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Guest article by Subodh Agrawal ( My friend Subodh Agrawal is a great music lover and a keen follower of my blog. He once suggested I write on films songs based on classical ragas. This was already in my mind, but then I realised Subodh is much better equipped to do it. I am grateful that he accepted my request to do a guest series of articles on this theme. This curtain raiser showcasing his favourite 10 iconic songs on different ragas is delightful to read not only because of his deep insight but also for his fluent and witty style of writing. I am sure there are many more to come from his pen.

– AK) I was trying to motivate AK to do a few lists on songs based on ragas. He bounced it back to me, thanks to some pretensions I have of knowing something about classical music. I have accepted the commission with some reluctance, being well aware of how little I actually know about it. I had first thought of doing a list like ‘My 10 favourite songs in raga XYZ’. I may yet get around to doing that for the major ragas music directors of Hindi film industry love – likes of Bhairavi, Yaman, Malkauns, Darbari, Pilu etc. What I have chosen to do now is to list ten iconic songs based on classical ragas that don’t have such large repertoires of film songs. Years back when I was flirting with classical music and trying to get a feel for different ragas, these songs were used by my friend and teacher Pankaj Sharan to help me get that feel.

Raga Jaijaiwanti: Manmohana bade jhoothe by Lata Mangeshkar from Seema (1955), lyrics Shailendra, music Shankar Jaikishan The first of these iconic songs is Manmohna bade jhoote from Seema. Raga Jaijaiwanti is easy to recognize – thanks to its pakad or catch-phrase – rising from ni, just touching ga and then coming to rest on re: the final ‘na’ of ‘Manmoha -n-a-a’ illustrates that. This movement gives this raga a nice teasing quality – which has been put to good use by Shankar Jaikishan in this song that combines bhakti and shringar rasas: The original composition of Ram Dhun is in raga Jaijaiwanti. The popular version misses out most of the nuances of the raga, but this rendering by Pandit DV Paluskar is an excellent presentation: 2. Raga Bageshree: Radha na bole na bole re by Lata Mangeshkar from Azad (1955), lyrics Rajendra Krishna, music C Ramchandra I had a tough time choosing between Jaag dard-e ishq jaag and Radha na bole na bole re as my iconic song for Bageshree. Ultimately I have opted for the latter, as it stays closer to the standard format of the raga. In any case, this was the song my friend used to help me into the nuances of this raga.

A treat for those fans of Songs of Yore who missed it in: Like most great ragas Bageshree can be used to express a variety of moods. The song above presents its playful mood. The classical piece below shows what this raga can do to express yearning and pathos.

Malini Rajurkar sings a composition that was made famous by the late Kumar Gandharva: 3. Raga Bhimpalasi: Beena madhur mdhur kachhu bol by Saraswati Rane from Ram Rajya (1943), lyrics Ramesh Gupta, music Shankarrao Vyas I have often wondered why raga Bhimpalasi has such a martial and masculine name, because it is one of the sweetest sounding ragas. My friend had used E ri main to prem diwani to introduce me to this raga, but then I discovered Beena madhur madhur kachhu bol by Saraswati Rane for Ramrajya in his collection of old 78 rpm records and was completely mesmerized by it. According to Wikipedia Saraswati Rane was born as Sakina, daughter of legendary Ustad Abdul Karim Khan– doyen of the Kirana Gharana.

Her mother Tarabai later separated from Ustad ji and reverted to Hindu names for her children. Her brother Sureshbabu Mane and sister Hirabai Barodekar also distinguished themselves in classical music.

So here it is – one of the most haunting melodies from the golden era: Now you may want to hear Ustad Abdul Karim Khan himself render the same raga: 4. Raga Bhopali: Jyoti kalash chhalke by Lata Mangeshkar from Bhabhi Ki Chudyan (1961), lyrics Narendra Sharma, music Sudhir Phadke Bhopali is a subset of my favourite raga Yaman. It is essentially Yaman without the fourth and seventh note.

Doing so takes away some of the gravity of Yaman and retains a feeling of pure joy. Another raga from the same family – Shudh Kalyan – omits these two notes in ascending movements, and includes them in descending ones and the mood falls somewhere between Bhopali and Yaman. Pandit Omkar Nath Thakur, in fact, didn’t like the name Shudh Kalyan and insisted on calling it Bhoop Kalyan.

For me the iconic composition in Bhopali is the famous Jyoti kalash chhalke composed by Sudhir Phadke from Bhabhi ki Chudiyan: I was with a lot of Maharashtrian friends when I was learning the rudiments of classical music. They introduced me to Ghanashyam Sundara from the 1951 Marathi film Amar Bhupali. Some of them claimed that this song was the inspiration for Jyoti Kalash Chaalke. Listen to the song and make your own judgment: Ghanshaym sundara sindura by Panditrao Nagarkar and Lata Mangeshkar from Amar Bhupali (1951), music Vasant Desai 5. Raga Hameer: Madhuban mein Radhika nachee re by Mohammad Rafi from Kohinoor (1960), lyrics Shakeel Badayuni, music Naushad Raga Hameer was introduced to the masses by Madhuban mein Radhika nachi re. It remains to this day the most complete and authentic presentation of this raga in film music.

Let the song speak for itself: Years back, long before I developed an ear for classical music, I had read an article in a magazine on Khansaheb Bade Ghulam Ali Khan. A line remained in my mind – हमीर तो बड़े लोग गाते हैं, लेकिन गुलाम अली तो बस गुलाम अली हैं.

I couldn’t find a recording of Khansaheb’s Hameer in the days of vinyl records and tapes. Internet has proved more resourceful: 6.

Raga Hamsadhwani: Ja tose nahin bolun Kanhaiya by Manna Dey and Lata Mangeshkar from Parivaar (1956), lyrics Shailenra, music Salil Chaudhary Now a raga from the South. Hamsadhwani is very popular in Carnatic music and I understand no concert in the South is complete without a rendition of the famous composition Vaathapi Ganapathim, which was adapted in the film Parivar as Ja tose nahin bolun kanhaiya.

