Sunbyanyname

Raaga Based Song of the Day: O sajana barkha bahaar aayi…
Raag Khammaj, Tal Kaherava

We have completed eleven 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 eleventh post or the last post was titled ‘Raaga Based Song Of The Day #11’ and the song was a KL Saigal song from the 1938 Phani Majumdar movie Street Singer: Babul mora naihar chhooto hi jaye. It is in Raag Bhairavi, 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’.

Finally after three days of heat in my home place Kandaghat in Shimla Hills, it rained today (7th June 17). Rains is my favourite season. It drenches everything including my heart and soul.

A few days ago I gave you a rain song in Raag Brindavan Sarang, Tal Tintal, Kaherava: Sawan aaye ya na aaye. For people in love, according to the song, when the heart dances with joy, it is Sawan.

Today’s song, from the 1960 Bimal Roy movie Parakh, which had a satirical story written by music director Salil Chowdhury, has an exactly opposite emotion about Sawan: that is, longing for one’s love.

And to help express these feelings appropriately, Salil da selected Raag Khammaj or Khamaj, a late evening raaga of Khamaj Thaat, and of romantic character. The Taal he used was Kaherava.

Some of Lata Mangeshkar‘s best songs are pictured on Sadhana and this is certainly the best.

This composition was thought of by Salil da when his car was caught in a sudden downpour and he heard the swishing of his car wipers. Indeed, this song’s rhythm comes closest to the feel of the pitter-patter of rain, especially in the antaras; eg, “Aise rimjhim mein ho sajan, pyaase pyaase mere nayan, tere hi khwaab mein kho gaye…”

Some of the other popular songs in Raag Khammaj are: Ab kya misaal doon, Ago kahan se Ghanshyam, Bada natkhat hai re Krishan Kanhaiya, Chunariya katati jaaye, Dhal chuki sham-e-gham, Khat likh de sanwariya ke naam babu, Kuchh to log kahenge, Mere to Giridhar Gopal, Nazar laagi raja tore bangle pe, Piya tose naina lage re, Sham dhale Jamuna kinaare and Vaishnava jan ko.

Value-added learning for today is about Khammaj Thaat to which the Raag belongs:

Because of being in Shringar Ras, the Raag is used in light classical forms of Indian Classical Music such as thumris, tappas, horis,and kajris.

If you look at the pictorial description of the Raag (it is on my blog), you will find it sensuous, even flirtatious.

Raagas in Khammaj Thaat include Rageshri, Jhinjhoti, Jaijaivanti, Des or Desh, and Tilak Kamod.

Please enjoy Lata Mangeshkar sing in Raag Khammaj, Tal Kaherava: O sajana barkha bahaar aayi…

(O sajanaa, barakhaa bahaara aaI
rasa kii phuhaara laaI, a.Nkhiyo.n me pyaar laaI ) – 2
o sajanaa

tumako pukaare mere mana kaa papiharaa – 2
miiThii miiThii aganii me.n, jale moraa jiyaraa
o sajanaa …

(aisI rimajhima me.n o saajan, pyaase pyaase mere nayana
tere hii, khvaaba me.n, kho gae ) – 2
saa.nvalii salonii ghaTaa, jaba jaba chhaaI – 2
a.Nkhiyo.n me.n rainaa gaI, nindiyaa na aaI
o sajanaa …

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. And today, on the twelfth day, we learnt about Khammaj Thaat.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Baabul mora, naihar chhooto hi jaaye…
Raag Bhairavi, Tal Kaherava

We have completed ten 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 tenth post or the last post was titled ‘Raaga Based Song Of The Day #10’ and the song was a Suraiya song from the 1961 Lekhraj Bhakri movie Shama: Dhadakte dil ki tamanna ho mera pyar ho tum. It is in Raag Pilu, Tal Kaherava.

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

Today we shall take up a song based on Raag Bhairavi.

Raag Bhairavi is the main raaga of  Bhairavi Thaat, one of the ten Thaats on which, in Bhatkhande’s system of Raagas, all raagas are based.
In Hindi film Bhairavi is the most popular raagas on which songs are based. In case of Jaikishan (of Shankar Jaikishan fame), he was so fond of Raag Bhairavi that he named his daughter Bhairavi!

However, the use of Bhairavi in Hindi film songs existed much before Jaikishan. Rai Chand Boral,  the composer of the above song, was country’s second music director, to be honoured with the highest award in cinema; the first being Pankaj Mullick and the third and last being Naushad Ali.

I am in awe of Bhairavi and that’s why it has taken me so much time to get to it. It is traditionally performed in early morning hours simply because of the fact that late night musical performances usually end in wee hours of the morning and Bhairavi is the finale Raaga.

Some of the most popular songs in Hindi films have been composed in Bhairavi such as Babul mora naihar chhooto hi jaye, Jyot se jyot jagate chalo, and Laaga chunari mein daag.

As far as S-J are concerned, they would sometimes have as many as four to five songs in the same movie based on Bhairavi. Just to name a few: Awara hoon, Barsaat mein humse mile tum, Dost dost na raha, Mera joota hai Japani, Ramaiya vasta vaiya, Ai mere dil kahin aur chal, and Bol Radha bol sangam hoga ke nahin.

Value added learning for today is about two aspects of Bhairavi:

One is the reason for Bhairavi being the first raaga to be taught to beginners. It is because in the South, Sri Purandra Das had decided that Malawa gowla was most suited for beginners. Bhairavi is the corresponding raaga of the North.

And the second is as to why Bhairavi is usually the last raaga during a performance. Once again the reason is from Carnatic Music. Carnatic equivalent Madhyamavati is performed at the end of the concert since it is believed to “cure” all mistakes by performer during earlier performances. Also, the devotional and peaceful bhaav of Bhairavi makes it well suited as a concluding piece.

Babul mora is basically a thumri in Raag Bhairavi. It was penned by Nawab Wajid Ali Khan, the Nawab of Awadh, when he was exiled by the British from his beloved Lucknow by the British.

Nawab Wajid Ali Shah used the metaphor of bidaai (bride’s farewell) from her father’s (babul) home to bring out the sadness of his exile from Lucknow.

