Sunbyanyname

Raaga Based Song of the Day: Kuchh aur zamaana kehta hai…
Raag Gaur Sarang, Tal Dadra

We have completed thirty-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 thirty-third post was titled ‘Raaga Based Song Of The Day #33’ and the song was a Lata Mangeshkar song from the 1956 Anant Thakur movie Chori Chori: Rasik balma.  It is in Raag Shuddha Kalyan, 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 Todi’.

In the last thirty-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 and Shuddha Kalyan. 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 Gaur Sarang, Tal Dadra.

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

Colloquially, we call any song or melody as Tarana. However, it is type of composition in Hindustani music such Dhrupad, Khayal, Thumri and Tappa that I have already told you about. Whilst giving you a write-up about Hindustani classical music I told you about the contribution of Amir Khusrow and how he first fuzed Sufi music with Sanskrit/Hindi music. Taranas are medium (madhya) or fast (drut) paced (laya) songs that convey mood of elation. Taranas consist of lines of rhyming poetry that use Persian or Arabic syllables or bols. The singers use these poetical lines for improvisation.

Do you recall Baiju Bawra, the 1952 Vijay Bhatt movie? (Please read). Naushad had all songs of the movie based on one raaga or the other. He got Ustad Amir Khan to sing Tori jai jai kartar in Raag Puriya Dhanashree, Langar kankariya ji na maro in Raag Todi (with DV Paluskar), Ghanana ghanana ghana garjo re in Raag Megh and Sargam in Raag Darbari. Well, it was the same Ustad Amir Khan who gave impetus to Tarana genre’ of singing in modern times. Those who are familiar with Sri Guru Granth Sahib would also know that Sri Guru Gobind Singh used tarana in his compositions like Jagardang nagardang bagardang.

As I mentioned, today’s song is composed in Raag Gaur Sarang, Taal Dadra.

Gaur or Gaud Sarang is a raga in Hindustani classical music that combines characteristics of Sarang and the now extinct raga named Gaud. Unlike most other members of the Sarang family of ragas, Gaud Sarang is assigned to the Kalyan thaat rather than the usual Kafi.

It’s Jati is Sampurna-Sampurna Vakra (all swar are Shuddha except both Madhyam are used in Avroha).

The time of the day for rendering this Raaga is the third prahar of the day, ie, between noon and 3 PM.

Raag Gaud Sarang, though a daytime melody produces effect like the night melodies. The overall impact of the Raag is identical to that in Raag Kedar or Raag Bihag. (Both night time Raagas).

Shuddha Madhyam is a prominent note which is Deergh Swar but not a resting note. Pancham and Gandhar are the resting note of the Raag. Like in Raag Kedar and Raag Hameer the Teevra Madhyam (M) is rendered Vakra.

The song is dear to me because I regard it as one of the best ever penned by lyricist Shailendra. Indeed, on my Facebook page ‘Lyrical’, as soon as I finished with my favourite lyricist Shakeel Badayuni, the very first Lyricist that I paid tribute to, in Great Lyricists series, was Shailendra.I have taken today’s song from the 1965 movie Chhoti Chhoti Baatein that was the only movie directed by actor Motilal under his banner Rajvanshi, and starring him, Nadira and Moti Sagar in the lead roles. He died before the movie was released. The movie was a flop at the box-office even though it earned enormous critical acclaim.

Here is a gem that came my way and I must share it with you:

Through Shankar Jaikishan Music Foundation (SJMF) I am acquainted with Dinesh (Shailendra’s son). One day, on his timeline there was a raging discussion about whether Shailendra got back from Raj Kapoor what he had so loyally given him. The reference was to Shailendra’s own movie Teesri Kasam starring Raj Kapoor, which was delayed by the latter so that he could first revel in the success of his Sangam. Some said that the lyrics of the song: Dost dost na raha probably fitted with Shailendra’s emotions for not having got any support from his friend Raj Kapoor for the early release of his own movie, leading to its getting much reduced box-office and ultimate untimely death of Shailendra. My input was that Teesri Kasam was released a year after Chhoti Chhoti Baatein (and a year before Teesri Kasam) and that Shailendra said in this song whatever he obliquely wanted to refer to! The most revealing lines are:

Duniyaa ne hame.n berahamii se
Thukaraa jo diyaa, achchhaa hii kiyaa
Naadaan ham samajhe baiThe the
Nibhatii hai yahaa.N dil se dil kii

From what I have seen, Dinesh is a level-headed, mature man, not given to affectations. I was, therefore, quite pleased when he tacitly upheld my assessment. My assessment was also based on another fact; which is, that whatever Shailendra wanted to tell people close to him he conveyed through his lyrics. For example, when Shankar Jaikishan dilly-dallied about introducing him to other music directors despite their promise, Shailendra wrote to them: “Chhoti si ye duniya, pehchaane raaste; tum kabhi to miloge, kahin to miloge, to poochhenge haal”. This, later, became a popular song.

Chhoti chhoti baatein, indeed.

It was Anil Biswas who composed the song in Raag Gaur Sarang, Tal Dadra. The song was sung for Nadira by Meena Kapoor.

Please enjoy: Kuchh aur zamana kehta hai….

Kuchh aur zamaanaa kahataa hai, kuchh aur hai zidd mere dil kii
mai.n baat zamaane kii maanuu.N, yaa baat sunuu.N apane dil kii
kuchh aur zamaanaa kahataa hai …

Duniyaa ne hame.n berahamii se
Thukaraa jo diyaa, achchhaa hii kiyaa
naadaan ham samajhe baiThe the
nibhatii hai yahaa.N dil se dil kii
kuchh aur zamaanaa kahataa hai …

Inasaaf, muhabbat, sachchaa_ii
vo raham-o-qaram ke dikhalaave
kuchh kahate zubaa.N sharamaatii hai
puuchho na jalan mere dil kii
kuchh aur zamaanaa kahataa hai …

Go bastii hai insaano.n kii
insaan magar Dhuu.NDhe na milaa
patthar ke buto.n se kyaa kiije
fariyaad bhalaa TuuTe dil kii
kuchh aur zamaanaa kahataa 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. And today, on the thirty-fourth day, we learnt about Tarana.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Rasik balma…
Raag Shuddha Kalyan, Tal Kaherava

We have completed thirty-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 thirty-second post was titled ‘Raaga Based Song Of The Day #32’ and the song was a Mohammad Rafi song from the 1957 Krishnan-Panju movie Bhabhi: Chal udd jaa re panchhi.  It is in Raag Pahadi, 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 Jaijaivanti’.

In the last thirty-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 and Chayanat. 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 Shuddha Kalyan, Tal Kaherava.

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

Tappa is as semi-classical as Dhrupad, Khayal and Thumri. In royal courts, songstresses known as Baigees used to sing Tappe that are fast paced, subtle, sweet and melodious genre’ of singing representing the emotional outburst of a lover.

Camel riders of Punjab are credited with having begun the tradition of Tappa in their folk singing. Mian Ghulam Nabu Shori or popularly known as Shori Mian is credited with having developed Tappa as classical music. He was a court singer in the then Nawab of Avadh: Asad-ud-Dowlah. In the 18th and 19th century, tappas sung by Nidhu Bahar became popular in Bengal. These were called: Nidhubabur Tappa. Presently, amongst the best known Tappa singers are: Girija Devi, Ishwar Chandra Karkare, Jayant Khot, Laxmanrao Pandit, Manvalkar, Meeta Pandit and Shanno Khurana.

As I mentioned, today’s song is composed in Raag Shuddha Kalyan, Taal Kaherava.

Raag Shuddha Kalyan belongs to the Kalyan Thaat in Bhatkhande’s system of raagas. The raaga is to be sung during the first prahar of the night (6 PM to 9 PM); indeed, that is true for all raagas in the Kalyan Thaat. Characterised by the teevra Madhyam, the name Kalyan translates to ‘Good Luck’. It is, therefore, performed at the beginning of a concert in the evening to seek blessings. Shuddha Kalyan is one of the many variations; some of the others are Shyam Kalyan, Yaman Kalyan, Anandi Kalyan, Khem Kalyan and Savani Kalyan. The Jati of the raaga is Audhav – Sampoorna (Vakra). This raaga has notes of Raag Bhoopali in tha Aaroha and Raag Kalyan (or Yaman) in Avaroha. Because of this reason it is also referred to as Raag Bhoop Kalyan.

Some of the songs composed in Raag Shuddha Kalyan are: Chand from niklala from 1957 movie Paying Guest, Jahan daal daal par sone ki chidhiyan karti hain basera from 1965 movie Sikander-e-Azam, Meri mohabbat jawan rahegi from 1965 movie Jaanwar, and Ye shaam ki tanhayiyan from 1953 movie Aah.