Hamsadhwani was a favourite raga of Ustad Ameer Khan and he did a lot to popularize it in the North. Here is a tarana by him in this raga: 7. Raga Kalawati: Kahe tarsaye jiyara by Usha Mangeshkar and Asha Bhosle from Chitralekha (1964), lyrics Sahir Ludhiyanvi, music Roshan Another raga from the south – Kalawati. Kahe tarsaye jiyara is the iconic composition in this raga; though another famous one is Koi sagar dil ko behlata nahin.

I am presenting the former, as to me it captures the mood of the raga much better ( Koi Sagar has some elements of Janasammohini in it). Roshan has done a great job – as always: A little change in the structure of Kalawati – addition of ‘re’ in the descending movement – changes it into the appropriately named Janasammohini – immortalized by Pandit Ravishankar for Anuradha in – a song that has never left the top five positions in the list of my all time favorites. I wish to share with you here is a Shabad from Gurbani in Kalawati – Re man aiso kar sanyasa. This recording is in the voice of Asha Bhosle, as taken for the Punjabi Film Nanak naam jahaaz hai. One of the most appealing aspects of Sikhism for a non-Sikh is the quality of Sikh devotional music. I have to thank my colleague KBS Sidhu for posting the link on Facebook: 8.

Raga Gaud Malhar: Garjat barsat saawan ayo re by Suman Kalyanpur and Kamal Barot from Barsaat Ki Raat (1960), lyrics Sahir Ludhiyanavi, music Roshan Malhar has spawned many variants. The most well known is Miyan ki Malhar. I learnt only recently that Miyan ki Malhar is not the original Malhar, but a variant evolved by Tansen.

Today when one simply says Malhar one means Miyan ki Malhar. The original Malhar is now known as Shudh Malhar. There are very few recordings in it. There are many others – Des Malhar, Gaud Malhar, Ramdasi Malhar etc. Gaud Malhar has two famous songs that sound practically the same – Garjat barsat saawan aayo re from Barsaat ki Raat, and Garjat barsat bheejat aayi lo from Malhar – both composed by Roshan. The ghazal Jurm-e ulfat pe hamein log sazaa dete hain from Tajmahal is also supposed to be based on Gaud Malhar, though I confess I couldn’t identify the raga on hearing it.

It sounded more like Chhayanat to me, with some extra notes thrown in. Here, anyway, is the song from Barsaat ki Raat: Now listen to Pandit Jasraj present the same raga: 9. Raga Kedar: Darshan do Ghnashyam by Hemant Kumar, Mana Dey and Sudha Malhotra from Narsi Bhagat (1957), lyrics Gopal Singh ‘Nepali’, music Ravi Kedar is another raga, like Yaman and Bhopali,that combines the elements of shant, bhakti and shringar rasa. The iconic song is Darshan do Ghanshyam form Narsi Bhagat.

Other songs in this raga are Hamko man ki shakti dena from Guddi and Main pagal mera manwa pagal by Talat Mahmood from Ashiana. None of the others, however, come close to Darshan do Ghanshyam with the voices of Hemant Kumar, Sudha Malhotra and Manna Dey beautifully complementing each other: Of the classical recordings I found on Youtube this one by Ustad Rashid Khan sounded best to me: 10. Raga Ahir Bhairav: Poochho na kaise meine rain bitayee by Manna Dey from Meri Surat Teri Aankhen (1961), lyrics Shailendra,music SD Burman Earlier I remarked on the name of Bhimpalasi and the mismatch between its mood and its name. There is no such mismatch for Bhairav.

The mood of the raga in its pure classical form is very much what its name suggests – ponderous, somber and overpowering. Think of Raat bhar ka hai mehmaan andhera – although some websites suggest that it is not Bhairav but Jogiya.

Music directors have, however, used Bhairav to create some serene and pleasing compositions like Jago mohan pyare from Jaagte raho, and Man re hari ke gun ga from Musafir, by taking some liberties with its movement. Among Bhairav’s variants Bairagi Bhairav is what its name suggests. Nat Bhairav can actually be joyful. Ahir Bhairav, on the other hand, can be very poignant as Poochho na kaise maine rain bitayee from Meri Surat Teri Aankhen amply proves.

A strong contender for the title of the best Raga based song from films: Sanjeev Abhyankar started off by modeling himself on Pandit Jasraj, but now he has evolved his own distinctive style. Here is his rendition of Ahir Bhairav. It sounds beautiful in his rich sonorous voice: That brings me to the end of this list. This is the first time I have written something – other than notes on official files – that was meant to be read by others. If you like it please thank AK for motivating me. One more thing: while searching for classical pieces on Bhopali I came across this recording on Youtube by Ustad Sayeeduddin Dagar. I didn’t include it in the section on the raga because it is long and slow.

Moreover the dhrupad style of singing is not easy to appreciate for everyone. I would, however, strongly recommend that you try out this recording when you have some free time to yourself and just allow it to caress your mind. I have heard other members of the Dagar family and I can say without hesitation that they are the best practitioners of music as a form of prayer and meditation: A more accessible but classically flawless composition is the famous Sahela re by Kishori Amonkar. I’ll second that! I know nothing of classical music, except some random names of raags. I’m going to be bookmark this post and read through it very slowly and carefully – perhaps one raag at a time, everyday, so that it stays with me. Right now (and simply because Madhuban mein Radhika naache re is one of my absolutely favourite songs), I’m listening to the ‘original’ rendition of raag Hameer.

Fantastic – I’m getting gooseflesh just hearing it. Thank you so very much, Subodh and AK.

November 8, 2011 at 11:42 am. Incidentally, Manmohana bade jhoothe, Ja tose nahin bolun Kanhaiya and Poochho na kaise meine rain bitayee also happen to be from All-Time -Favorites list too. ‘Ja tose nahin bolun Kanhaiya’ also led me to pursue Hamsdhwani – in greater details [I a only follow and understand classical music, but do not ‘know’ it].