The Thumri was also popularised by Bharat Ratna Pandit Bhimsen Joshi.

In the 1938 Phani Majumdar movie Street Singer, one of Hindi movies greatest vocalists and the first super-star, much before Rajesh Khanna was even born, Kundan Lal Saigal performed this song live on camera since playback singing hadn’t yet become popular.

Ladies and gentlemen, today on my birthday (06 June), I give you the song (thumri) that gets as close as possible to pure form of Bhairavi.

Please enjoy Baabul mora naihar chhooto hi jaaye…

Baabul moraa, naihar chhuuTo hii jaae
baabul moraa, naihar chhuuTo hii jaae

chaar kahaar mil, morii Doliyaa sajaave.n – 4
moraa apanaa begaanaa chhuTo jaae
baabul moraa …

aa.Nganaa to parbat bhayo aur deharii bhayii bidesh
je baabul ghar aapanaa mai.n piiyaa ke desh
baabul moraa …

baabul moraa, naihar chhuuTo hii jaae
baabul moraa, naihar chhuuTo hii jaae

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. And today, 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.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Dhadakte Dil Ki Tamanna Ho…
Raag Pilu, Tal Kaherava

We have completed nine days of Raaga Based Songs of the Day. Although our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge (It is in Raag Jhinjhoti, Tal Kaherava), the fact is that on WhatsApp groups I had started with these posts three or four days before putting them up here on this blog. This is the last of the earlier WhatsApp posts that I am merging here.

Our ninth post or the last post was titled ‘Raaga Based Song Of The Day #9’ and the song was a Mohammad Rafi and Asha Bhosle song from the 1966 Abdul Rashid Kardar movie Dil Diya Dard Liya: Swan aaye ya na aaye. It is in Raag Brindavan Sarang, 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 II’.

Today we shall take up a song based on Raag Pilu.

This is just a reminder that the literal translation of the word Raag is Colour, Tinge or Shade. Rendition of a Raag, traditionally, is to colour the mind of the listener with the same colour as the mood of the artiste. Raagas are arranged as per mood, season and time of the day.

This is also to reiterate that Vishnu Narayan Bhatkhande who did an extensive study of gharanas to arrive at North Indian or Hindustani system of Raagas. He came up with a list of 32 Thaats (modes) associated with 32 prevalent Raagas. Further study by him made him prune the list of Thaats to just 10 and he found that almost all Raagas belonged to these ten Thaats: Bilawal, Kalyan, Samaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi.

Raag Pilu, according to his system (the one that is prevalent today) belongs to Kafi Thaat. Kafi is basically a late evening Raaga and is Raaga of Spring Time.

One composer who used Raag Pilu extensively was Omkar Prasad Nayyar or OP Nayyar. Some of his songs (conveying the mood) of Pilu are: Jayiye aap kahan jayenge, Kabhi aar kabhi paar laaga teere nazar, Kaisa jadoo balam tune daala (my favourite Waheeda Rehman song from Guru Dutt movie 12 O’ Clock), Main soya akhiyan meeche, and Piya piya piya na laage mora jiya. But, I am not giving you any of these.

I am also not giving you Naushad’s jhule se pawan mein aayi bahaar (literally spring time) or SD Barman’s Ab ke baras bhej bhaiya ko babul or that beautiful Sujata number Kali ghata chhaye mora jiya tarsaaye.

The value added learning for today is about the sources of the names of Raagas. These are as follows:

1. Names of Hindu deities: Kedaar, Bhairav, Gouri, Durga.
2. Tribal melodies: Ahiri, Asavari,Gujari.
3. Folk tunes of regions:Marwa, Jaunpuri,Pahadi.
4. Names of their creators: Miya Taansen: Miya ki Malhar , Miya ki Todi; Bilaskhan (son of Taansen): Bilaskhani Todi; Gorakh Naath to bring his guru back: Gorakh Kalyan.
5. Performing Artists, eg, Pt Bhimsen Joshi: Raag Kalashree (combination of Kalawati and Bageshree).
6. Miscellaneous Sources: Darbaari Kanada is supposed to been derived from the Carnatic version of Kanada but sung in darbars in front of the kings for evening concerts. It is reputed that Tansen imported it from the South to the court of Emperor Akbar.

Today I am giving you a composition of Ghulam Mohammad for the 1961 movie Shama in which Suraiya and Nimmi both loved a poet Vijay Dutt. Nimmi was in the title role experiencing heartbreak when she arranged his marriage with Suraiya.

Ghulam Mohammad is the same composer and music director who was responsible for Pakeezah songs and music.

Kaifi Azmi penned the song Dhadakte dil ki tamanna ho mera pyaar ho tum and Suraiya sang it both for Nimmi and herself!
Please enjoy in Raag Pilu, Taal Kaherava.

Dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
(mujhe qaraar nahii.n) – 2
(jab se beqaraar ho tum) – 2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum

(khilaao phuul kisii ke kisii chaman men raho) – 2
jo dil kii raah se (guzarii hai vo bahaar ho tum) – 2

(zah-e-nasiib ataa kii jo dard kii sauGaat) – 2
vo Gam hasiin hai jis (Gam ke zimmedaar ho tum) -2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum

cha.Daauu.N phuul yaa aa.Nsuu tumhaare qadamo.n me.n
merii vafaao.n ke (ulfat kii yaadagaar ho tum) – 2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum

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 Calssical Music.
10. And today, on the tenth day, we learnt about the sources of names of Raagas.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Sawan aaye ya na aaye…
Raag Brindavan Sarang Tal Tintal, Kaherava

We have completed eight days of Raaga Based Songs of the Day. Although our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge (It is in Raag Jhinjhoti, Tal Kaherava), the fact is that on WhatsApp groups I had started with these posts three or four days before putting them up here on this blog. Today I shall complete merging these posts.

Our eighth post or the last post was titled ‘Raaga Based Song Of The Day #8’ and the song was a Mohammad Rafi song from the 1963 Niranjan movie Kaun Apna Kaun Praya: Zara sun haseena ai nazneen. It is in Raag Pahadi, 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 Jaijaivanti’.