I have taken today’s song from yet another AVM Production movie, the 1956 Anant Thakur movie Chori Chori starring Nargis as Kammo, the daughter of a multi-millionaire Girdharilal (Gope). She jumps out of her father’s ship in Bombay harbour so as to be with her lover Suman Kumar (Pran). Whilst on her way to Bangalore, at the bus-stop itself, she meets Sagar (Raj Kapoor) and decides to take help from him in undertaking a journey that she had never taken alone. Gradually they fall in love. The movie’s story was later used by Mahesh Bhatt in his 1991 movie Dil Hai Ki Maanta Nahin that starred his daughter Pooja in the same role as Nargis and Aamir Khan in Raj Kapoor’s role.

As with most Raj Kapoor starrers, the lyricists were Shailendra and Hasrat Jaipuri with music by Shankar Jaikishan. This one has been penned by Hasrat Jaipuri.

I have put my neck out by selecting my five favourite songs of Lata Mangeshkar (Please read: ‘My Favourite Songs Of Lata Mangeshkar’). This song is at #1. The other four are:

#2. Jaa jaa re jaa balamwa in Raag Jhinjhoti, Tal Kaherava from Basant Bahar.
#3 Unako ye shikayat hai ke ham kuchh nahin kehate in Raag Malgunji, Tal Dadra from Adalat.
#4 Aapki nazaron ne samajha pyaar ke kaabil mujhe in Raag Adana, Tal Rupaktal from Anapadh.
#5 Aaja re pardesi in Raag Bageshri, Tal Kaherava from Madhumati.

Please enjoy my most favourite song of Lata Mangeshkar in Raag Shuddha Kalyan, Tal Kaherava: Rasik balma….

Rasik balamaa, haay, dil kyo.n lagaayaa
tose dil kyo.n lagaayaa, jaise rog lagaayaa

Jab yaad aaye tihaarii
suurat vo pyaarii pyaarii
nehaa lagaa ke haarii
aa~
nehaa lagaa ke haarii
ta.Dapuu.N mai.n Gam kii maarii
rasik balamaa …

Dhuu.Ndhe hai.n paagal nainaa
paaye na ik pal chainaa
Dasatii hai ujda.Dii rainaa
aa~
Dasatii hai ujda.Dii rainaa
kaase kahuu.N mai.n bainaa
rasik balamaa …

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

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. And today, on the thirty-third day, we learnt about Tappa.

There is much more still to be learnt and enjoyed.

Please stay tuned!

 

Raaga Based Song of the Day: Chal udd ja re panchhi…
Raag Pahadi, Tal Kaherava

We have completed thirty-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 thirty-first post was titled ‘Raaga Based Song Of The Day #31’ and the song was a Mohammad Rafi song from the 1958 Raj Khosla movie Kala Pani: Ham bekhudi mein tumko pukaare chale gaye.  It is in Raag Chayanat, Tal Kaherava.

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

In the last thirty-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 and Chayanat.

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 Thumri:

Thumri originated in the eastern part of Uttar Pradesh and the languages of Thumri are the local dialects of Hindi: Awadhi and Brij Bhasha. Indeed, if you go through the popular song of the best lyricist-music director duo in Hindi movies: Shakeel Badayuni and Naushad Ali for their last movie together (1968 HS Rawail movie Sunghursh): Mere paaon mein ghungru pehna de you will understand the use of Awadhi. Thumri’s most distinct feature is the erotic subject matter portraying the various episodes from the lives of lord Krishna and Radha.

If your imagination goes wild and you think Thumri word has originated from the popular word Thumka, ie, the sound of ankle-bells of a woman/man when he or she dances, well, you are absolutely correct.

We found Khayal as more free and flexible than Dhrupad. Well, Thumri is freer. The beauty of thumri lies in the artist’s ability to convey musically as many shades of meaning as the words of a song can bear.

How did Thumri originate and become one of the most significant genre’s of North Indian music. Until the 15th century, there are no historical references to Thumri. When I gave you Babul mora naihar chhoto hi jaaye in Raag Bhairavi, I mentioned to you that Nawab Wajid Ali Khan of Awadh or Oudh composed it as  Thumri. During his time in the 19th century, it was associated with the dance-form Kathak and hence with courtesans and tawaifs.

Unlike Khayal, Thumri artistes pay considerable attention to lyrics such as Krishna’s ras leela or love play with Radha and other gopis in Brindavan.

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

Today on the 32nd day, you would have noticed that so far I haven’t repeated a raaga except Pahadi; this being the third post on songs based on Pahadi.

Why do I have this urge to get back to Pahadi? On the tenth day, I had covered for you, the sources of names of raagas and mentioned that raagas like Marwa, Jaunpuri, Mand and Pahadi were named after places. Pahadi is not a place, in the same manner, as Marwa, Mand and Jaunpur. You should expect Pahadi anywhere you see pahad or hills but actually the name is from hills in Himalayas, my home place. It is a light raaga and is more akin to being a dhun.

Pahadi is a very popular raaga in the Hindi movies. It belongs to the Bilawal Thaat. Soundofindia.com describes it beautifully: the raga is like a lover, unruffled in union, serene in separation, powerful enough to achieve eternal union, but resigned to the painful parting ordained by destiny.

All raagas are supposed to transport you to the mood of the raaga (bhaav). But, none other does it better than Pahadi: you can’t escape the freshness, quiet, wetness, echoing effect and palpable romance of the hills. It is as if the raaga says to you: ‘Love is in the air’.

Some of the songs composed in Pahadi 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. 41. 42. 43. 44.

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 Chal udd ja re panchhi 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 Aaj ki raat piya dil na todo Mere Mundere Na Bol Aao Mil Jaayen Saanjh Bhayee Nahin Aaye Neela Aasma So gaya Ih hawaon Mein Main Tulsi Are ja re hat natkhat Main Teri Chhoti Behena Kabhi To Milegi Bahaaron Ki Kanchi Re Kanchi Re Tum Jahan Ho Jeevan Se Na Haar Aawaz De Kahan Hai Isharon Isharon Mein Aage bhi jaane na tu

Shagun Dosti Aakhri Khat Anmol Ghadi Babul Chaudhavi Ka Chand Neel Kamal Baiju Bawara Aapki Kasam Barsaat Dulari Andaaz Bhabhi 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 Bazi Parwana Prem Geet Shama Parwana Silsila Gumrah Main Tulsi Tere Aangan Ki Navrang Soutan Aarti Hare Rama Hare Krishna Road To Sikkim Door Ka Rahi Anmol Ghadi Kashmir Ki Kali Waqt

Rafi, Suman Kalyanpur Rafi Lata Noorjahan Shamshad Rafi Rafi Shamshad, Lata, Rafi Kishore, Lata Lata Rafi Lata Mohammad Rafi Rafi Jagjeet Kaur Lata Lata, Rafi Lata Lata Rafi Lata, Rafi Lata, Bhupendra Bhupendra Lata, Mukesh Rafi, Suman, Mukesh Lata, Nitin Mukesh Lata Rafi Geeta Dutt Suraiya Suresh Wadekar, Anuradha Nirmala Devi Lata & Amitabh Mahendra, Asha Lata Asha Bhosle Lata Lata Kishore, Lata Mukesh Kishore Noorjahan, Surendra Rafi, Asha Asha Bhosle

If you recall, I have already given you two: Aaj ki raat piya dil na todo, and Zara sun haseena-e-nazneen.

The song of today is from the 1957 AVM Production Krishnan-Panju movie Bhabhi that starred Balraj Sahni, Nanda and South-Indian actress Pandari Bai (this being her first Hindi movie; later she did one more: Paigham in 1959). Bhabhi was earlier a movie by Franz Osten in 1938. The movie was a remake of Tamil film Kuladeivam which itself was a remake of Bengali film Banga Kora which in turn was based on the novel of same name by Prabhavathi Devi Saraswathi.

Rajinder Krishan was the lyricist of the song that was composed by Chitragupt.

I was fascinated by the song from the time I was a boy and, at that time, I didn’t know anything about Raag Pahadi, Rajinder Krishan and Chitragupt. The only person associated with the song that I knew, at that time, was Mohammad Rafi, the god of songs.

Please enjoy Mohammad Rafi sing in Raag Pahadi Tal Kaherava: Chal udd jaa re panchi…

Chal u.D jaa re pa.nchhii (2) ki ab ye desh huaa begaanaa
chal u.D jaa re pa.nchhii …

Khatam hue din us Daalii ke jis par teraa baseraa thaa
aaj yahaa.N aur kal ho vahaa.N ye jogii vaalaa pheraa thaa
sadaa rahaa hai is duniyaa me.n kisakaa aabuu-daanaa
chal u.D jaa re pa.nchhii …

TUne tinakaa-tinakaa chun kar, nagarii ek basaa_ii
baarish me.n terii bhiigii kaayA, dhuup me.n garamii chhAii
Gam naa kar jo terii mehanat tere kaam naa aaii
achchhaa hai kuchh le jaane se dekar hii kuchh jaanaa
chal u.D jaa re pa.nchhii …

Bhuul jaa ab vo mast havaa vo u.Danaa Daalii-Daalii
jab aa.Nkh kii kaa.NTaa ban gaI, chaal terii matavaalii
kaun bhalaa us baag ko pUchhe, ho naa jisakaa maalii
terii qismat me.n likhaa hai jiite jii mar jaanaa
chal u.D jaa re pa.nchhii …

Rote hai.n vo pa.Nkh-pakheruu saath tere jo khele
jinake saath lagaaye tUne aramaano.n ke mele
bhiigii aa.Nkho.n se hii unakii, aaj duaaye.n le le
kisako pataa ab is nagarii me.n kab ho teraa aanaa
chal u.D jaa re pa.nchhii …

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. And today, on the thirty-second day, we learnt about Thumri.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Ham bekhudi mein tumko pukaare chale gaye…
Raag Chayanat, Tal Kaherava

We have completed thirty 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 thirtieth post was titled ‘Raaga Based Song Of The Day #30’ and the song was a Lata Mangeshkar song from the 1960 Hrishikesh Mukherjee movie Anuradha: Haay re vo din kyun naa aaye.  It is in Raag Janasammohini, Tal Rupaktal.