The idea of adding-on peices of similar raaga in its original form is indeed great. Would you please take up series where classical singers have rendered hind songs. ‘Sa Re Ga Ma’ has published an audio songs CD on this topic. But their selection, even though quite well-done, can not have the soft touch persons like you. November 8, 2011 at 3:11 pm. My iconic songs would include: 1. Durga: Chanda re mori patiya le ja (Banjarin); Amjad Ali Khan’s iconic Durga/ Bhmsen Joshi’s Chatur sugharaa / Kumar Gandharva’s Rang jharaye 2.

Desi: Aaj gawat man mero jhoom ke (Baiju Bawraa); Omkarnath Thakur’s Kadam ki chhaiyaan/ Faiyyaz Khan’s Mhaare dere aao 3. Adana: Jhanak jhanak payal baaje (Title song); Pandit Jasraj’s Mata kalikaa bhawaanee But I am happy Subodh did this post, otherwise I would have missed the beautiful Ghanshaym sundara (I can not get over it), and so many other pieces he has selected with such great care and love. A trivia for dustedoff (I was hoping some one would mention it). In Slumdog Millionaire, they had erroneouly credited Darsan do Ghanshaym to Surdaas, which led to some protests by Gopal Singh Nepali’s descendants. November 10, 2011 at 6:29 pm. Arunkumar Dshmukh has sent me an e-mail which I am quoting verbatim: AK ji, Only the other day,I heard someone say,”Most film music lovers run away from classical music”.I think it is only partly true.

What the reality is that the word Classical Music is associated with some ustad so and so,having a Mehfil with only a Tanpura or a Violin,and who goes on repeating a word or a set of words again and again for half an hour each and such songs seem to be endless! Music is in every Indian’s blood.It is what one would call a “Virasat”of Indian culture.Music is in our life throughout right from birth to death.Every Indian grows up listening to his mother’s lories,marriage songs,holi songs etc etc. When Classical music is presented to people sans the Ustad’s mehfil and also in a short version with catchy and lilting tunes in a short time,it is always welcome.That is how our film music evolved and since last 80 years,is the delight of all Indians all over the world.The list of visitors to Music Blogs is a testimony to this indeed. Hindi film music has truely helped take classical music to the masses.Besides,it has played another role too. Subodh has very generously called me his ‘teacher’ which is not quite correct. We were both physics graduate students in love with Indian classical music.

We listened to music programs and records, discussed music often, and, as a hobby, tried to learn some too. We were having great fun! Our music teacher Pandit Uma Kant Pathak used to point out to his students a well known film song based on a raga as a reference to learn the raga.

For example, once I asked him about Raga Nand (or Anandi) and he said “you just have to listen to ‘tu jahan jahan chalega, mera saya saath hoga’. Everything of importance for the raaga is there in the song.” ( It is from film Mera Saya, composed by Madan Mohan). Well, congratulations for the beautiful site! And Subodh Agrawal has just started a process. It would be nice if visitors to the site leave their comment on their own favorite song for a particular raaga! Especially the less obvious ones! November 12, 2011 at 12:59 am.

I am delighted that I came here, serendipity to be thanked for! My husband is struggling to understand the concept of raagas, and my knowledge is highly amateur, so I don’t seem to be doing a good job of teaching him either. We’re both born in the 1980s but are afficionados of old hindi music, especially songs composed by Madan Mohan & Roshan. Sometimes, I recognize a raag in the song and tell my husband about other songs from the same raag – for e.g. The eternal Rafi-Naushad number ‘O duniya ke rakhwale’ from Baiju Bawra resonates with ‘Ae dil mujhe aisi jagah le chal’ in Aarzoo sung by Talat Mehmood and composed by Anil Biswas – both songs in one of my favorites, Raag Darbari Kanada.

We have only recently started this game, and I’m delighted that you have such a great line-up and a good reference. Please do add more, so that we can learn along the way too. Enjoyable read 🙂 January 21, 2012 at 11:44 pm.

Returning to the beautiful music in this post after sometime away from it, and I am enjoying the non-film clips as well as the film ones. (Actually, I have listened to Kishori Amonkar quite a bit just in the past few months.) Anyway, this time I wanted to add a couple of comments This is a favorite song from Aashiq (1962) I have most frequently seen claims that it was based on Raga Yaman, but sometime back, someone said in comments on my blog that it was based on a different raga entirely. Then someone said a combination I’d welcome any further guesses about that.

And in the comments above, someone linked to the famous song in Pardesi, but the video is gone, so here’s another copy: March 17, 2012 at 4:37 pm. Sir, i am a lay person as far as classical music is concerned but its magic is such that it binds you to itself ever since i chanced upon ur site, its almost as if finding a treasure trove of gems. Pls keep up the good work.

Sir, i had heard this song piya basera ghar ali- pt ghandharva (raga gaud malhar) which was the first song that hooked me to this genre of music. But the problem is it is difficult to find lyrics of these songs sir would you pls guide as to where i can find lyrics of this song n many more like it.

Pittu Singh July 2, 2012 at 12:55 am. Dears Mr Agrawal, Mr AK, A million thanks for starting such a splendid task. Sadly, I came across it only today- almost a year wasted! I have always been interested in Indian classical music, so far only in listening though.

But I have been wanting to learn the ABC of it for some time now. Unfortunately, for the last some years, have been enconsed in a place like Mozambique. Would be extremely grateful if you could suggest some website or some books/CDs etc wherefrom I could learn the basics so that the charm of listening to Indian classical music is enhanced even more.

Kind regards, rudola s p sinha August 29, 2012 at 8:30 pm. @Devendra Kumar Rudola: The two best sites I am aware of are and www. They both deal with popular, light classical as well as regular classical music, with a large number of audio/video clips. @s p sinha: ‘Geet gaya patharon ne’ is raga Durga; although not a very great example of it. Durga is an exceedingly beautiful raga which, for some reason, has not been used much in film music. The best examples are ‘Chanda re mori patiyan le ja’ from Banjarin, ‘Ye raatein ye mausam ye hansna hansaana’ private song of Pankaj Mullick and ‘Jaagiye gopal lal’ from Jawahar.