Just reiterating that we have to be thankful to Pandit Vishnu Narayan Bhatkhande (early 20th century) who devised the modern system of Raagas for Hindustani Classical Music (based on Thaats), which is much more easily understood than the one prevalent before that (passed only through word of mouth) based on Raagas (male), Ragini (female) and Putra (children). The earlier system has been mentioned in Sri Guru Granth Sahib on pages 1429 and 1430 (last pages). Sikhs traditionally used the Raagas in singing hymns and had bedis who went from place to place singing the Raagas.

Raag Brindavan Sarang is a Raaga of Kafi Thaat. As the name suggests the Raag is related to Lord Krishna. It was created by Swami Haridas to bring Krishna on earth.

Sarang Raag is the 26th Raag in Sri Guru Granth Sahib out of a list (Raagmala) of 31 Raagas. Sarang family is a group of 7 Raagas and Brindavan Sarang is one of them.

Now for the value-added learning for today. Today, we shall learn the names of the instruments used in Indian Classical Music. The most popular ones are:

Bansuri, Dilruba, Esraj, Bansuri, Dilruba, Esraj, Gotuvadyam, Harmonium, Jal Tarang, Mayuri Vina, Mohan Veena, Nadaswaram, Pakhwaj, Rabab (Kabuli Rabab), Rudra Vina or Been, Samvadini, Santur, Sarangi, Saraswati Vina (South Indian Vina), Sarod, Shehnai, Sitar, Surbahar, Seni Rabab, Swarabat (Swaragat), Swarmandal, Tabla Tarang, Tanpura or Tambora, Taus, Veena, Vichitra Vina, Violin.

Naushad Ali was reputed to have brought in Raaga based songs in Hindi movies. This one I have taken from his 1966 Abdul Rashid Kardar movie Dil Diya Dard Liya starring Dilip Kumar and Waheeda Rehman with Mohammad Rafi and Asha Bhosle singing for them.

My favourite lyricist Shakeel Badayuni penned it.
The tal is Tintal and Kaherava.

It is most appropriate at this juncture since we are about to usher in monsoons (sawan).

Please enjoy: Sawan aaye ya na aaye.

aa: saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
ra: saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
do: saawan aaye

ra: taar mile.n jab dil se dil ke
wohii samay man-bhaawan hai
do: wohii samay man-bhaawan bhaawan hai
saawan aaye

##sargam##

aa: jabase piyaa tuu naino.n me.n aayaa
prem ke ra.ng me.n rach gaii kaayaa
ra: aa.a
aa: aa.a
ra: baago.n me.n ban me.n niil gagan me.n
sabame.n hai tere ruup kii chhaayaa
aa: tuu hai mere sa.ng me.n haradam
Kushii kii aawan-aawan hai
do: Kushii kii aawan-aawan aawan hai
saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
saawan aaye

##sargam##
ra: akhiyaa.N majiire man ikataaraa
iname.n baaje naam tihaaraa
aa: aa.a
ha.Nsate-gaate jiiwan biite
a.nt na ho ye giit hamaaraa
ra: mausam aayaa sukh paawan kaa
dukho.n kii jaawan-jaawan hai
do: dukho.n kii jaawan-jaawan jaawan hai
saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
saawan 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. Today, on the ninth day, we learnt the names of some of the popular instruments used in Indian Calssical Music.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Aaj ki raat piya dil na todo…
Raag Pahadi, Tal Dadra

We have completed six days of Raaga Based Songs of the Day. Although Our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge (It is in Raag Jhinjhoti, Tal Kaherava), the fact is that on WhatsApp groups I had started with these posts three or four days before putting them up here on this blog. Today, I am going to merge these posts.

Our sixth post or the last post was titled ‘Raaga Based Song Of The Day #6’ and the song was a Lata Mangeshkar song from the 1959 Vijay Bhatt movie Goonj Uthi Shehnai: Tere sur aur mere geet. It is in Raag Bihag, 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 – Raag Todi’.

Thank you guys and gals, many of you have written back that you love the songs that I put up; reliving the era of forties to seventies when melody ruled.
You can’t call me biased simply because I keep returning to Raag Pahadi. The fact is that I am from the hills and Pahadi is not just a raag but also a dhun and hence can be easily recognised in such songs as Aaja re aaja o mere dilbar aaja, Chal udh ja re panchhi,   Chaudhvin ka chand ho, Ham jab simat ke aap ki baahon mein aa gaye, Kabhi kabhi mere dil mein, Mushkil hai bahut mushkil chahat ka bhula dena, Parbaton ke pedon par shaam ka basera hai, Raat ka sama jhume chandrama, Sawan ka mahina pawan kare sor, and Suhani raat dhal chuki.

Pahadi is the favourite raag of Music Director Khayyam (you will remember those enchanting Noorie songs). Pahadi also allures me because many songs have my favourite theme Chand in them.

Today’s value added learning is about Swar.

We already know Swar are seven notes of the Indian musical scale. On day #4 we learnt the complete seven note Sargam: Sa, Re, Ga, Ma, Pa, Dha, Ni and learnt their full forms: Shadj, Rishab, Gandhara, Madhyam, Pancham, Dhaivat, Nishad. The equivalent in Western Solfege are Do, Re, Mi, Fa, So, La Ti.

Swar are of four types: Shuddha, Achal, Komal and Teevra. Two of the Swar: Sa (Shadj) and Pa (Pancham) are fixed on the scale. Hence, these are called Achal or immovable. The other five Swar, ie, Re (Rishab), Ga (Gandhara), Ma (Madhyam), Dha (Dhaivat), and Ni (Nishad) are called Vikrut (Movable). In Vikrut Swar, Re (Rishab), Ga (Gandhara), Dha (Dhaivat) and Ni (Nishad) can be moved below their Shudha place on the scale. They are called Komal (Soft or Flat). In Indian musical notations, these are shown by a small horizontal line below the note. That leaves only Madhyam as a Vikrut (Movable) note that can be one note above the Shuddha Madhyam. It is called Teevra (Sharp). It is shown by a small vertical line above the note.

The swar (notes) are assembled to make the scales.  These scales are called Saptak.