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

In the last thirty 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 and Janasammohini.

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

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

Khayal is a modern genre’ of Hindustani Music; it certainly came after Dhrupad that I have told you about. The Urdu word Khayal means ‘Imagination’ and hence this flexible form of music uses a lot of improvisations.

A Khayal song is normally called a bandish (composition). Generally, in a performance there would be number of short (2 to 8 lines) songs, with each singer rendering the same bandish differently; in which the lyrics and raaga remains the same. These compositions are in Urdu/Hindi/Hindustani/Punjabi or combinations. The themes that the compositions cover include love (both romantic and divine), Krishna-Leela, praise of gods, kings, seasons and times of day.

The Khayal bandish is divided into two parts — the sthayi (or asthayi) and the antara, with the former considered more important as it shows the melodic contours of the raga. The sthayi often uses notes from the lower octave and the lower half of the middle octave, while the antara ascends to the tonic of the upper octave and beyond before descending and linking back to the sthayi.

The main facet of Khayal, as I told you, is improvisation. Each singer uses the bandish as a base for improvisation. The singer is normally accompanied by harmonium, sarangi or violin, and a tabla. The instruments play off the singer’s melody line and these instruments play this even when the singer pauses for breath. Thus, continuity is maintained. The accompanying Tal are generally Ektal, Jhaptal, Tintal, Rupaktal, Jhaptal and Tilwada.

A typical khayal performance uses two songs — the bada khayal or great khayal, in slow tempo (vilambit laya), comprises most of the performance, while the chhota khayal (small khayal), in fast tempo (drut laya), is used as a finale and is usually in the same raga but a different taal.

As I mentioned, today’s song is composed in Raag Chayanat, Taal Kaherava.

Raag Chayanat or Chhayanat belongs to the Kalyan Thaat to be sung during the second prahar of the night (9 PM to midnight). Its Jati is Shadhav-Sampoorna (six notes in Aaroha and seven notes in Avaroha).

Raag Chayanat is related to the now obscure raaga Nat.

Chayanat, Gaud Sarang, Kedar and Kamod raagas have similar tone material and share similar melodic movements as well. It requires a clear conception of their individual melodic features to avoid drifting from one raaga to another.

The other songs composed in Raag Chayanat are:

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

Chanda Re Ja Re Sab Kuchh Luta ke Hum Bekhudi Me Dil Gham Se Jal Raha Tere Naina Talaash Keren Baad Muddat Ke Lagta Nahin Hai Dil Itni Haseen Itni Zindagi Kitni Khoobsurat Aaj Bichhde Hain Fir teri Yaad Naye Gham Aap Aaye Gharib Kahen Me Sher Ka Husn Ho Paas Ho Tum Magar Wo Chal Diye Hain Meri Nigaah Ne Kya Tumhi Kaho mera Man Jhuka Jhuka Ke Nigahen Mujhse Naaraz Ho To Tum Meri Zindagi Me

Ziddi Ek Saal Kala Pani Shama Talaash Jahan Aara Laal Quila Nartaki Bin Badal Barsaat Thodi Si Bewafai Aayi Teri Yaad Sitaara Chambal Ki Qasam Lootmaar Gulnaar Mohabbat Isko Kehten Hain Girls School Miss Coca Cola Papa Kehten Hain Bombay To Goa

Lata Lata & Talat Rafi Suman Manna Dey Rafi, Suman Rafi Mahendra Hemanti, Lata Bhupinder Bhupinder Asha Rafi Lata Noor Jahan Rafi Lata Mukesh, Asha Sonu Nigam Lata, Kishore Kumar

I have taken the song from 1958 production of Dev Anand for Navketan Films that was directed by Raj Khosla: Kala Pani. The movie starred Dev Anand as Karan trying to prove the innocence of his father Shankarlal who was, through deceit, put in a jail. To unearth the truth, he must take the help of a courtesan Kishori played by Nalini Jaywant. Meanwhile he hires a room in the house of Asha (Madhubala) and sure enough they fall in love.

Please enjoy in Raag Chayanat, Tal Kaherava: Ham bekhudi mein tumko pukaare chale gaye…

Ham… aa… chale gaye
ham bekhudii me.n tumako pukaare chale gaye
ham…
ham bekhudii me.n tumako pukaare chale gaye
saaGar me.n zindagI ko utaare chale gaye
ham…

Dekhaa kiye tumhe.n ham, banake diivaanA – 2
utaraa jo nashaa to, hamane ye jaanaa
saare vo zindagI ke sahaare chale gaye
ham bekhudii me.n tumako pukaare chale gaye
ham…

Tum to naa kaho ham, khud hii se khele – 2
Duube nahii.n ham hii yuu.N, nashe me.n akele
shiishe me.n aapako bhii utaare chale gaye
ham bekhudii me.n tumako pukaare chale gaye
saagar me.n zindagI ko utaare chale gaye
ham…

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. And today, on the thirty-first day, we learnt about Khayal.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Haye re vo din kyun naa aaye…
Raag Jansammohani, Tal Rupaktal

We have completed twenty-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 twenty-ninth post was titled ‘Raaga Based Song Of The Day #29’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1971 HS Rawail movie Mehboob Ki Mehbdi: Itna to yaad hai mujhe.  It is in Raag Tilang, 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 I’.

In the last twenty-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 and Tilang.

Today, I give you a song in Raag Jansammohani, Tal Rupaktal.

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

Yesterday, we learnt about Dhrupad. That’s one style of singing that doesn’t use Rupaktal. However, Rupaktal is otherwise such a common tal that it is to be found in almost all styles of singing in Hindustani Music including Khayal.

Rupaktal distinguishes itself from the other Tals in that the first beat (Sam) is Khali (Wave and not Clap or Taali). The total number of beats (matra) are seven. It is represented by:

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

that is, unlike the symmetric Tintal, the vibhags (three of them) are not of equal length.

and the Theka is:

As I mentioned, today’s song is composed in Raag Jansammohani, Taal Rupaktal.

Raag Jansammohani or Janasmohini is another raaga of Khammaj Thaat. It is similar to the modern pentatonic (five notes or swar) raaga called Kalavati. The two notes that are omitted in Kalavati are Re (Rishab, the second note) and Ma (Madhyam, the fourth note). If we add Re to Kalavati, we get Janasmohini (and if we add Ma too, we get Khammaj). Indeed, Naushad’s composition in the movie Dil Diya Dard Liya: Koi sagar dil ko behlata nahin, although in Janasmohini, is believed to be closer to Kalavati since there is very little use of Re.

Janasammohini was originally called Siva Kalyan. Little is heard of that raaga now. I have chosen for you a composition by Pandit Ravi Shankar. He brought back the raaga with its original Karnataka name Janasammohini.

The raaga is to be sung during the first prahar of night: 6 PM to 9 PM. The mood that the raaga invokes is that of pangs of separation, nostalgia and remorse.

Indeed, this is exactly the mood in Pandit Ravi Shankar’s composition that I have taken from 1960 Hrishikesh Mukherjee movie Anuradha (Please also read: ‘Bengal Based Hindi Movies From Anuradha To Piku’) with Leela Naidu in the title role as a talented woman fond of singing and indeed being an All India Radio artiste. She falls in love with and gets married to Dr Nirmal Chowdhary (Balraj Sahni). He is an idealist doctor devoting all his time to the patients in the village (after marriage they shift to a village since Nirmal is fired with the idea of bringing relief to the rural people). She feels neglected and has to leave her passion of singing. And that’s how this song came about in the movie.

The other songs composed in Raag Janasammohini are: Aaja re mere pyaar ke raahi, Bhajan bina chain na aaye Ram (the Raag also invokes devotional feelings), and Koi sagar dil ko behlata nahin.

Incidentally, the movie Anuradha won the National Award for Best Feature Film of 1960.

For those extraordinarily poignant lyrics, bringing out her inner feelings, one has to thank one of the greatest lyricists in Hindi movies: Shailendra. And of course, to sing it, is my favourite female singer: Lata Mangeshkar.