Devendra Kumar Rudola August 30, 2012 at 12:06 pm. Dear AK and Subodhthanks a zillion for this rare treat. Besides great colloection of film songs based on Classical Ragas, I shall always be more than grateful for the real rarew treat of – Classical asides in the orginal ragas. I am sppechless to hear – Abdul Karim Khan sahib and Bade Gulam Ali Khan sahib; Pt. Jasraj; Ustad Rashid Khan or Sanjeev Abhyankar. But even than thatUstad Siyauddin Dagaer sahab.

My special thanks for this. Because, almost 35 odd years ago, I had the fortune to hear Ustad Siyauddin Dager sahib at his Chembur residence while he hummed just for 4-5 of us and Ziauddin Khan sahib joining him. Dear AK and Subodhthanks again and yet again for this rare treat. With warmest regards and season’s greetings – KRV [looking forward eagerly to the next treat] Mukund Abhyankar October 28, 2012 at 11:06 pm. Dear Mr Vishnushanbhogue, thanks for your comment and also for the song ‘Dekho sajan churaye’ from ‘Hazar Haath’. It was new for me. It is indeed a rare song – I had difficulty locating it on Youtube.

Finally I found it: It came as a complete surprise to me that the ‘Titli Udi’ girls who specialized in Western sounding songs would be a music director and compose a classical song. I wondered if there were two different Shardas. But there is only one – Sharda Rajan Iyengar, who rose to fame with ‘Titli udi’ and whose latest offering is an album of Ghazals set to music by her (2007). The composition of ‘Dekho sajan churaye’ is very good.

However I am afraid Sharda has not been able to do justice to her own song. Her voice goes off key several times during the song and the contrast with Yesudas is stark. Still, a good attempt deserves all the appreciation it can get. Thanks again for making me aware of it.

Mehul Dave November 17, 2012 at 10:17 am. I am not an expert or even a layman by any stretch. I just like the music greatly and its almost like a meditation to me. About 2 years ago, I met a movie maker, Mrs. Geeta Desai who has produced a documentary on the northern Indian raga system after many years of work. Its called “Raga Unveiled”.

You can find it at this website. I found it very good.

I’m not related to Mrs. Desai in any form and do not get any commissions. I’m merely sharing something I found very educational and useful. Deepa November 30, 2012 at 4:07 pm.

Hi Subodh, The other evening you were very modest when you mentioned this contribution. I think you have done a great service to music lovers by bringing out nuances of various ragas in film music. Well done and keep doing it as often as possible. Thereis a Bandish by Pt.

Jasraj, “Sakhiri Ab Too Mat Kar Baat, Badi Raat Ham Sowat Jaat” I havent been able to figure out this Raga. Can you help?

Oh Yes Amar Bhupali Ghanshyam Sundara was indeed the song with which most Marathi speaking people of my generation would be most familiar. Ramesh Phadke March 13, 2013 at 10:53 am. Thanks again Ramesh for your appreciation. Now to your queries.

I couldn’t find a working link to Jasraj’s ‘Sakhi ri ab tu mat kar baat’. However my search indicated that it is in Des Ang Ki Jaijaiwanti. I found another bandish by him in this raga: Listen to this and see if it sounds like the one you have mentioned. To me it sounds much closer to Jaijaiwanti than Desh. Now to ‘Ab ke ham bichhare’ and ‘Malawoon taak deep’.

Yes both sound very similar. It was not a raga I knew.

It sounded like Bhoopali/Shudh Kalyan in the lower half of the octave and Bhairav in the upper half. Searchin on these parameters helped me locate the raga. It is called Bhoopeshwari. It has the same notes as Bhoopali, with the difference that dha is komal – which is what makes it sound like Bhairav. Ramesh Phadke March 13, 2013 at 9:58 pm. Thank you Ravi Kumar. ‘Laga chunari mein daag’ is an excellent example of Bhairavi.

Bhairavi is possibly the most popular raga in film music and I would need to cover it in more than one post – as and when I come around to it. As I mentioned in one earlier comment somewhere, Bhairavi is usually the last raga to be played in a classical concert. I will come to it after I am done with the other popular ragas like Darbari, Bihag, Pilu, Mand, Shivranjini, Jaunpuri, Bageshri, Rageshri etc.

Gairik chakrabarty May 18, 2013 at 7:55 am. Thanks Vidyunmala, Srinivasan and Chetan.

This was only a sample of iconic songs in some ragas. Not only Shivaranjani, but many other ragas had to be left out. Later I have added articles on Yaman, Pahadi, Chhayanat, Gaud Sarang, Gaud Malhar, Kamod, Malkauns, Desh and Tilak Kamod, while AK has written a beautiful one on Durga.

It will take us several years to go through even half of the major ragas! Shivaranjani is a beautiful and evocative raga with several outstanding songs. Some of my favourites, other than those mentioned by Chetan are, ‘Dharti ko aakash pukare’ from ‘Mela’; ‘Karoge yaad to’ from ‘Bazaar’ and ‘Laage na mora jiya’ from ‘Ghunghat’. Apart from ‘Mere naina sawan bhadon’ there is also ‘More naina sawan bhadon’ from ‘Vidyapati(1964).’ Interesting to find two songs with similar mukhdas on the same raga.

Suchibrata bhattacharya August 18, 2013 at 11:53 am. शास्त्रीय हिन्दुस्तानी संगीत का परिचय यदि रागों पर आधारित फ़िल्मी गीतों के माध्यम से हो तो रागों की पहचान बहुत सरल हो जाती है. किसी राग पर आधारित फ़िल्मी गीत के साथ उसी राग की शात्रीय बंदिश रखने से तो फिर उसे भुलाया नहीं जा सकता.

आप का प्रयास अवश्य सराहनीय है. इस के लिए आप हम सब संगीतरसिकों के धन्यवाद के अधिकारी हैं. इस संकलन में आप की रागों को परखने की क्षमता के साथ साथ आप के अविरत परिश्रम की भी धारणा की जा सकती है. आप को बहुत बहुत धन्यवाद.