The swar have special relationships with one another.  Although there are only seven notes they repeat in the upper and lower directions.  Therefore, when ascending the scale when one reaches Ni, then the scales starts over with Sa, Re, Ga, etc.  This is the upper register.  By the same token when one is descending the scale, it does not stop at Sa but continues down as Ni, Dha, etc.; this is the lower register.

Today’s is from 1951 movie Baazi, the second movie of Dev Anand and Chetan Anand’s company Navketan Films.

The movie has some of the best songs of Geeta Dutt, the movie director Guru Dutt’s wife (she was Geeta Roy at that time; she married him in 1953), eg, Dekh ke akeli mohe barkha sataye, and Tadbir se bighadi hui taqdir bana le.
This song that I have selected for you has been penned by Sahir Ludhianvi and composed by SD Burman. The duo did 17 movies together until after 1957 Guru Dutt movie Pyaasa when they fell apart.

If Guru Dutt and his would be wife Geeta were together in the movie, so were Dev Anand and Kalpana Kartik.

By the way Baazi was a crime thriller that Hindi films produced by dozens at that time, with story, screenplay and dialogues written by – hold your breath – Balraj Sahni!

Please enjoy Geeta Dutt sing in Raag Pahadi, Taal Dadra: Aaj ki raat piya dil na todo dil ki baat piya maan lo….

Aaj kii raat piyaa
aaj kii raat piyaa dil na to.Do
man ki baat piya maan lo
aaj ki raat piya

dil kii kahaanii apanii zubaanii tum ko sunaane aayii huu.N
aa.Nkho.n me.n leke sapane suhaane apanaa banaane aayii huu.N
cho.Dake saath piyaa muu.Nh na mo.Do
man kii baat piyaa maan lo
aaj kii raat piyaa

chandaa bhii dekhe taare bhii dekhe hamako gagan kii oT se
ghaayal kiyaa hai dil tumane meraa meeThi nazar kii choT se
thaam ke haath piyaa yuu.N na cho.Do
man kii baat piyaa maan lo
aaj kii raat piyaa

 

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. And today, on the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Tere sur aur mere geet….
Raag Bihag, Tal Dadra.

We have completed five days of Raaga Based Songs of the Day and hence it is not such a new series on this blog anymore. 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 fifth post or the last post was titled ‘Raaga Based Song Of The Day #5’ and the song was a Mohammad Rafi and Suman Kalyanpur song from the 1964 Hrishikesh Mukherjee movie Sanjh Aur Savera: Ajahun na aaye balma sawan beeta jaaye. It is in Raag Madhuvanti, 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 – Raag Yaman – Part -I’.

This is from the 1959 Vijay Bhatt movie Goonj Uthi Shehnai, seven years after he made Baiju Bawra, the only movie for which Naushad received his only Filmfare Award (though later he was conferred with the highest, ie, Dadasaheb Phalke Award. Just like Baiju Bawra, this film too had great songs such as Jivan mein piya tera saath rahe (Raag Gara), Keh do koi na kare yahan pyaar (Raag Jogiya), and Dil ka khilauna haay toot gaya (Bhairavi).

The song was put together by lyricist Bharat Vyas and composer Vasant Desai, a great team that gave us Ai malik tere bande hum.

Lata Mangeshkar sang it.

Raag Bihag belongs to Bilawal Thaat and is a late night song. It is a wedding raag since it is both romantic and celebratory.

Goonj Uthi Shehnai is the story of a Shehnai player Rajendra Kumar. The success of the movie made him very famous. Throughout the movie there is Shehnai recital by the greatest Shehnai player in India Ustaad Bismillah Khan who was conferred the highest award Bharat Ratna in 2001 together with Lata Mangeshkar, three years after MS Subbulakshmi and two years after Pandit Ravi Shankar.

What about our value added learning for today? Today, let’s briefly learn about the ‘mood’ of the raag that explains why Raag means colour, hue or tinge.

For instance, anybody who talks about Raag Darbari Kanada (a raag that Tansen brought from the South (Carnatic Music) to the North (Hindustani Music), into the court of Akbar in the 17th century) would know that the raag has a majestic touch about it, eg, Guzren hain aaj ishq mein ham us mukaam se, and Main nigaahen tere chehre se hataayun kaise?

There are the following eight Ras (sentiments) in the Raagas as given in Bharat Batya Shastra:

1. Shringaar (romantic).
2. Veer (heroic).
3. Hasya (comic).
4. Rudra (wrathful).
5. Bhayanak (terrifying).
6. Bibhatsa (odious).
7. Karuna (pathos).
8. Adhbhut (wondrous).

Later, another ras Shant (calm or peaceful) was added and the entire list was called Navras.

Naturally, Bihag belongs to Shringaar Ras.

Please enjoy Lata Mangeshkar sing in Raag Bihag, Tal Dadra: Tere sur aur mere geet…

Tere sur aur mere giit
tere sur aur mere giit
dono mil kar banegii priit
tere sur aur mere giit

(dha.Dakan me.n tuu hai samaayaa huaa
khayaalo.n me.n tuu hii tuu chhaayaa huaa) – 2
duniyaa ke mele me.n laakho.n mile
magar tuu hii tuu dil ko bhaayaa huaa
mai.n terii jogan tuu meraa miit
dono mil kar banegii priit
tere sur aur mere giit

(mujhako agar bhuul jaaoge tum, aa aa aaaa
mujhase agar duur jaoge tum ) – 2
merii muhabbat me.n taasiir hai, aa aa aaaa
merii muhabbat me.n taasiir hai
to khii.nch ke mere paas aaoge tum
dekho hamaarii hogii jiit
dono mil kar banegii priit
tere sur aur mere giit

P.S. Please enjoy Bismillah Khan’s Shehnai immediately after Lata’s alaap.

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, that is, today, we learnt about the Ras (sentiments) that Raagas evoke.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the Day: Ajahun na aaye balma…
Raag Madhuvanti Taal Kaherava

Fifth day of a still new series on this blog. The first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.

The second post was titled ‘Raaga Based Song Of The Day #2’ and the song was a Mohammad Rafi song from the 1971 Sushil Majumdar movie Laal Patthar: Unake khayal aaye to aate chale gaye. It is in Raag Gara, Tal Kaherava.