Please enjoy in Raag Janasammohini, Tal Rupaktal: Haye re vo din kyun naa aaye…

Haay re vo dinaa kyo.n na aaye
ja ja ke R^itu
ja ja ke R^itu lauT aaye
haay re vo dinaa kyo.n na aaye

Jhilamil vo taare kahaa.N gaye vo saare
man baatii jale bujh jaaye
haye re vo dinaa kyo.n na aaye

Suunii merii biinaa sa.ngiit binaa
sapano.n kii maalaa murajhaaye
haay re vo dinaa kyo.n na aaye

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
9. 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. And today, on the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Itna to yaad hai mujhe…
Raag Tilang, Tal Kaherava

We have completed twenty-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 twenty-eighth post was titled ‘Raaga Based Song Of The Day #28’ and the song was a Lata Mangeshkar song from the 1954 Chetan Anand movie Taxi Driver: Jaayen to jaayen kahan.  It is in Raag Jaunpuri, 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 twenty-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 and Jaunpuri.

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

However, first, lets take up the value added learning of today. Today, we shall learn about one of the oldest forms of compositions in Indian classical music: Dhrupad. Yesterday, whilst giving you the history of Hindustani Music, I merely mentioned it in the passing:

The name Dhrupad, a Sanskrit name, is a combination of two words: Dhruva means immovable or permanent (Recall Dhruva, the Pole Star through which ancient mariners used to establish North), and Pad means Verse. The oldest reference to Dhrupad is in Natyashastra (200 BC to 200 AD). Some six to eight hundred years later, there is mention in Bhagwat Purana (remember how I extolled our ancient musical heritage in the very first post of the series) which contains not just hymns for Lord Krishna but also musical theories of ancient times.

Dhrupad, therefore, came to denote both poetic style and singing style. Its bhaav is religious and spiritual and it evokes feelings of thoughtfulness, moral wisdom and even heroism. Initially it was sung in praise of Hindu deities. However, yesterday I told you about how Hindu Music found its way courts of Muslim kings and there it was to sing praises of them.

“Dhrupad has at least four stanzas, called Sthayi (or Asthayi), Antara, Sancari and Abhoga. The Sthayi part is a melody that uses the middle octave’s first tetrachord and the lower octave notes. The Antara part uses the middle octave’s second tetrachord and the higher octave notes. The Samcari part is the development phase, which holistically builds using parts of Sthayi and Antara already played, and it uses melodic material built with all the three octave notes. The Abhoga is the concluding section, that brings the listener back to the familiar starting point of Sthayi, albeit with rhythmic variations, with diminished notes like a gentle goodbye, that are ideally mathematical fractions such as dagun (half), tigun (third) or caugun (fourth). Sometimes a fifth stanza called Bhoga is included.”

As I mentioned, today’s song is composed in Raag Tilang, Taal Kaherava. It is only apt that I should bring out Raag Tilang today since yesterday only we took up the history of Hindustani Music and I mentioned in detail about the fusion of first Sanskrit and later Hindi music with Islamic music, particularly Sufi music that was introduced by Amir Khusrow.

Tilang belongs to Khammaj Thaat. It borrows a lot from Sufi tradition. It is used a lot in Thumri and Khayal. In the Raagmala at the end of Sri Guru Granth Sahib it is shown as a Raagini of Hindol.

Having been placed in Khammaj Thaat makes it a raaga of the night (second prahar), having romantic mood with a hint of yearning (O sajana barkha bahaar aayi, for example).

In the Sri Guru Granth Sahib, Tilang has a lot of Islamic vocabulary too. There are a total of twenty hymns in SGGS having been composed in Tilang: Six by Guru Nanak, three by Guru Ram Das, Five by Guru Arjan Dev, Three by Guru Tegh Bahadur, one by Kabir and two by Namdeo.

Some of the songs composed in Raag Tilang are:

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

Sajan Sang Kahe Main Apne Aap Se Bata Do Koi Bata Do Koi Aaj Mero Man Been Chota Sa Balama Lagi Nahi Chhute Meri Kahani Bhulne Is Duniya Mein Tum Kahe Ko Neha Is Dil Ke Tukde Man Mora Bawara Kismat Bigdi Paijaniya Chhanke Ram Itna To Yaad Hai Mujhe Sawan Ka Mahina Piya Tose Naina Ja Main Tose Naahi Kaise Kahein Hum O Gori Gori Gaon Ki

Main Nashe Mein Hoon Son Of India Madhu Madhu Gawaiya Ragini Sautela Bhai Deedar Dillagi Jasoos Pyar Ki Jeet Ragini Afsana Wapas Mehboob Ki Mehndi Nehley Pe Dehla Guide Sautela Bhai Sharmilee Yeh Gulistan Hamara

Lata Rafi Manna Dey Lata Talat Mehmood Asha Lata, Meena Kapoor Rafi Rafi Asha Rafi Rafi Mukesh Rafi Rafi, Lata Lata, Kishore Lata Lata Kishore Kishore, Lata

I have taken the song from the 1971 HS Rawail (He is incidentally the director of the movie of my all time favourite song: Mere Mehboob, Sunghursh and Laila Majnu) movie Mehboob Ki Mehndi starring Rajesh Khanna and Leena Chandavarkar. Laxmikant Pyarelal composed some really delightful songs in the movie on the lyrics of Anand Bakshi.

Please enjoy Mohammad Rafi and Lata Mangeshkar (undoubtedly the singers of the best duets in Hindi movies) sing a composition of Laxmikant Pyarelal in Raag Tilang, Tal Kaherava, on the lyrics of Anand Bakshi: Itna to yaad hai mujhe…..

Itanaa to yaad hai mujhe, o, itanaa to yaad hai mujhe, haay,
itanaa to yaad hai mujhe ke unase mulaaqaat huii
baad me.n jaane kyaa huaa, naa jaane kyaa baat huii

Saare vafaa ke karz apane chukaake
kisii se dil lagaake chalaa aayaa
nazare.n milaake, nii.Nd apanii ga.Nvaake
kasak dil me.n basaake chalaa aayaa
din to guzar jaayegaa, kyaa hogaa jab raat huii
itanaa to yaad hai mujhe …

Maare hayaa ke, mai.n to aa.Nkhen jhukaake
zaraa daaman bachaake chalii aayii
pardaa haTaake unakii baato.n me.n aake
unhe.n suurat dikhaake chalii aayii
kis se shiqaayat karuu.N, sharaarat mere saath huii
itanaa to yaad hai mujhe …

Thii ik kahaanii pahale ye zi.ndagaanii
tumhe.n dekhaa to jiinaa mujhe aayaa
dilbar-o-jaanii, sharm se paanii paanii
huii mai.n bas pasiinaa mujhe aayaa
aise mai.n bhiig gayii jaise ke barasaat huii
itanaa to yaad hai mujhe …

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. And today, on the twenty-ninth day, we learnt about Dhrupad.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Mohabbat aisi dhadkan hai…
Raag Rageshri, Tal Kaherava

We have completed twenty-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 twenty-sixth post was titled ‘Raaga Based Song Of The Day #26’ and the song was a Hemant Kumar song from the 1952 Guru Dutt movie Jaal: Ye raat ye chandini phir kahan.  It is in Raag Kafi, Tal Kaherava.

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

In the last twenty-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, and Kafi.

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

However, first, lets take up the value added learning of today. Today, we shall learn about something called a Lehar or literally Wave:

If any of you have listened to Ghulam Ali sing his famous ghazal Dil mein ik lehar si uthi hai abhi, you would have heard the rendition of the word Lehar in various beats making you get the feel of different types of waves.

Generally, in a raaga or musical performance, the tabla is repetitive as accompaniment to main musicians. However, in a Lehar, the Tabla (or even Pakhwaj) is solo and the main musicians (sitar, harmonium or sarangi players), in a reversal of roles, have to improvise to keep tempo with the tabla. What is Lehar then? Lehar is what these main musicians play to keep pace with the tabla. It would be easy to make out that these musicians would do the same in Kathak recital too. The level of difficulty for the musicians is enormous as they have to understand the changing rhythm of the tabla.

In some part of the country, Lehar is just called naghma. In certain performances, erroneously, the tabla solo is called Lehar. I have clarified that it is the accompanying melody rendered by the main musicians.

Lehars can be three or six beat (Dadra, for example), four and eight beat (Kaherava), seven beat (Rupaktal), ten beat (Jhaptal), eleven beat (Chartal-ki-Savari), twelve beat ( Ektal), thirteen beat (Chandrachautal), fourteen beat (Dipchandi), fifteen beat (Pancham Savari), sixteen beat (Tintal), seventeen beat (Vishnutal), eighteen beat (Mattatal), nineteen beat (Purnatal) and twenty-one beat (Mansijtal).