अनिलभाई दवे ११, विश्राम पार्क, वासणा, अहमदाबाद. September 16, 2013 at 3:30 pm. An extremely useful site for lovers of both classical music and film songs, and I would express my gratefulness for the excellent write-up, presentation, prompt responses to queries, etc. I am no expert but I think answers to a couple of comments on this page may be in order. Please excuse me for any errors. Deepali (30.6.2012) – The song by Pt. Kumar Gandharva is in raga Gaud Sarang and not Gaud Malhar, if I remember right.

Srinivasan (22.7.2013) – One great film song based on Shivranjini is by Shankar-Jaikishen duo in the film Patrani (1956) ‘Chandrama’ which is an unforgettable piece for old timers like me. You can listen to this on the Internet.

Those of you who want to have a list of popular Hindi (and Marathi) film songs based on different ragas can usefully peruse the book ‘Sangeet Sarita’ by Dr. Vithal Thakur of Goa. This book is in Marathi but those who know the Devanagari script can understand the contents easily. The God Who Is There Schaeffer Ebook Torrents more.

This book lists over 100 ragas with corresponding popular film songs, and also has a reverse index. In the sea of classical music, it is impossible to compile a complete list, and so this booklet too does not claim to have all the songs.

I am not in any way connected with the author or the publisher of this book but as I was very much impressed by this compilation, I had presented copies of this booklet to many relations and close friends who, like me, are interested in trying to enter the vast expanse of classical music through the portal of Hindi film songs. As the creators of this website have pointed out earlier, the website is a very useful site for people who want to explore Hindustani classical music.

I too refer to this site often and have recommended it to many others. Thanks again for all the trouble you have taken to set up this website and to respond to queries. May God bless you both (Mr.Agrawal and Mr AK – ‘may your tribe increase’, to quote from Abou Ben Adam’s poem), and we eagerly await additions of many more ragas to this site. Rugram September 22, 2013 at 8:56 pm.

AKji.Classical songs of the golden era based on the ragas were the real gems of the indian films.Credit for the popularty of such songs goes to each and every music directors of the yester years like Naushad,Anil biswas, Madan mohan,Shanker Jaikishan,S D Burman. And many more. Not forgetting the beatiful rederring by the great Lataji,Rafi saheb, Mana Dey,Ashaji, Kamal Barot,Zora Bai.again the list is unending. We are deprived of such songs in nowadays movies. At present Ragas based songs are the rarest comodity for the ears.

That reminds me of the great Madan mohan’s classical rafi asha duetHum safar saath apna chhod chale Rishte nate woh saare chhod chale indeed this fading of richness is unbearable for the music lovers. K s bhatia October 2, 2013 at 12:10 am. AKji, This is in continuation of my comments of 30’th september. I am recalling two old songs of the mid 60’s which rightly forcasted the standards of music and so called lyrics of the nowadays songs; that too; almost 50 years back. The first one is.Suno ji suno hamari bhi suno.from Ek phool char kante, and the second oneTein kanastar peat peat kar galla phaar ke chhillana yaar mere mat bura maan yeh gaana na bajana hai from Love marriage.

No one listen to thumri and dadra whereas the youth of today are mad after metallic and mix rock music. I think someone should take initiative to guide such people to listen to classical waltz and country music of the gone era of both western and indian classic movies.

Naushad, Shanker jaikishan, S D Burman, Madan mohan etc.all have very effectively based their melodies on western classical music in the past. They were the benchmark for others to follow and us to listen.I think one should also give ears to the great Richard clyderman, Jameslast, billy vauge, andreetc. All of them have mastered over instrumental music and orcastraization. Classical music have no boundries;be it indian or western enjoy the music to the full contentment of mind,soul and heart.

October 2, 2013 at 9:37 am. K S Bhatia, So well said. As for the quality of lyrics, this can be made up by quality of music. We do have a number of yesteryear songs with poor lyrics which we do not notice as the music was outstanding. Classical is the soul of music. It can never go out of fashion.

In Rajneeti, ‘Mora pita mo se bloat nahi’ creates a magical impact, because it retains the pure form. Sometimes the temptation for experimentation goes overboard – ‘Hamri atariya pe’ in Satyagrah is blasphemy. Ksbhatia December 3, 2013 at 10:54 pm.

Many many thanks for posting this song.This reminds me of my childhood when I was eight year old playing goolie danda,kho kho and yo yo. This movie reminds me of one more songek do teen char panch naach mere man naach khushi se naachfrom Teen Batti Char Rasta;a Karan Diwan starrer. I used to sing this song on stair case copying the hero.See how music bring back the childhood memories. There is one more song which is ringing in my years and that is.Yeh zindgi hai yo yo.if I am correct it is probably from the movie.

Picturised on yester years vetren actor Manmohan Krishan. December 5, 2013 at 6:19 am. Very well research articles based on classical music and Hindi film songs based on Ragas.

Although, I know this website is not about the nineties and beyond, however it would be great if one could make an exception in case of songs based on classical music. I request you to please dedicate a few articles on Raga based Bollywood songs of modern times. I admit there won’t be many but movies like Sardari Begum or music from Rahman, Ismail Darbar, Shankar Mahadevan would have a few good examples. April 24, 2014 at 11:11 pm.

AK’ji, Running thru the various interesting observations I find that some of the MDs were really dedicated to the ragas and had their choice of the ones best suitable to their tunes. I can recall some songs composed by the late Pt. Ravi Shanker.” Hai re woh din kyun na aai ” by Lata’ji in Anuradha.and ” Holi khelat nand lal bhiraj mein ” by Rafi in Heera moti?

[ Iam not sure]. Pt Ravi Shanker ji gave such a nice soothing melodies; why he left the film music I could not understand. Perhaps he was destined to write history with his golden fingers on SITAR. I would like to know more about his Filmography. May 14, 2014 at 1:24 pm. KS Bhatiaji, Had Ravi Shankar taken to composing for films in a major way, it would have reduced his brand equity as a top classical musician.