Similarly, the third post was titled ‘Raaga Based Song Of The Day #3’ and the song was, once again, a Mohammad Rafi song from the 1956 GP Sippy movie Chandrakanta: Maine chand aur sitaaron ki tamanna ki thi. It is in Raag Bhimpalasi, Tal Dadra.

The last post, that is the fourth post, was titled ‘Raaga Based Song Of The Day #4’ and the song was a Lata Mangeshkar song pictured on Asha Parekh from the 1960 Ramanand Sagar movie Ghunghat: Laage na mora jiya. It is in Raag Shivaranjani, 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 – Raag Pilu – Part -I’.

The song is from 1964 Hrishikesh Mukherjee movie Saanjh Aur Savera that had Guru Dutt and Meena Kumari in lead roles. The song is however pictured on Mehmood and Shubha Khote with Mohammad Rafi and Suman Kalyanpur singing for them.

Music Directors loved to compose for Mehmood and Shubha Khote and some really fine classical Raaga based songs are pictured on them. In the same year, for the 1964 movie Ziddi that is, SD Burman composed a song for them which is considered the purest example of Darbari Kanada in Hindi movies; the song was sung by Manna Dey and is: Pyaar ki aag mein tan badan jal gaya.

Madhuvanti belongs to Todi Thaat. As you must have guessed it Madhu means honey and the raag is as sweet as honey in sringar ras depicting love and romance. It is an evening raag like Yaman aur Kalyan.

About Taal Kaherava I have already told you. But since we are in early stages of our learning here it is again:

Kaherava is most popular 8 beat Tal in Hindustani music, with two vibhags of four matra each, first vibhag being clap, second being wave (khali), which makes it:

Clap, 2, 3, 4, wave, 2, 3, 4. Theka is 

Dhaa Ge Naa Tee Naa Ka Dhin Naa.

Before we take up the song, as always, let’s take up our value added learning. Let’s briefly take up North Indian or Hindustani music notation or swar lipi that dates back to – hold your breath – Vedic times. This is all the more surprising since Indian music is largely based on oral tradition.

Cut from Vedic period to modern times. The great musician Vishnu Digambar Paluskar (a contemporary of Bhatkhande), in early 20th century started the modern musical notation. It was a precise notational system but difficult. It was replaced by a much simpler system by Bhatkhande.

When it came to internationalization of North Indian Music, two approaches were used: one, the Western staff notation with its main disadvantage being that in this, music is tied to a specific key and so much is lost in translation.
The other is simply to use Bhatkhande’s notations in Roman script. Even though it too has aberrations but it is now widely accepted.

Coming back to Ajahun na aaye, it was composed by my favourite music duo Shankar Jaikishan who did wonders in Raaga based songs.

What about other popular songs in Raag Madhuvanti? Madan Mohan composed Rasm e ulfat ko nibhayen to nibhayen kaise in the same Raag and Taal.

Please enjoy in Raag Madhuvanti, Tal Kaherava, Mohammad Rafi and Suman Kalyanpur sing a composition of Shankar Jaikishan, penned by the great Hasrat Jaipuri and picturized on Mehmood and Shubha Khote: Ajahun na aaye balma sawan beeta jaaye..

Ajahu.N naa aae baalamaa, saavan biitaa jaae
haay re saavan biitaa jaae

nii.nd bhii a.nkhiyan dvaar na aae
tose milan kii aas bhii jaae
aaI bahaar khile phulavaa
more sapane kaun sajaae
aa … ajahu.n …

chaa.nd ko badaraa garavaa lagaae
aur bhii more man lalachaae
yaar hasiin gale lag jaa
morii umr guzaratii jaaeaa … ajahu.n …

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

1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
2. On the second day we learnt about Tal or Taal.
3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
4. On the fourth day, we learnt about Sargam.
5. On the fifth day, that is, today, we learnt about notations used in Indian classical music or simply Swar Lipi.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the day: Laage na mora jiya, Sajna nahin aaye.
Raag Shivaranjani, Tal Dadra.

Fourth day of a new series on this blog. The first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.

The second post was titled ‘Raaga Based Song Of The Day #2’ and the song was a Mohammad Rafi song from the 1971 Sushil Majumdar movie Laal Patthar: Unake khayal aaye to aate chale gaye. It is in Raag Gara, Tal Kaherava.

Similarly, the third post was titled ‘Raaga Based Song Of The Day #3’ and the song was, once again, a Mohammad Rafi song from the 1956 GP Sippy movie Chandrakanta: Maine chand aur sitaaron ki tamanna ki thi. It is in Raag Bhimpalasi, 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 – Raag Bhimpalasi – Part -I’.

Wherever I am, I am not too far from my favourite lyricist Shakeel Badayuni. His association with Music Director Ravi got him the first two of his hat-trick of Filmfare Awards.

The 1960 Ramanand Sagar movie Ghunghat was released the same year his first Filmfare Award movie was released (indeed before Chaudhvin Ka Chand). The movie started Bharat Bhushan, Bina Rai, Asha Parekh and Pradeep Kumar. The movie had another great Lata number: Meri chham chham baaje payaliya besides a number by Mohammad Rafi that has outstanding lyrics and rendition: Haay re insaan ki majburiyan.

Raag Shivaranjani is another Raag that belongs to Kafi Thaat. The mood of the raag is Karuna Rasa (pathos) that suited both Shakeel and Ravi very well. However, the MDs who had this as their favourite (both of them as opposed to Bhairavi that was favourite of Jaikishan only) were Shankar Jaikishan. Some of their popular numbers in this Raag are: Awaaz deke hamen tum bulao, Baharon phool barsao, Dil ke jharokhe mein tujhako bithakar, Jaane kahan gaye woh din, and O mere sanam.

Some of the popular numbers of other composers are: Banake kyun bigada re, Dhak dhak karne laga, Kahin deep jale kahin dil, Mere naina sawan bhaadon, Mujhe kuchh kehna hai, Rimjhim ke geet sawan gaaye, Sawan aaye sawan jaaye, Tere mere beech mein, and Yaad teri aayegi.

As far as Tal Dadra is concerned I have given you enough already.

What about learning for today? Yesterday we learnt the various characteristics of Raagas though some of you may have missed them since these were on this blog only and not on WhatsApp.