As I told you, today’s song is composed in Raag Rageshri. We did one in Bageshri earlier, on the 19th day: Jao jao Nand ke Lala, an exquisite dance on that number by the best dancer in Hindi movies ever: Vyjayanthimala. But, Raag Bageshri and Rageshri, although similar sounding, are two very different raagas; the former belongs to the Kafi Thaat and the mood that it evokes is of a woman waiting to have reunion with her lover. It is a late night raaga. Rageshri, on the other hand, belongs to Khammaj Thaat, even though it too is to be sung in the second prahar of the night (9 pm to midnight). I have already told you that the Khammaj evokes sensuous feelings, even flirtatious.

Here are some of the other songs composed in Raag Rageshri:

1. 2. 3. 4. 5. 6. 7. 8.

Shubh Din Aayo Kaun Aaya Mere Mohe Chhedo Na Kanha Jaadu Bhare Tore Naina Des Chhudaye Bhes Zindagi Khwab Hai Prabhu Charanon Mein Mane Na

Mughal-E-Azam Dekh Kabira Roya Aaj Aur Kal Jaadunagari Chacha Zindabad Jaagte Raho Andolan Jaagir

Bade Ghulam Ali Khan Manna Dey Asha Asha, Mahendra Kapoor Kishore Mukesh Parul Ghosh Lata

Today’s song is from the 1953 iconic movie Anarkali (some seven years before K Arif’s magnum opus Mughal-e-Azam on the same story/theme), a movie on the life and love of a courtesan Nadira (popularly known as Anarkali, the blossom of Pomegranate) with the prince to Emeperor Akbar: Salim (who was later to become Jehangir). The movie was directed by Nandlal Jaswantlal and starred Bina Rai in the title role and Pradeep Kumar as Salim.

Most of its songs are evergreen and were put together by Rajendra Krishan as Lyricist, and C Ramchandra as Music Director and Composer. However, this immortal and iconic song was penned by Hasrat Jaipuri, the undisputed King of Romance.

C Ramchandra came on the scene, Vasant Prakash was the Music Director who died whilst the movie was being made. C Ramchandra, because of his abiding love for Lata Mangeshkar, insisted that all female songs be sung by her. However, one song sung by Geeta Dutt was retained: Aa jaane wafa.

This one was sung by Lata Mangeshkar on a composition by C Ramchandra in Raag Rageshri, Tal Kaherava, on the lyrics of Hasrat Jaipuri and assumed proportions of being an iconic song on Love.

Please enjoy: Muhabbat aisi dhadkan hai….

Is i.ntezaar-e-shauk ko janamo.n kii pyaas hai
Ik shamaa jal rahii hai, to vo bhii udaas hai

Muhabbat aisii dha.Dakan hai, (jo samajhaaii nahii.n jaatii) – 2
Zubaa.n par dil kii bechainii, (kabhii laaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan hai

Chale aao, chale aao, taqaazaa hai nigaaho.n kaa – 2
Taqaazaa hai nigaaho.n kaa
Kisii kii aarzuu aise, (to Thukaraaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan hai, (jo samajhaaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan hai

(Mere dil ne bichhaae hai.n sajade aaj raaho.n me.n) – 2
sajade aaj raaho.n me.n
Jo haalat aashiqii kii hai, (vo batalaaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan hai, (jo samajhaaii nahii.n jaatii) – 2
Muhabbat aisii dha.Dakan 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. And today, on the twenty-seventh day, we learnt about Lehar.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Ye raat ye chandini phir kahan…
Raag Kafi, Tal Kaherava

We have completed twenty-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 twenty-fifth post was titled ‘Raaga Based Song Of The Day #25’ and the song was a Mohammad Rafi, Sudha Malhotra, SD Batish song from the 1964 Atma Ram movie Kaise Kahun: Manmohan man mein ho tumhi.  It is in Raag Adana, Tal Tintal.

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

In the last twenty-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, Mand and Adana.

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

However, first, lets take up the value added learning of today. Today, we shall learn a little more in detail about Raaga – Samay (Time) Linkage:

You would have noticed that I have often given a specific time of the day (Samay) for the rendition of a raaga. Raagas association with Samay dates back several centuries. The earliest mention of the relation between Raaga and Samay is Narada’s Sangita Makaranda, written sometime between the 7th and 11th century, which warns musicians against playing raagas at the incorrect time of day.

Let me delve a little more deeply in it. In order to keep track of time, in the ancient Indian system, a day of 24 hours has been divided into prahars of three hours each. Hence, there are four prahars in the day and four at night. The concept still prevails today, particularly in connection with the performance of Indian classical music. Some raagas of the Indian classical music are prescribed to be performed at a particular prahar to maximize their aesthetic effects. Pandit Bhatkhande, who based his Raaga System on Thaats (the system that is prevalent today) states that the correct time to play a raaga has a relation to its Thaat (scale or mode).

I have already told you that a Raaga brings out a certain mood in the listener. This mood is associated with a certain prahar when the Raaga is at the height of its melodic beauty and intended splendour. Therefore, a raaga that is meant to be played at night cannot set the mood and splendour if it is to be rendered in the day. The colour or hue or fragrance (Remember that the word Raaga roughly translates to Colour) would be missing at another time or Samay.

It is believed that as the day starts, there are daily cycle of changes that occur in our own body and mind and our moods and emotions are constantly undergoing subtle changes.

The main purpose of a raaga is to invoke a specific mood or sentiment in the listener. In the hands of ancient musicologists, musical notes were powerful instruments with powers to heal, to make people happy, sad, frustrated, angry and passionate and so on. Extensive research was carried out to find out these effects. This formed the basis of raaga – samay association which exists even today.

Human body, as per these musicologists,  is dominated by the three Doshas – Kaph , Pitta and Vata that rise and fall with prahars. Research also brought out that these three Doshas had different reactions during different seasons. That explains in detail now why a specific raaga is to be performed at a particular time of the day and in a particular season (the old saying, for example, brings out ‘Bin mausam malhar na gaana’ (Don’t sing Malhar out of season (Sawan)).

I have given you many songs based on raagas that belong to Kafi Thaat, eg, Bhimpalasi, Pilu, Megh Malhar, and Bageshri. However, I haven’t yet given you a song in Raag Kafi, the basic raaga of Kafi Thaat. Today, I shall make up for that.

Raag Kafi is not a very ancient raaga, I told you when describing the Kafi Thaat. It is believed to have emerged in 15th century. The raaga has a direct association with folk music in India such as Tappa, Hori, Dadra, Kirtan and Bhajan. Kafi is a sampoorna-sampoorna or heptatonic raaga, with komal (soft) Gandhar (Ga) and Nishad (Ni).

It is easy to guess that it belongs to Sringaar rasa. It is normally to be performed at midnight and during the season of Fagun (Feb to March).

Some of the songs composed in Raag Kafi are:

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

Balam Aaye Baso Bharat Ki Ek Hori Mose Khero Jab Dil Hi Toot Gaya Sooni Pari Re Ghayal Hirania Kaase Kahoon Man Mori Ghayal Geet Bairan Neend Hori Khelat Nandlal Kaal Ka Pahiya Raaton Ko Chori Jalte Hain Jiske Liye Mitwa Lagi Re Kaise Kahoon Man Ki Piu Piu Bol Dekho Bina Sawan Tere Bin Soone Nayan Bigdi Banane Wale Preet Laga Ke Maine Aaye Bhi Akela Aelo Main Hari Piya

Devdas Ram Rajya Lalat Shahjahan Kangan Munimji Dhool Ka Phool Baap Bete Chacha Zindabad Godan Chanda Aur Bijli Mohabbat Zindagi Hai Sujata Devdas Bhala Manas Bandhan Sawan Meri Soorat Teri Aankhen Badi Bahan Aankhen Dost Aar Paar

K. L. Saigal Chorus Hirabai Barodkar K. L. Saigal Leela Chitnis Lata Mangeshkar Sudha Malhotra Lata Mangeshkar Lata Mangeshkar Mohd. Rafi Manna Dey Asha Bhonsle Talat Mahmood Talat Mahmood Asha Bhosle Pradeep Mohd. Rafi Rafi, Lata Suraiya Mukesh Talat Mahmood Geeta Dutt

Hats off to SD Burman for having considered these essential characteristics of the Raag Kafi for selecting the Raaga Based Song of today for composing the best ever of my favourite singer Hemant Kumar. It is from the 1952 Guru Dutt movie Jaal (Net or Trap) starring Dev Anand and Geeta Bali.Geeta Bali (Maria) is the daughter of KN Singh (Carlos), fishermen folks in Goa. Dev Anand (Tony Fernandez) tries to trap Maria in his love even though he is a good-for-nothing mysterious man from Bombay. And now you know why Raag Kafi, to be sung at midnight, is such an apt choice for this song trying to ensnare Maria.

The taal is Kaherava and I have told you adequately about it in one of the earlier posts.

It is one of the most enchanting songs penned by poet and lyricist Sahir Ludhianvi.

Sahir was born as Abdul Hayee on 8th March 1921. Sahir means ‘Wakeful’ or ‘Magician’ and this poet from Karimpura, Ludhiana actually awakened us with his poetry as a magician.