He had to remain a niche composer. To my knowledge, he composed for the following Hindi films: 1. Neecha Nagar (1946) 2. Dharti Ke Laal (1946) 3.

Anuradha (1960) 5. Godaan (1963) 6. Meera (1979) 7. Gandhi Hindi/English (1982) Besides the above, he composed for Satyajit Ray’s Apu Trilogy and Parash Pathar and Tapan Sinha’s Kabuliwala (Bengali).

He is also famous for composing the music of Saare jahan se achcha and the Welcome Song of 1982 Asian Games, Shubh swaagatam shubh swaagatam You are right, Holi khelat Nandlal Biraj mein is his composition – it is from Godaan. Heera Moti is also based on a Premchand’s story: Do Bailon Ki Katha. Its music was given by Roshan. Subodh Agrawal May 15, 2014 at 10:38 am. Thanks AK’ji,Subodh’ji, With Monsoon around the corner I think we should enjoy some songs based on Megh- Malhar and list them for the SoY’s family members.

” Rim jhim ke tarrane le ke aai barsaat ”.” Barsaat mein hum se mile tum “.”Zindigi bhar nahin bhule gi barsaat ki raat “.” O O sajna barkha bahar aai “”Jhule mein pawan ke aai bahar “. ” Nain mele chain kahan dil wahin hai tu hain jahan “.”Ketki ghulab ki ”. My heart is already dancing to these melodies. Subodh’ji I am not sure about the raags of the last two songs.

Are they also based on megh- malhar? Subodh Agrawal May 18, 2014 at 8:27 am. Dear Mr Bhatia, yes Monsoon is a time to get romantic, but it is not only Malhar and its variants that capture the mood. Many other ragas do it quite well.

You would have seen my post on ‘The Romantic Quartet’:. Only one of these four was a Malhar.

You have mentioned some great songs. As far as I can tell, none of them is Malhar per se. ‘Zindagi bhar’ is Yaman; ‘Barsaat mein.’ is Bhairavi; ‘O sajnaa.’ is Khamaj; ‘Jhule mein pawan’ is Pilu; and ‘Ketaki gulab’ is Basant Bahar. I can’t tell the raga of ‘Rim jhim ke taraane’ and ‘Nain mile chain kahan’.

The second one sounds vaguely like Shudh Sarang in snatches. Just illustrates my point that ragas other than Malhar can be used effectively to capture the Monsoon magic. For Megh Malhar proper you could listen to ‘Barso re’ from Tansen; ‘Dukh bhare din bite re bhaiya’ from Mother India; and ‘Tan rang lo ji aaj man rang lo’ from Kohinoor. Ksbhatia May 18, 2014 at 3:59 pm.

Thanks Subodh’ji.I am delighted and enlightened by the very indepth studies on ragas dedicated to the romance. I must confess my limited knowledge on ragas; but I do become curious and eager to learn more. My listing of songs was to set the mood for the coming days and I am happy to note that the songs are yours favourite too. There is a reference to Charlie chaplin’s Limlight ‘s theme music, in one of the observations, as based on ragas. I think same can be applied to the theme or title music of Lawrence Of Arabia which also seems to resemble closely.

May 20, 2014 at 12:19 am. Subhodh Ji, gone through this post today. You have done a wonderful job and I intend to go through all your posts on Indian classical music one by one. We have all been enjoying these songs all through our lives without the knowledge of their basic construction. Your article and the informed inputs provided by knowledgeable readers make thirsty listeners like me go through these write ups repeatedly. The mention of a favourite rare song of mine, Mere naina saawan bhadon from Vidyapati, music by V.Balsara made me especially happy.

Just two queries: Which raags have been used in the songs, O mere raanjhna, rukhsat ka hai sama by from ‘Heer’ and Intezaar aur abhi from ‘Char Dil Char Raahein’. (Both have music by Anil Biswas and are sung by Lata). AK Ji, You have asked a question in your comment dated 29th July ’12 as to whether there is a bhajan in which all four, namely Rafi, Naushad, Shakeel Badayuni and Dilip Kumar are there. From film Amar, ‘Insaaf ka mandir hai ye, Bhagwan ka ghar hai’ has all the four, the only hitch being that Dilip Kumar is not lip synching.

(The song has been sung in the background). An added consolation is the presence of Madhubala (Mumtaaz Jahan) in this song. Subodh Agrawal May 20, 2014 at 7:38 am. Great effort!

It is heartening to see so many correspondents interested in this pursuit of semiclassical Hindi film songs. Most songs in the older movies were based on classical raagas although may not qualify for the ‘semiclassical’ tag. For instance, the iconic Junglee song ‘Chahe koi mujhe Junglee kahe’ which was was based on Bhairavi. Well, there are hundreds of them.

A couple of suggestions: Jyothi Kalash chalke is probably based on Raag Deshkaar rather than on Bhupali, by virtue of its movements mostly in the higher registers. Jhanan jhana ke apne payal is based on Raag Shankara, a favourite of the classical singers of yore. Thanks for the wonderful site! It is such a joy to go through it. Nagesh June 9, 2014 at 11:14 pm. Thank you Nagesh. As for ‘Jyoti kalash chhalke’ I would say it is Bhoopali despite its movement into higher notes.

Don Mock Guitar Secrets Revealed Pdf Converter. Deshkar has a very limited movement and does not provide the lyricism of Bhoopali. You may like to hear this piece by Ustad Amir Khan to see what I mean: Thanks for the comment on ‘Jhanan jhanjhana ke apni payal’.

The alaap before the song begins is very much Shankara, but the raga hardly makes an appearance in the rest of the song. It does appear to be an eclectic mix of ragas. Op Rajput June 15, 2014 at 6:16 pm. Hi Subodhji & AK ji. I thought I’m the only one crazy enough to try to identify raagas in film songs. Here I find a whole portal & a whole lot of people doing the same. ‘Jhanan jhan jhanake apni paayal’ I think is ‘maaroo behag’.