Today, we simply learn the full forms of Swar used in the Sargam  (solfege). By the way the word Sargam is taken from first four Swars: Sa, Re, Ga, Ma. There should be no shyness in admitting that most of us use only abbreviated Sa, Re, Ga, Ma, Pa, Dha, Ni and don’t know that these stand for Sadja, Rishabha, Gandhara, Madhyama, Panchama,  Dhaivata, and Nishada.

Please enjoy Lata sing in Raag Shivaranjani Tal Dadra: Lage na mora jiya sajna nahin aaye..
(If this reminds you of another one of Shakeel-Ravi-Lata number (in pathos) Lo aa gayi unaki yaad woh nahin aaye that is in Raag Asavari, Tal Kaherava.)

laage na moraa jiyaa, sajanaa nahii.n aaye, haay
laage na moraa jiyaa …

dekh liye piyA tere irAde, jhUTh nikale jA tere vAde
ta.Dapat-ta.Dapat yAd me.n terI, nain nIr bhar Ae, hAy
laage na moraa jiyaa …

tUne merI sudh bisarAI, bedardI tohe lAj na AI
bhUl gae kyA o harajAI, jAke des parAe, hAy
laage na moraa jiyaa …

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

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, that is, today we learnt about Sargam.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Raaga Based Song of the day: Maine chand aur sitaron ki tamanna ki thi.
Raag Bhimpalasi, Tal Dadra.

Third day of a new series on this blog. The first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.

The second post was titled ‘Raaga Based Song Of The Day #2’ and the song was a Mohammad Rafi song from the 1971 Sushil Majumdar movie Laal Patthar: Unake khayal aaye to aate chale gaye. It is in Raag Gara, 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 – Raag Darbari Kanada – Part -I’.

Today we shall take up a song in Raag Bhimpalasi, Tal Dadra.

This means that we have third consecutive day of Mohammad Rafi songs. And why not? He was the greatest.

Raag Bhimpalasi also belongs to Kafi Thaat just like Raag Pilu (of whose song Dhadakte dil ki tamanna ho I had given earlier).

Some of the popular songs in Bhimpalasi are: Aa neele gagan tale, Ai ajnabee tu bhi kabhi, Aaj mere man mein sakhi, Dil ke tukade tukade, Eri main to prem diwani (Roshan’s and not Pt. Ravi Shankar’s), Khilate hain gul yahan, Kuchh dil ne kaha, Main garibon ka dil, Mere man ka bawra panchhi, Naghma O sher ki saugat, Nainon mein badra chhaye, O beqaraar dil, Samay O dheere chalo, Tere sadke balma, and Tum mile gul khile.

What is our learning about Raagas on this third day? I have already told you the basics of Raaga system, Thaats and Tal. Today we shall take up what makes up a Raag or the very basic elements of the Raag.

I have already told you that the word Raag literally means Colour or Tinge or Hue (Sanskrit word ‘Ranj’). Hence, a Raag does exactly what a colour does: it fills us with varied emotions.

• It is easy to make out that a Raag must have notes. These are called Swar.
• The number of notes used in a Raaga is called Jati.
• Raagas have structural modes. These are called Thaats. In Bhatkhande system that is followed for Hindustani music (North India) there are a total of ten Thaats to which almost all the Raagas belong.
• Raags have both ascending and descending structures. These are called Arohana and Avarohana respectively.
• It is easy to visualise that the Raagas won’t have notes or Swar of equal importance. The important ones are called Vadi and Samavadi.
• The characteristic movement of a Raag is caled its Pakad.

At this stage it is well to remember that Hindi films MDs were innovative and mixed and matched to get popular tunes. Hence, it is rarely that one can come across a pure Raaga based song.

Raaga mixing is not a simple and ad-hoc skill. One has to know the Raagas very well before attempting it. Raaga mixing has two elements: Teerobhav that translates into ‘conceal’ and Aavirbhav that means to ‘reveal’.

Hindi films MDs often mixed Raagas that would be looked down upon by the purists. However, such intermixing would create some very enchanting tunes. Indeed, some like SD Burman would create tunes that would appear to be Raaga based but are not; eg, Deewana mastana hua dil jaane kahan hoke bahaar aayi. As I said one has to know Raagas really well before attempting what MDs like SD Burman did.

Coming back to the Song of the Day, Bhimpalasi is a raag of the afternoon. Its mood is often an upbeat one (eg, Aaj mere man mein sakhi) before one gets into the sunset, evening and night raagas with their essential sadness.

Tal Dadra derives its name from Dadra style of singing prevalent in Dadra. It is a six or three beat Tal:
Clap, 2, 3, Wave, 2, 3; that is two vibhags of three matras each. The theka is:
Dhaa Dhin Naa Dhaa Tin Naa
I have already given you a song in this Tal and Raag Pahadi: Aaj ki raat piya dil na todo. Aaj mere man mein sakhi has similar tal or rhythm.

Today’s song is from 1956 movie Chandrakanta starring Bharat Bhushan and Bina Roy. Sahir Ludhianvi penned the song and N Dutta or Datta Naik (who did as many movies with Sahir as SD Burman did) composed it.

Please enjoy in Raag Bhimpalasi Tal Dadra: Maine chand aur sitaaron ki tamanna ki thi……

Maine chand aur sitaro ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
mujhko rato ki siyahi ke siva kuch na mila
maine chand aur sitaro ki tamanna ki thi

mai vo nagma hu jise pyar ki mahafil na mili
mai vo nagma hu jise pyar ki mahafil na mili
vo musafir hu jise koi bhi manzil na mili
vo musafir hu jise koi bhi manzil na mili
zakhm paye hai baharo ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi

kisi gesu kisi aanchal ka sahara bhi nahi
kisi gesu kisi aanchal ka sahara bhi nahi
raste me koi dhundhla sa sitara bhi nahi
raste me koi dhundhla sa sitara bhi nahi
meri nazro ne nazaro ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
mujhko rato ki siyahi ke siva kuch na mila
maine chand aur sitaro ki tamanna ki thi

meri raaho se juda ho gai raahe unki
meri raaho se juda ho gai raahe unki
aaj badli nazar aati hai nigahe unki
aaj badli nazar aati hai nigahe unki
jisse is dil ne saharo ki tamanna ki thi
maine chand aur sitaro ki tamana ki thi

pyar manga to sisakte huye araman mile
pyar manga to sisakte huye araman mile
chain chaha to umadate huye tufan mile
chain chaha to umadate huye tufan mile
dubte dil ne kinaro ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
mujhko rato ki syahi ke siva kuch na mila
maine chand aur sitaro ki tamanna ki thi

I hope by this time you are as hooked as I am on to learning about Raagas whilst being entertained with raaga based songs. We shall collectively enjoy and learn. I can assure you that the journey would become even more interesting.

