syahi with the index finger to excite the fundamental vibration mode (resonant).
  • Dhere dhere (on dayan) striking of syahi with palm.

As I mentioned, today’s song is composed in Raag Asavari, Tal Kaherava.

Asavari is the principle raaga of Asavari Thaat in the Bhatkhande’s system of raagas. Asavari, as anyone who reads Sri Guru Granth Sahib would know, is a raaga of the mornings. However, some of the important raagas of Asavari Thaat are sung at nights: eg, Adana and Darbari. Its Jati is Audhav-Sampoorna. The mood of the raaga is Tyag, sacrifice or renunciation.

Two of the other songs composed in Raag Asavari are: Jadoo teri nazar, khushbu tera badan (Tal Kaherava), and Mujhe gale se laga lo bahut udaas hoon main (Tal Kaherava).

I have taken today’s song from the 1949 movie Badi Bahen directed by DD Kashyap. The movie starred Suraiya, Rehman, Ullhas and Pran. If you see in the video Geeta Bali singing this song to the villain Pran it is because of the story, also by DD Kashyap:

“Shyama (Suraiya) gets a job as a servant so she can pay for her younger sister, Kiran’s (Geeta Bali) education in the city. Kiran, though, is in love with a rogue, Ajit (Pran). Ajit makes Kiran splurge all the money Shyama sends her on them. Meanwhile, Shyama meets and falls in love with Shyam (Rehman), the son of the family she works for and who is a doctor who wants to treat the poor. With both being ill-treated by the woman of the house, who is Shyam’s step mother, they decide to elope. However, Kiran comes to her, abandoned and impregnated. Shyama goes along with her without informing Shyam in order to find Ajit. They find Ajit but he escapes from them. The two sisters then relocate to another town. Kiran has the child, Shyama works in another house, where in order to get Kiran settled with the young man of the house and to prove her to be without blemish, she takes it upon herself to claim to be the mother of the child. This causes further complications with Shyam, who has managed to trace her out and now believes that she has been unfaithful to him. Wallowing in grief, he falls ill. Finally, with the help of a kindly army Colonel, also Ajit’s uncle (Ulhas), all ends well that well with a repentant Ajit marrying Kiran and Shyama reunited with Shyam.”

The song was penned by Rajinder Krishan and composed by Husanlal Bhagatram, Hindi movies’ first music duo.

Please enjoy Lata Mangeshkar sing in Raag Asavari, Tal Kaherava: Chale jaana nahin nain chura ke….

Chale jaanaa nahii.n, nainaa milaake
Haay! sai.nyyaa bedardii, sai.nyyaa bedardii

Merii qasam tumhe mere hii hoke rahanaa
Dilo.n kii baat kisii aur se nahii.n kahanaa
Bairii duniyaa se rakhanaa chhupaa ke
Haay! sai.nyyaa bedardii, sai.nyyaa bedardii
Chale jaanaa nahii.n …

Nanhii.n sii jaan merii kaho na jalaaoge
Chho.D ke mujhe kahii.n chale to na jaaoge
Bhuul jaanaa nahii.n dil me.n basaa ke
Haay! sai.nyyaa bedardii, sai.nyyaa bedardii
Chale jaanaa nahii.n …

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

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

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song Of The Day #35

Raaga Based Song of the Day: Raat bhar ka hai mehman andhera…
Raag Jogiya, Tal Dipchandi (Moghali)

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

Our thirty-fourth post was titled ‘Raaga Based Song Of The Day #34’ and the song was a Meena Kapoor song from the 1965 Motilal movie Chhoti Chhoti Baatein: Kuchh aur zamana kehta hai.  It is in Raag Gaur Sarang, Tal Dadra.

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

In the last thirty-four days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan and Gaur Sarang. The only raag that has been repeated so far is Pahadi, the raaga of my home place.

Today, I give you a song in Raag Jogiya, Tal Dipchandi (Moghali).

However, first, lets take up the value added learning of today. Today, we shall learn about Tal Dipchandi (Moghali):

Dipchandi meaning Lamplight is a 14 beat Tal also known as Chanchar or Chochar. There are four vibhags (sections) of 3, 4, 3 and 4 matras represented by Clap, Clap, Wave and Clap respectively, that is:

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

The Theka of the Tal is:

Theka for Dipchandi Tal

As I mentioned, today’s song is composed in Raag Jogiya, Tal Dipchandi (Moghali).

Raag Jogiya belongs to the Bhairav Thaat in the Bhatkhande’s system of raagas. It is to be sung during the first prahar of the night. The name Jogiya came from Jogi (ascetic), a corruption of the word Yogi. The mood of the raaga is devotion and detachment.

Two of the other songs composed in Raag Jogiya are: Dil ek mandir hai (Tal Dadra), and Kah do koio na kare yahan pyaar (Tal Dipchandi).

I have taken today’s song from the 1958 movie Sone Ki Chidiya directed by Shaheed Lateef. Ismat Chugtai who got the Filmfare Award in 1975 for the story of the MS Sathyu movie Garam Hawa, wrote the story for Sone Ki Chidiya too. The movie starred Balraj Sahni, Nutan and Talat Mahmood. Nutan, a poor orphan as a child, is abused by her extended family but later becomes Sone Ki Chidiya after she becomes rich and famous and then exploited.

The song is a great inspirational song penned by Sahir Ludhianvi, asking her not to give up her life for nothing but to see the silver lining around the dark clouds.

Many people feel that Omkar Prasad Nayyar or OP Nayyar didn’t understand raagas. However, his songs prove this theory wrong. This one was composed by him not in his favourite Raag Pilu but in Jogiya. And the Tal that he employed is not so common one.

Please enjoy Mohammad Rafi sing in Raag Jogiya, Tal Dipchandi (Moghali): Raat bhar ka hai mehman andhera….

Maut kabhii bhii mil sakatii hai lekin jiivan kal na milegaa
Marane vaale soch samajh le phir tujhako ye pal na milegaa

(Raat bhar kaa hai mehamaa.n a.Ndheraa
Kisake roke rukaa hai saveraa) -2

Raat jitanii bhii sa.ngiin hogii
Subah utanii hii ra.ngiin hogii
Gam na kar gar hai baadal ghaneraa
Kisake roke rukaa hai …

Lab pe shikavaa na laa ashq pii le
Jis tarah bhii ho kuchh der jii le
Ab ukha.Dane ko hai Gam kaa Deraa
Kisake roke rukaa hai …

Yuu.N hii duniyaa me.n aa kar na jaanaa
Sirf aa.Nsuu bahaakar na jaanaa
MusuraahaT pe bhii haq hai teraa
Kisake roke rukaa hai …

(Aa ko_ii mil ke tadabiir soche.n
Sukh ke sapano.n kii taabiir soche.n) -2
Jo teraa hai vahii Gam hai meraa
Kisake roke rukaa hai …

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

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

There is much more still to be learnt and enjoyed.

Please stay tuned!

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