And so is ‘Matwalinaar’ from ek phool chaar kante & ‘paayalwali dekhna’ from Ek Raaz (1963). I’d like to know the raag of the fol: if you please 1. Haal kya hai dilonka na poocho sanam (Anokhi Ada) 2. Ye maana meri jaan mohabbat sazaa hai (1972) Madan mohan in haste zakhm 3. Yun Hasraton Ke Daag mohabbat main dho liye (1958) Madan mohan in Adaalat 4. Ye zindagi useeki hai (1953) C Ramachandra for Anarkali 5. Kisee ne apanaa banaa ke muz ko muskuraanaa sikhaa diyaa (1953) Shankar Jaikishan for Patita 6.

Kaare kaare baadra jaare jaare baadra (1957) Chitragupt for Bhabhi One or two I might have already known but am not able to put my finger on it. Thanks for your wonderful website & the interest of you both in keeping alive our great tradition of classical music ‘Khazana’. More power to you. Subodh Agrawal July 25, 2014 at 6:46 pm. Welcome to Songs of Yore Latha ji. Thank you for your generous appreciation. As for the songs mentioned by you the first two have me stumped.

Kawwali style songs generally move freely between ragas and people with limited knowledge like me find it very hard to pin them down. ‘Yun hasraton ke daag’ is classified as Yaman. It is a beautiful song but the movement is not very typical of Yaman.

The same is true of ‘Yeh zindagi usi ki hai’ and Bhimpalasi. ‘Kisee ne apna bana ke’ is Bhairavi. ‘Kaare kaare badra’ is very typical of Brindavani Sarang. ‘Matwali naar’ is an excellent example of Maru Bihag; but I don’t think it quite fits ‘Jhanan jhan jhanake apni payal.’ latha July 26, 2014 at 12:29 pm. Thanks a lot for your prompt reply & identification of the ragas, Subodhji. As for the ragas mentioned above, 1.

Zindagi aaj mere naamse sharmathi hai & Mohabbat ke rahome chalna sambhal ke by Mohammed Rafi are my favoutites other than the wonderful ‘Man mohana’ that you have posted in Jayjaywanti. Who can match Manna dada in his classical potential? Jare beimaan tujhe jaan diya from “Private secretary” (1962) is my all time favourite in Bhagashree. Tu cheez badi hai masth masth has made “Bhimpalasi” eternal by its unimaginable classical nuances by the Pakistani singer, Nuarat Fateh Ali khan. Both the raag & khan were catapulted to popularity in India thanks to this song. Rahman says he was a fan of his long before ‘tu cheez badi’ came into picture.

This song became so popular that it was difficult to miss it wherever you went. The former election commissioner T N Seshan when asked to comment about Lalu Parasad Yadav said in a TV interview to Nalini Singh (imagining Lalu) “Tu cheez bada hai bhrasht bhrasht” which became a regular joke in the film industry.

As far as Bhupali (Mohanam in karnatic music) is considered, it had been a favourite of Shankar Jaikishen. Meri mohobbat jawan rahegi (Janwar 1965) 2. O mere shahe khuban (Love in Tokyo) 3.

Sayonara (Love in Tokyo) are a few examples. Hamir ka kya kehna? Just take a look at Hema malini’s dance for the tarana sung by Gopi Krishna (?) on the background. The picture itself is a classic directed by Gulzar starring Dr Sriram Lagoo (as you can see) Dharmendra, Jitendra etc. Classical music lovers would love to cherish it – available in YouTube.

This is why I love RD Barman, mere mehboob kalaakaar. Nobody to match Panchamji. His prowess in classical music matched with his mutitalents with various folk, Rock, Jazz.you name it. Rahman always makes it a point to say that RD was his mental guru like Drona was for Ekalaiv. May RD’s soul rest in peace. Or is he making music for the souls in heaven?

Another song that comes to my mind is the prayer song in Guddi, “Humko man ki shakti dena” with matchless lylics from Gulzar. It may be Hamirkalyani. No much difference. Hansdhwani ka kya kehna? As a south Indian connoisseur of karnatic music, I absolutely love this raag. No katcheri (concert) starts without a Ganesh vandana, “Vatapi Ganapathim” in this raag. Kalawati & janasammohini – Yes.

Pretty confusing. Mere mehboob na ja aaj ki raat naja (Noor mahal 1965) b. Kabhi tho miloge jeevan saathi (Sathi Savithri 1964) c. Ek haseen shyam ko dil mera kho gaya (Dulhan Ek Raat Ki 1966) d. Agar dilbar ki rusvayee hamen manzoor ho jaaye (Khilona 1970) Which is which? Would somebody enlighten me?

Jumping to 10. Raag Ahir Bhairav. Yes there are many soulful songs in films in raag Ahir bhairav Meri veena tum bim roye from the film, “dekh kabira roya” by Madan Mohan (1957) & Aaj hai pyaar ka faisla e sanam aaj mera mukaddar badal jaayega from leader (1964) by Naushad for example. Dr balamuralikrishna would want to take every raaga as a challenge. So he conceived this peculiar characteristic idea of his which nobody else could’ve thought of. He wanted to make a lilting thillana (tarana in Hindusthani) in the soulful raag Ahirbhairav just to show that this raag can be made a danceable one. There are many classical dancers who dance to this tarana today.

Take a look at he himself enjoying singing his own tarana (He has been given a title, “thillana mannan” meaning King of taranas not for nothing.) with his signature “Manjula mohana ‘murali’ lehri” Taliho Until next time. July 26, 2014 at 4:04 pm. Nice write-up. A pleasure to read qualitative opinion than a dry list of ragas and songs based on it. One kedar composition I love is “Aap Yun Hi Agar Humse Milte Rahen” OK, OPN has thrown the bhakti ras out of the window, but what a composition! I agree Na Bole to be the iconic Bageshri, but I also love SJ’s Javo Javo Nand Ke Lala Tum Jhhote’ Darbari is another important Raga though Jhanak Jhanak Tore Baje Payalia is more classical, I’ll prefer to go with O Duniya Ke Rakhwale as the iconic song. O.P.RAJPUT July 28, 2014 at 8:52 pm.