His mother Sardar Begum suffered at the hands of his father who eventually remarried. Some of Sahir’s poetry reflects that angst about the treatment of women. Sahir gained fame in his college (Khalsa College, Ludhiana) reading out his poems and giving his fiery speeches.

Sahir didn’t marry though he was romantically inclined to Amrita Pritam and later to the singer Sudha Malhotra.

Sahir’s style of poetry was different from Shakeel’s. Indeed, Shakeel was exclusively a poet of Love whereas almost all other poets of that era, including Sahir, wrote about the social conditions prevalent in the country including poverty.

For example, if Shakeel wrote for a Leader song, about Taj Mahal:

“Ek Shehanshah ne banwa ke haseen Taj Mahal,
Saari duniya ko mohabbat ki nishaani di hai,
Iske saaye mein sadaa pyaar ke charche honge
Khatam jo ho naa sakegi wo kahani di hai”

Sahir’s was to be critical of Shahjehan for the ostentation:

“Ek Shaehanshah ne banwa ke haseen Taj Mahal,
Ham gareebon ki mohabbat ka udhaaya hai mazaak,
Mere mehboob kahin aur mila kar mujhako.”

Many of his fans consider Sahir Ludhianvi as the greatest poet and lyricist of that era.

These do not include me though I was brought up in a place close to Sahir’s. As I told you a favourite is not someone like a horse who wins all races for you. A favourite is the one who comes closest to your own emotions and moods. Shakeel Badayuni does that for me.

Sahir received Filmfare awards for Best Lyricist twice: once for the Taj Mahal song: Jo vaada kiya wo nibhaana padhega; and once for the title song of Yash Chopra’s Kabhie Kabhie, which some feel was tailored on his own biography in part.

Please enjoy this most enchanting song sung by Hemant Kumar on a composition in Raag Kafi Tal Kaherava on the lyrics of Sahir Ludhianvi: Ye raat ye chandini phir kahan….

Ye raat ye chaa.Ndanii phir kahaa.N
sun jaa dil kii daastaa.N
ye raat…

Pe.Do.n kii shaakho.n pe soii soii chaa.Ndanii
tere khayaalo.n me.n khoii khoii chaa.Ndanii
aur tho.Dii der me.n thak ke lauT jaaegii
raat ye bahaar kii phir kabhii na aaegii
do ek pal aur hai ye samaa, sun jaa…

Laharo.n ke ho.nTho.n pe dhiimaa dhiimaa raag hai
bhiigii havaao.n me.n Tha.nDii Tha.nDii aag hai
is hasiin aag me.n tuu bhii jalake dekhale
zi.ndagii ke giit kii dhun badal ke dekhale
khulane de ab dha.Dakano.n kii zubaa.N, sun jaa…

Jaatii bahaare.n hai.n uThatii javaaniyaa.N
taaro.n ke chhaao.n me.n pahale kahaaniyaa.N
ek baar chal diye gar tujhe pukaarake
lauTakar na aae.nge qaafile bahaar ke
aajaa abhii zi.ndagii hai javaa.N, sun jaa…

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. And today, on the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Manmohan man mein ho tumhi…
Raag Adana, Tal Tintal

We have completed twenty-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 twenty-fourth post was titled ‘Raaga Based Song Of The Day #24’ and the song was a Lata Mangeshkar song from the 1991 Gulzar movie Lekin: Kesariya baalma.  It is in Raag Mand, 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 Bhairavi – Part II’.

In the last twenty-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 and Mand.

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

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

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

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

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

Teental or Tintal is the most popular Tal in North India/Hindustani Music. It is also the most symmetrical. It has 16 beats in four vibhags. The period between every two beats is the same. We already know that the first beat is called Sam (to be pronounced like the English word Sum) and the ninth beat is Khali or empty. To perform the kriya of Tintal, one has to clap on the first beat, clap on the 5th beat, then waves on the 9th beat and lastly again claps on the 13th beat; these three claps give the rhythm its name: Teental or Tintal.

The Theka for Tintal

dha	dhin	dhin	dha	|	dha	dhin	dhin	dha	|
x					2
dha	tin	tin	ta	|	ta	dhin	dhin	dha	|
o					3

This can also be shown using the following figure:

Taal signs	X				2				0				3
Maatra	1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16
Bols	dha	dhin	dhin	dha	dha	dhin	dhin	dha	dha	tin	tin	ta	ta	dhin	dhin	dha

Raag Adana was earlier called Addana, which used to be a major raaga of the 17th century and used to be a combination of Malhar and Kanada. Because of its association with Kanada, it is also called Adana Kanada. If that reminds you of Darbari Kanada, you are not too much off the mark. The fact is that Adana is often sung or played in drut laya after a vilambit composition in raga Darbari Kanada. Adana is much more straight than Darbari and hence passages faster than vilambit are possible. Adana is a late night raaga to be sung between midnight and 3 AM.

Some of the other Hindi songs composed in Raag Adana are:

Aapki nazron ne samajha Ai dil mujhe aisi jagah le chal Jhanak Jhanak Payal Jaa Main Tose Manmohan Man Mein Lapak Jhapak Tu Mukh Se Na Boloon Ghar Aaja Meray Jab Ishaq Kahin Ho Jaata Hai Saanware Mat Ja Tumhe Jo bhi Cham Cham Baje Re Dil Ka Fasaana

Anpadh Arzoo Jhanak Jhanak Payal Bajay Sautela Bhai Kaisay Kahoon Boot Polish Jalianwala Bagh Garam Coat Aarzoo – Majboor Jaane-Anjaane –

Lata Mangeshkar Talat Mahmood Ustaad Amir Khan & Chorus Lata Mangeshkar Rafi, Suman, S. D. Batish Manna Dey & Chorus Lata Mangeshkar, Talat Lata Mangeshkar Asha Bhosle, Mubarak Begum Lata Mangeshkar Hemant Kumar Manna Dey Manna Dey

I have taken today’s song from the 1964 Atma Ram movie Kaise Kahun starring Biswajeet, Nanda, Geetanjali (Remember her? Well she is the one who acted with Mahipal in Parasmani and sang the famous song: Woh jab yaad aaye bahut yaad aaye), Poonam Kapoor, Durga Khote and Manmohan Krishna.

Naturally, you would be floored by the lyrics since these were penned by the best ever lyricist: Shakeel Badayuni. The composition is that of SD Burman (post 1959, you would recall that Shakeel came out of the influence of his mentor Naushad Ali and tied up with others such as Ravi and Hemant Kumar.

The song has been sung by Mohammad Rafi singing for Biswajeet, Sudha Malhotra singing for Nanda and SD Batish singing for Manmohan Krishna.

Please enjoy in Raag Adana, Tal Tintal: Manmohan man mein ho tumhi…

shi : a~ tanu~~um aa~ aa~ aa aa~
su : aa~ aa~ aa~ aa~ aa~
shi : aa~ manamohan man me.n ho tumhii.n
ra, su : manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano ya jaano na ho tumahii
manamohan man ## SDB joins in, R+S fade out ## me.n …
R: manamohan man me.n man me.n
S: ho tumhii.n ho tumhii.n ho tumhii.n
R+S=manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano yaa jaano naa ho tumhii.n
manamohan ## SDB joins in, R+S fade out ## man me.n …

SDB: dekh dekh torii chhab saa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano naa ho tumhii.n
manamohan man ## R fade out, S alone ## me.n
R: dekh dekh torii chhab saa.Nvariyaa
S: ho~o bani hai raadha tumharii baa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano na ho tumhii.n
manamohan man(R fade out, S alone) me.n
R: a~ aa~
S: aa~ aa~ a~

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. And today, on the twenty-fifth day, we learnt about Tintal.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Kesariya baalma…
Raag Mand, Tal Dadra

We have completed twenty-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 twenty-third post was titled ‘Raaga Based Song Of The Day #23’ and the song was a Mohammad Rafi song from the 1952 Vijay Bhatt movie Baiju Bawra: Man tadpat Hari darsan ko aaj.  It is in Raag Malkauns or Malkaush, Tal Tintal.

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

In the last twenty-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 and Malkaush.

Today, I give you a song in Raag Mand, Tal Dadra.

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

We already know that a Thaat is a mode in Hindustani music. In the system of Raagas that Pandit Vishnu Narayan Bhatkhande devised, he initially came up with 32 Thaats to which almost all raagas belonged. Later, he cut it down to just 10 Thaats. According to Bhatkhande, almost all raagas are variations of or are based on these ten basic thaats or musical scales: Bilawal, Kalyan, Khammaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi. Therefore, if one were to pick a raga at random, it should be possible to find that it is based on one or the other of these thats. In the last twenty-three days, I have given you the Thaat to which the Raaga of the day belonged. For example, Raag Malkauns or Malkaush in our last post belongs to Bhairavi Thaat.