Please stay tuned!

 

Raaga Based Song of the Day: Unake khayal aaye to aate chale gaye…
Raag Gara, Tal Kaherava.

Yesterday we started with a new series on this blog. The 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.

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 – Raag Bhairavi – Part -I’.

Today we shall take up a song in Raag Gara, Tal Kaherava.

At this juncture, now that I have already told you the basics of Raagas and Thaats, permit me to tell you about Tal or Taal. Tal has been derived from the word Tali or Clap, and is the Indian system of rhythm. Not surprisingly, Tal, Rhythm, Clap existed many centuries before the word Raag came into existence. And that shows the importance of rhythm in Indian music system.

If you recall four days ago I gave you the song: Zara sun haseena ai naazneen in Raag Pahadi, Tal Rupaktal in which I mentioned that the first beat (Sam) is khali (represented by wave of hand). Now, you can connect with basic concepts of Tal, which are Tali (or bhari), khali, vibhag (ang), matra, bol, theka, lay, sam and avartan.

Tali has since been replaced by tabla nowadays but the term is still used as Clap.

Tali is the pattern of clapping, khali is wave of hands, vibhag is the measure of number of beats, matra is the beat, bol is the syllabic stroke of the drum, theka is the pattern of bols and vibhag, laya is the tempo that may be slow (vilambit), medium (madhya) or fast (drut), sam is the beginning of the cycle and avartan is the basic cycle.

Kaherava (also written as Kherwa, Kherawa and Kaherawa) is the most popular 8 beat Tal in Hindustani music, with two vibhags of four matra each, first vibhag being clap, second being wave (khali), which makes it:

Clap, 2, 3, 4, wave, 2, 3, 4.

Theka is:

Dhaa Ge Naa Tee Naa Ka Dhin Naa.

Raag Gara belongs to Kafi Thaat. It is traditionally sung in second half of morning although Bhatkhande didn’t specify any time of the day for this Raaga. Gara is one of the family of Raagas derived from folk melodies and entered classical music in concert with Thumri. The closest resemblance of the raag is to Jaijaivanti, a raag devised by Shri Tegh Bahadur, the 9th Guru of the Sikhs.

Some of the popular Hindi film songs in Raag Gara are: Aise to na dekho, Deewana keh ke aaj mujhe phir pukariye, Hamsafar saath apna chhod chale, Jeevan mein piya tera saath rahe, Kabhi khud pe kabhi halaat pe rona aaya, Mohe panghat pe (as Gara additive), Raghupati Raghav Raja Ram, Tere mere sapne ab ek rang hain, and this one that I am giving you.

This is from the 1971 movie Laal Patthar having the only negative role of Hema Malini. Laal Patthar was remake of a Bengali film of 1964 of the same name. The negative role played by Hema Malini was that she was the mistress of a zamindaar played by Raaj Kumar who goads him to doubt the character of his young wife played by Rakhee on the basis of her having a childhood lover Vinod Mehra.

How captivated Raaj Kumar was, in the movie, by Hema Malini can be made out from this song.

The song was penned by Hasrat Jaipuri and composed by my favourite music duo Shankar Jaikishan. Its rendition by Mohammad Rafi is representative of him being the best in all genres of music.

Please enjoy in Raag Gara, Tal Kaherava: Unake khayal aaye to aate chale gaye…..

un ke Kayaal aae to aate chale gae
diivaanaa zi.ndagii ko banaate chale gae

jo saa.ns aa rahii hai usii kaa payaam hai
betaabiyo.n ko aur ba.Dhaate chale gae

is dil se aa rahii hai kisii yaar kii sadaa
viiraan meraa dil thaa basaate chale gae

hosh-o-havaas pe mere bijalii sii gir pa.Dii
mastii bharii nazar se pilaa ke chale gae

There is much more in store for all of us in our collective learning of Raaga Based Songs and we shall take it slow and easy and enjoy our journey as much as we can.

Please stay tuned!

Raaga Based Song of the Day: Tum mujhe youn bhula na paoge…
Raag Jhinjhoti, 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 – Raag Jaijaivanti’.

Whilst sharing Raaga based Hindi films songs with you, it occurred to me that ancient Indians were very innovative people in various fields including music, literature, science, maths, and astronomy. It is just that we were poor in documenting our achievements and that’s where the West scored over us.
I was fortunate to have become member of a group engaged in Vedic research and I was delighted to see the origin of all complex mathematical equations in the world as Vedic maths (not the group’s finding but that of a research team commissioned by the Government of India about two decades back).

The renewed interest in Raagas based music in our younger generation is a healthy trend to take us away from our ingrained cynicism about India (Please read: ‘The Greatness Of India And Its Decline’) and bring us closer to the ancient greatness of our country.

I shall give you regular inputs about Raaga based songs by discussing with you one song a day.

A recent visitor to our house in Shimla Hills called Whispering Winds (Please read: ‘Home Is Where The Heart Is – Kandaghat In Shimla Hills’) mentioned that Pandit Bhimsen Joshi once said that he had about 5 percent knowledge of Raagas! In quick proportionate calculations I have about 0.00001 percent (I am a former Navy officer with no institutionalised training on music)! But, I am learning and so will you.

Stay tuned!

We have to be thankful to Pandit Vishnu Narayan Bhatkhande (early 20th century) who devised the modern system of Raagas for Hindustani Classical Music (based on Thaats), which is much more easily understood than the one prevalent before that (passed only through word of mouth) based on Raagas (male), Ragini (female) and Putra (children). The earlier system has been mentioned in the holy book of the Sikhs: Sri Guru Granth Sahib on pages 1429 and 1430 (last pages). Sikhs traditionally used the Raagas in singing hymns and had bedis who went from place to place singing the Raagas.