Raag Mand belongs to Bilawal Thaat. The other raagas belonging to this thaat are: Deskar, Hamsadhwani, and Bihag. In Bhatkhande’s system, the most basic Thaat is Bilawal. I have already told you in a previous post that Raag Bilawal occurs in Sri Guru Granth Sahib exactly half way through, that is, it is the 16th raaga out of 31 raagas in SGGS. It occurs from page 795 to 859. In an Akhand Paath (unbroken recital), it normally occurs on the next day morning and hence it is easy to conclude that it is an early morning raaga.

Being the most basic Thaat, Bilawal is used as a reference Thaat for all other thaats. A thaat must have seven notes (swar) out of a total of twelve notes (seven shuddha, four komal (Re, Ga, Dha, Ni) and one teevra (Ma) placed in an ascending order. Hence, a thaat has only aaroha. It would be easy to visualise that thaats by themselves are not sung but the raagas belonging to them are sung. I have already told you that thaats are named after the popular raaga of that thaat; eg, Bhairavi is a thaat named after the raag Bhairavi.

One reason for Bilawal being the basic thaat is because all the swars in the thaat are shuddha, ie, in their natural scale. One never hears of Bilawal raaga these days except in SGGS. However, a variation of the raag called Alhaiya Bilawal is very common.

Raag Mand, belonging to Bilawal Thaat has all shuddha swar too. Its Jati is (yesterday we studied jatis, if you recall) is Sampurna-Sampurna (Vakra). The best part of the raaga is that it is a light melody that sounds very natural (shuddha swar) but is rendered with great difficulty. No bandishes like bada-khayaals are rendered in this raaga. It is aptly suited for bhajans and ghazals. The basic format belongs to the folk tune of Rajasthan, which is the sung during festive occasions like birthdays, and marriages.

And that brings me to the song called Kesariya baalma. Kesariya baalma is the most popular Rajasthani folk song sung in Raag Mand. The earliest recording of this song is by Allah Jilai Bai, a folk singer of Rajasthan who lived between 01 Feb 1902 and 03 Nov 1992. She was such a superb singer that by the age of ten she was singing in the darbar of Maharaja Ganga Singh of Bikaner. Both Padma Shri and Sahitya Akademi awards have been conferred on her.

In the 1991 movie Lekin, the same song in Raag Mand, Tal Dadra was sung by Lata Mangeshkar, my favourite female singer in the movies. Indeed, if you look at the list of songs in Raag Mand, you would see that most of these have been sung by Lata Mangeshkar. Here is a representative list:

Kise Karta Moorakh Mushqil Hai Bahut Muhkil Bachpan Ki Mohabbat Dekh Liya Main Ne Jo Main Janati Bala Main Bairagan Do Dil Toote Ab To Hai Tumse Thade Rahiyo Aaj Sach Hua Kesariya Balamaa Aao gori Aao Shyama

Achhuut Kanya Mahal Baiju Bawara Deedar Shabab Meera Heer Ranjha Abhimaan Pakeezah Swarg Narak Lekin Tansen

Ashok Kumar Lata Lata Lata, Rafi Lata Vani Jayaram Lata Lata Lata Lata Lata Khursheed

The 1991 movie Lekin was directed by Gulzar and starred Vinod Khanna, Dimple Kapadia, Amjad Khan, Alok Nath, Bina Banerjee and Hema Malini (in a special appearance).

Guess what? The movie was produced by Lata Mangeshkar and the music director was her brother Hridyanath Mangeshkar, who won the 1991 National Award for Best Music Direction. Another song from the movie: Yaara seeli seeli got Lata Mangeshkar the National Award for Best Playback Singer (Female) as also it got both the National and Filmfare Awards for Best Lyricist for Gulzar, who was also the director of the movie.

Please enjoy a rendition by Lata Mangeshkar of the most popular folk song of Rajasthan, composed in Raag Mand, Tal Dadra by her brother Hridyanath Mangeshkar on the lyrics of Gulzar: Kesariya baalma….

Kesariyaa baalamaa o rii
ki tumase laage nain, nain re

Ra.ng liyo mai.n aaj a.ng a.ng tere ra.ng me.n
tan huaa man huaa kesariyaa
chaa.Ndanii hai raat ab to aa jaa piyaa
aa~
chaa.Ndanii hai raat ab to aa jaa piyaa
kesariyaa baalamaa o rii …

Takaraa ke sar ko jaan na de duu.N to kyaa karuu.N
kab tak firaaq-e-yaar ke sadame sahaa karuu.N
mai.n to hazaar chaahuu.N ki boluu.N na yaar se
qaabuu me.n apane dil ko na paa_uu.N to kyaa karuu.N
chaa.Ndanii hai raat ab to aa jaa piyaa
chaa.Ndanii hai raat ab to aa jaa piyaa, aa jaa piyaa
chaa.Ndanii hai raat ab to aa jaa piyaa
kesariyaa baalamaa o rii …

Version II
Kesariyaa baalamaa o rii
ki baa.Nvarii bole log
na mai.n ji_utii na mariyo mai.n
biarahaa mhaaro rog re
baa.Nvarii bole log, log re
kesariyaa …

Cha.Dhate din kii aa.Nch baToruu.N
til til, til til sab jal jaa_uu.N
Dhalate saa.Njh kii raakh kureduu.N
ret me.n ret me.n sab ral jaaye
na mil paayii na bichha.Dii mai.n
kaiso ye sa.njog re
baa.Nvarii bole log re …

Mhaaro thal kii laambii saa_i.nyaa
nis din nis din kuchh likh jaa_uu.N
mero sandeso koii sunaa do
jis ko vo jis ko vo dikh jaaye
priit ko dekhe nagarii vaale
piir na dekhe log re
baa.Nvarii bole log
kesariyaa …

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. And today, on the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Man tadpat Hari darsan ko aaj…
Raag Malkauns, Tal Tintal

We have completed twenty-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 twenty-second post was titled ‘Raaga Based Song Of The Day #22’ and the song was a Manna Dey song from the 1963 RK Rakhaan movie Meri Surat Teri Aankhen: Poochho na kaise maine rain bitayi.  It is in Raag Ahir Bhairav, Tal Kaherava.

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

In the last twenty-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 and Ahir Bhairav.

You would have noticed that I haven’t so far given you a song based on Raag Malkauns or Malkaush, the favourite raaga of my course-mate and friend Virendra Singh (Viru), his first name being an anagram of my own first name! I shall make up for that lapse today.

However, first, lets take up the value added learning of today. Today, we shall learn a little more in detail about the Jati or Jaati of a raaga:

Jati is a tonal classification of a raag based on the number of notes (swar) used in Ascending (Aaroh) and Descending (Avroh) scales. If a raag uses five notes, such a raag is on Pentatonic scale or belonging to Audhav Jati. If a raag has six notes it is on Hexatonic scale or belonging to Sadhav Jati. Finally, if it has all the seven notes, it is on Septatonic Jati or of Sampoorna (complete) Jati.

It is not difficult to imagine that the number of swar (notes) in Aaroh and Avroh need not match. Hence, following nine combinations are possible, making it a total of nine jatis of raagas:

1. Sampoorna – Sampoorna Jati. Seven notes each in Aroha and Avroha. Raag Kalyan (Yaman) and Ahir Bhairav are two examples.
2. Sampoorna – Sampoorna Vakra Jati. Seven notes each in Aroha and Avroha, however, in crooked manner. Raag Puria-Dhanashri and Dev-Gandhar are examples.
3. Shadhav – Sampoorna (Vakra). Six notes in Aroha and seven notes in Avroha, but crooked.  Raag Adana and Kausi-Kanada are examples.
4. Shadhav – Shadhav (Vakra). Six notes in Aaroh and six crooked notes in Avroh. Raag Gurjari Todi and Nayaki Kanada are examples.
5. Audhav – Sampoorna. Five notes in Aroha and seven notes in Avroha. Raag Sindhura is an example.
6. Audhav – Shadhav (Vakra). Five notes in Aroha and six crooked notes in Avroha. Raag Sarang and Desi are examples.
7. Audhav – Audhav (Vakra). Five notes in Aroha and five crooked notes in Avroha. Raag Deshkar, Gunkali, and Megh-Malhar are examples.
8. Surtar – Audhav (Vakra). Four notes in Aroha and five crooked notes in Avroha. Raag Gorakh-Kalyan is an example.
9. Audhav – Sampoorna (Vakra). Five notes in Aroha and all seven notes in Avroha but crooked. Raag Basant, Kamod, and Khambavati are examples.

Today’s song is in Raag Malkauns or Malkaush and Tal Tintal. Malkaush is another raag dedicated to Lord Shiva like Bhairav. Indeed, it belongs to Bhairavi Thaat. The name Malkaush is derived from the combination of Mal and Kaushik, which means he who wears a garland of snakes; ie, Shiva. It is believed that the raaga was composed by Lord Shiva’s wife Parvati to calm him down. As a matter of interest all pentatonic raagas belong to Shaivait musical school and so does Malkaush.