Raag Jhinjhoti is a raag named after an apsara. Jhinjhoti is a Raag in Khamaj Thaat. In the modern Thaat system that was created by Vishnu Narayan Bhatkhande (1860–1936), a Thaat is a mode in Hindustani classical music and is a basis for classifying Raagas. Bhatkhande visited a number of gharanas (ad-hoc schools that followed guru-shishya sytem (teacher-pupil system) for passing knowledge down the generations. Interestingly, these gharanas were not open to all and sundry and most often than not a shishya had to prove that he was worthy of being taken as a shishya) (You must listen to Baiju Bawra’s ‘Man tadpat Hari darsan ko aaj‘ (Raag Malkauns, Tal Tintal) to know how a shishya had to prove his single-minded deication).

Surprisingly, the word Raaga doesn’t mean music but colour or dye or shade. But if you think of colours signifying moods, Raagas in music do exactly that. For example, if the colour yellow is the colour of love and red of passion, each one of the raagas is based on mood, time of the day and even season. An easy anology is the Hindi saying: सावन के अंधे को हरा ही हरा दिखाई देता है I You will instantly know that Sawan (Monsoon) is being used as a season, colour and mood.

According to Pandit Bhatkhande, each one of the raagas is based on one thaat (mode) or the other. Although his research with gharanas made him short-list 32 thaats, he finally pruned the list to just ten thaats on which most raagas are based. These are: Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi. And that’s why I mentioned that Jhinjhoti belongs to Khamaj Thaat.

Almost all songs in Hindi movies based on this raag have an element of self-pity in them, eg, Ghungru ki tarah bajta hi raha hoon main, Koi hamdam na raha, Mere mehboob tujhe, Mose chhal kiye jaaye, and my second most favourite Lata song: Jaa jaa re jaa balamwa from Basant Bahar.

The 1970 movie Pagla Kahin Ka was the most challenging job taken up by Shammi Kapoor. He was a mentally deranged person but as the movie progressed, one was left wondering at the sick mentality of those ostensibly sound in body and mind.

Of course the song Tum mujhe yun bhula na paoge is one of the best of Mohammad Rafi.

But today, first, I am going to do something different. I am going to give you the female version to savour its exquisite lyrics penned by Hasrat Jaipuri and its most beautiful composition in this Raag and Tal Kaherava by Shankar Jaikishan.

Please enjoy Lata Mangeshkar sing for Asha Parekh: Tum mujhe youn bhula na paoge…

jab kabhi bhi sunoge geet mere
sang sang tum bhi gungunaoge
tum mujhe yu bhula na paoge
ha tum mujhe yu bhula na paoge
jab kabhi bhi sunoge geet mere
sang sang tum bhi gungunaoge
ha tum mujhe yu bhula na paoge
ho tum mujhe yu

biti baato ka kuch khyaal karo
kuch to bolo kuch hamse baat karo
biti baato ka kuch khyaal karo
kuch to bolo kuch hamse baat karo
raaz-e-dil mai tumhe bata dungi
mai tumhari hu maan jaoge
ha tum mujhe yu bhula na paoge
ha tum mujhe yu

meri khamosiyo ko samjho tum
jindagi yaad me gujari hai
meri khamosiyo ko samjho tum
jindagi yaad me gujari hai
mai miti hu tumhari chahat me
or kitna mujhe mitaoge
ha tum mujhe yu bhula na paoge
ha tum mujhe yu

dil hi dil me tum hi se pyar kiya
apne jiwan ko bhi nisar kiya
dil hi dil me tum hi se pyar kiya
apne jiwan ko bhi nisar kiya
kaun tadpa tumhari raaho me
jab ye sochoge jaan jaoge
ha tum mujhe yu bhula na paoge
jab kabhi bhi sunoge geet mere
sang sang tum bhi gungunaoge
ha tum mujhe yu bhula na paoge
ha tum mujhe yu

Lets now listen to Mohammad Rafi version:

Tum mujhe yU.N bhulaa naa paaoge
haa.N tum mujhe yU.N bhulaa naa paaoge
jab kabhii bhii sunoge giit mere
sa.ng sa.ng tum bhii gunagunAoge
haa.N tum mujhe yU.N bhulaa naa paaoge
ho tum mujhe yU.N …

(vo bahaare.n vo chaa.ndanii raate.n
hamane kii thii jo pyAr kii baate.n ) – 2
un nazaaro.n kii yaad aaegii
jab khayaalo.n me.n mujhako laaoge
haa.N tum mujhe yU.N bhulaa naa paaoge
ho tum mujhe yU.N …

(mere haatho.n me.n teraa cheharaa thaa
jaise koI gulaab hotaa hai ) – 2
aur sahaaraa liyaa thaa baaho.n kaa
vo shaam kis tarah bhulaaoge
haa.N tum mujhe yU.N bhulaa naa paaoge
ho tum mujhe yU.N …

(mujhako dekhe binaa qaraar naa thaa
ek aisaa bhii daur guzaraa hai ) – 2
jhUTh maanU.N to pUchhalo dil se
mai.n kahU.ngaa to rUTh jaaoge
haa.N tum mujhe yU.n bhulaa naa paaoge

jab kabhii bhii …

Normally, it is a done thing to start learning about Raagas with Raag Yaman or Kalyan, the first of the Raagas that most students of classical music learn. Hence, if my starting with Raag Jhinjhoti has left you wondering, let me explain:

1. Jhinjhoti is the Raag of my most favourite song: Mere mehboob tujhe meri mohabbat ki kasam (Raag Jhinjhoti, Tal Dadra) put together by Shakeel Badayuni (Lyricist), Naushad (Composer) and Mohammad Rafi (Singer). I am partial to it as much as anyone in love.
2. Shankar Jaikishan are my most favourite music duo.
3. Chand and/or Chandini Raatein is my most favourite songs theme.

Anyway, our learning together is going to be an everyday affair and it doesn’t matter where we start from.

I hope I have whetted your appetite to learn more about Raagas, Thaats, Tals, Swar and the like.

As I said: Stay tuned!