Now that we know a little more about the Jati of a raaga, it is of pentatonic scale both in ascending and descending scales; that is Audhav-Audhav. The five notes used are: Sa, komal Ga, shuddh Ma, komal Dha, and komal Ni. The two notes that are totally omitted are: Re (Rishab) and Pa (Pancham).

Malkaush is a late night raaga and is calming, soothing and even intoxicating. One would use such a raaga in deep and serious meditation. One of the finest examples of Malkauns in Hindi songs is from the 1952 Vijay Bhatt movie Baiju Bawra that starred Meena Kumari as Gauri and Bharat Bhushan in the title role. The movie got Meena Kumari a Filmfare Award for Best Actress and Naushad Ali his only Filmfare Award for composing the song Tu Ganga ki mauj.

Naushad Ali was one of the greatest music directors in Hindi films. He is one of the three music directors (the other two being Pankaj Mullick and RC Boral) who have been given the highest award in cinema: the Dadasaheb Phalke Award. He has been credited with having introduced Raaga based songs in Hindi movies. Indeed, in the movie Baiju Bawra, each of the 13 songs have been based on some raaga or the other.

As was often the case, the greatest songs of Naushad were penned by my favourite lyricist: Shakeel Badayuni. Also, as was often the case, their songs were sung by the best singer that we ever had: Mohammad Rafi (Please also read: ‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad And Dilip Kumar Together’).

This is also one of the best bhajans in Hindi movies ever made and fits well with the description of Raag Malkaush that I have given: serious, meditative, soothing and calming.

Please enjoy: Man tadpat Hari darsan ko aaj….

Man ta.Dapat hari darasan ko aaj
more tum bin biga.De sakal kaaj
aa, vinatii karat, huu.N, rakhiyo laaj, man ta.Dapat…

Tumhare dvaar kaa mai.n huu.N jogii
hamarii or nazar kab hogii
sun more vyaakul man kii baat, ta.Dapat harii darasan…

Bin guruu GYaan kahaa.N se paauu.N
diijo daan harii gun gaauu.N
sab gunii jan pe tumhaaraa raaj, ta.Dapat harii…

Muralii Manohar aas na to.Do
dukh bha.njan more saath na chho.Do
mohe darasan bhikshaa de do aaj de do aaj, …

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. And today, on the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Poochho na kaise main rain bitayi…
Raag Ahir Bhairav, Tal Kaherava

I am sorry I was away for a trip to Kinnaur and Kaza and I had to suspend Raaga Based Song of the Day from 19th to yesterday, 28th June 17. For a few days, I was out of all networks let alone Internet.

We have completed twenty-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 twenty-first post or the last post on 18th June was titled ‘Raaga Based Song Of The Day #21’ and the song was a Lata Mangeshkar song from the 1961 Sadashiv J Row Kavi movie Bhabhi Ki Chudiyan: Jyoti kalash chhalke.  It is in Raag Bhupali, Tal Kaherava.

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

First, for the value added learning of today, lets find out the essential difference between Thaat and Raag Bhairavi and Thaat and Raag Bhairav:

Bhairavi has all the komal (soft) swars: Rishabh, Gandhar, Dhaivat, and Nishad. When rendering compositions in Bhairavi raag, the singers however use all the 12 swars. Bhairavi raag is named after the shakti or feminine aspect of the cosmic life force, which is personified as a consort to Lord Shiva. I have already given you the finest composition in Raag Bhairavi in Hindi films: Babul mora naihar chhooto hi jaaye, originally created and composed as a thumri by Nawab Wajid Ali Khan when the British exiled him from his favourite city Lucknow but sung by KL Saigal later. Because of that post: ‘Raaga Based Song Of The Day #11’, you already know that Bhairavi is a powerful raag filled with devotion and compassion. I also told you that Bhairavi is normally performed as the concluding piece in a full night of raaga based recitals since it is supposed to ‘cure’ the errors of earlier performances or renditions. It is also an early morning raaga since the concluding piece of such overnight performances is early in the morning. It is easy to guess that Bhairavi is the female form of Bhairav, ie, Lord Shiva.

Some of the raags in Bhairavi Thaat are: Malkauns, Bilaskhani Todi, Bhupali Todi, and Kaunsi Kanada.

Bhairav thaat raags make use of Komal Rishabh and Komal Dhaivat. Bhairav is one of the names of Lord Shiva especially in his powerful form as a naked ascetic with matted hair and ashes smeared body. The raaga too has some of these masculine and ascetic attributes in its form and compositions. The raaga itself is extremely vast and allows a huge number of note combinations and a great range of emotional qualities from valour to peace. There are many variations on raag Bhairav including (but not restricted to) Ahir Bhairav (though not menmtioned in Bhatkhande’s system), Alam Bhairav, Anand Bhairav, Bairagi Bhairav, Beehad Bhairav, Bhavmat Bhairav, Devata Bhairav, Gauri Bhairav, Nat Bhairav, and Shivmat Bhairav. This raag is usually performed in a devotional mood in the early morning hours. The vibrations of the notes in Bhairav are said to clear one’s whole mind. The pictorial depictions of raag Bhairav in the ancient texts are austere as well as awe-inspiring.

Some of the Raagas in Bhairav Thaat: Ramkali, Gunkari, Meghranjani, Jogiya, and Bhairav.

Today, I shall be giving you a song composed in Raag Ahir Bhairav. I have thought of this raaga as the most appropriate raaga to give you today as only day before yesterday, my wife and I visited the famous temple of goddess Bhimakali at Sarahan, about 210 kms from my home-place Kandaghat, during our trip to Kaza and back. This temple is one of the 51 Shakti Peethas in India. Since I have already given you a song in Bahiravi, it is only appropriate that I give you one in Bhairav now.

Ahir Bhairav, as the name suggests, is a raaga of the Bhairav Thaat, one of the ten thaats that Vishnu Narayan Bhatkhande researched and found almost all raagas are based on. It is a mixture of Bhairav and the ancient but now rare raga Ahiri or perhaps a mixture of Bhairav and Kafi. Ladies and gentlemen, now that I have given you the essential differences between Bhairavi (consort of Lord Shiva) and Bhairav (Lord Shiva Himself), I hope you will never confuse Thaat and Raag Bhairavi with Bhairav.

Some of the songs composed in Ahir Bhairav are: Apne jeevan ki uljhan ko, Mai ri main kaase kahun, Main to kabase teri sharan main hoon, Man anand anand chhayo, Meri veena tum bin roye, Ram teri Ganga maili ho gayi, Solah baras ki baali umr ko salaam, and Waqt karta jo wafa aap hamare hote.

The song that I have selected for you is from the 1963 RK Rakhaan movie Meri Surat Teri Aankhen starring Ashok Kumar as Pyare, an ugly son born to Ishwarlal as Raj Kumar and Achla Sachdev as his wife Kamla Kumar. Because he was dark and ugly at birth, Ishwarlal decided to get rid of him to Kanhaiyalal Chaturvedi as Rahmat and Paro as his wife. He grows up in seclusion and Rahmat teaches him classical based singing. His voice is as beautiful as physically he is not. In later life he comes in touch with his parents, his brother Pradeep Kumar as Sudhir who is betrothed to Asha Parekh as Kavita, the woman that Pyare feels is in love with him despite his ugliness.

The film had some of the best raaga based songs ever heard in Hindi movies. The lyricist of these songs was Shailendra, composer was Sachin Dev Burman with the following singers. Have a look at the list:

1. Poochho Na Kaise Maine Rain Bitaayi – Manna Dey
2. Ye Kisne Geet Chheda – Mukesh, Suman Kalyanpur
3. Puchho Na Kaise Maine Rain Bitayi (Sad) – S.D. Batish, Manna Dey
4. Naache Man Moraa Magan Dhigadhaa Dhigi Dhigi – Mohammed Rafi
5. Tere Khayalo Me Tere Hi Khawabo Me – Lata Mangeshkar
6. Tere Bin Soone Nain Hamare (Sad) – Mohammed Rafi
7. Tere Bin Sune Nain Humare – Lata Mangeshkar, Mohammed Rafi
8. Tujhse Nazar Milane Me – Asha Bhosle

Please enjoy one of the best from the movie in Raag Ahir Bhairav, Tal Kaherava with the singer Manna Dey singing a composition of SD Burman on the lyrics of Shailendra: Poochho na kaise maine rain bitayi….

The song is sung when Pyare’s foster father Rahmat is dying.

Poochho naa kaise maine rain bitaaI
ik pal jaise, ik yug biitA – 2
yug biite mohe nii.nd naa aayii
poochho naa kaise …

(Naa kahii.n cha.Ndaa, naa kahii.n taare
jyot ke pyaase mere, nain bichaare ) – 2
bhor bhii aas kii kiran naa laayI
poochho naa kaise …

Ik jale diipak ik man meraa, merA, man, merA, merA …
ik jale diipak ik man meraa
phir bhI naa jaaye mere ghar kaa a.ndheraa
ta.Dapat tarasat umar ga.nvaayii
poochho naa kaise …

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. And today, on the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.

There is much more still to be learnt and enjoyed.

Please stay tuned!