Latha: Thanks for the excellent selection of songs, particularly the links to ‘Kinara’ and of Balamurali Krishna. Harish Kini: ‘Jao jao nand ke lala’ is an excellent composition in Bageshree. Somehow it had gone off my radar. Thanks for bringing it back. Thanks also for answering KS Bhatia’s query about ‘Man ki pyaas bujhane aayee’. OP Rajput: Sorry, I am not sure.

This style of singing moves quite freely between ragas – mostly related to Bilawal, Khamaj and Kafi. I see glimpses of each but can’t pin the songs down to anyone of them. As it is, I am rather out of my depth in Bilawal – this raga continues to evade me. Rushikesh Astikar: Thank you for your appreciation. KS Bhatia: Harish Kini has correctly answered your query. I am listening to the songs mentioned by Arvinder Sharma and Srinivasan. Will revert on them.

Latha August 5, 2014 at 8:45 pm. No one seems to have mentioned OP Nayyar’s two pucca classical songs in Ragini (1958): 1. Jogiya mere ghar aaye (Raag Lailt) by Ustad Amir Khan 2. Chhed diye mere dil ke taar kyun (Raag Kaamod?) by Ustad Amanat Ali and Ustad Fateh Ali (Some links erroneously mention Ustad Amir Khan as the singer) Subodh, Chandrakantha identifies it as Kaamod, but I hear some other Raags too, especially Kedar.

Am I mistaken? His Desh too, Bekasi had se jab guzar jaaye in Kalpana is also very good.

Ksbhatia August 6, 2014 at 12:16 am. My job has been made very easy by the comments of knowledgeable readers of the blog. Thanks in particular to Latha ji. Whatever remains is covered by this blog: ‘Raat bhar ka hai mehmaan andhera’ is classified as Jogiya on all classical music sites. I, however, have a problem with that. Bhairav and Jogiya are two closely related ragas, and it is not easy to distinguish between them for a layman.

Jogiya is distinguished from Bhairav by its use of komal nishad. More than that it is the movement and mood that sets the two ragas apart.

Bhairav tends to be ponderous and slow; it is more suited to an introspective mood. Jogiya moves easily to higher notes. It is ideal for depicting a cry from the heart. Listen to these two classical pieces and make your own judgment: Jogiya by Ustad Abdul Karim Khan: Bhairav by Pandit Jasraj: One word about ‘Chhota sa baalma’. It is set to Tilang, but with a lot of mixing of other ragas. A purer example of Tilang is ‘Sajan sang kahe neha lagaye’: Subodh Agrawal August 6, 2014 at 7:48 am.

For O P Nayyar lovers like me, K S Bhatia, Arvinder Sharma, Srinivasan & others. There is a wonderful song based on Yaman in Ek baar muskurado “Savere ka suraj thumhare liye hai” sung by Kishore Kumar. Another song “Yeh dil leke nazraana” sung by Mukesh & Asha from the same film and the song from Kashmir ki kali, “Hay re hay, ye mere haath” are based on Raag Brindaavan saarang. There is a similar Punjabhi bhangra in the same raaga composed by Roshan in “Vallah Kya Baat Hai”, ‘Khanke Tho Khanke Kyon Khanke ‘ starring the beautiful Bina Rai with Shammi Kapoor, Subodhji, hope I’m right. Chao until next time. Srinivasan August 8, 2014 at 11:55 am. Srinivasan’ji and all others, Both the songs of Guide and Kashmir ki kali reminds me of a very old hollywood black and white classic movie of the 40s” Casablanca ” starring Ingmar bergman and Humphery.

In one of its best scenes Humphrey is sitting in a poorly lighted room having drink in the company of his singer and Piano player employee Sam.A.la.Guide scene of Dev and his employee. One must listen to the song.”As times go by “.to feel the similarity and the situation of the song and get entertained. SSW August 9, 2014 at 5:08 pm. Mr.Bhatia, that is interesting. I have watched Casablanca many times mostly for the interaction between Humphrey Bogart and Claude Rains. I did not catch the situational similarity between As Time goes by and the songs from Kashmir Ki Kali and Guide. I remember both the memory of “play it once Sam, for old times sake” and “play it Sam” which is purely instrumental.

I really like the Indian melodic structure in both our sons though, plus the adavantage of of using two different wind instruments beautifully in the songs. Manohari Singh’s tenor saxophone solo in Kashmir Ki Kali is wonderful and so is fhe flute in Guide. Subodh Agrawal August 9, 2014 at 6:05 pm. To my untrained ear in non-classical settings Desh tramples all over Khamaj, Tilak Kamod or maybe Khamaj does that too on the other ragas in its thaat so I stay away.

Maybe some of these songs are inspired by generations of folk melodies which have a typical cant. I have a question for you Subodh. Is Khamaj typical in folk melodies of the Punjab? I’ve noticed a remarkable predilection for it amongst Bengali composers. A take on its Carnatic equivalent Harikhambhoji in Malayalam.

I like this song for the lyrics too, but the only translation I could find in English was abysmal. A lot of synthesizer programming here which I am not overfond of, but it is still a lovely song. Sung by Chitra, a pensive song, a song of longing. I think the komal nishad lends itself to that feeling of straining to reach the sa for completion. August 9, 2014 at 11:45 pm. Latha Ji, Many thanks for your uploads. I have been reading your posts of late, and am really envious as to how you people are so adept in the understanding of raags, whereas I myself am so fond of classical music, but do not have this talent.

Regarding the songs you posted, I am partial to the later two songs you have mentioned. Now listen to another song in the same hilarious Punjabi mould by Chitragupta, who was not a Punjabi.

(Both the songs that are earlier mentioned are composed by Punjabi MD’s, namely OP Naiyyar and Roshanlal Nagrath. Gori odh ke mammal nikli from ‘Kali Topi Lal Rumaal’ by Rafi, Asha and chorus, music by Chitragupta. Gori Udke Malmal Nekli Rafi Asha KALI TOPI LAL: I will take this opportunity to present three Rafi Lata duets based on classical music which are my favorites. Toone chhal kiya from ‘Piya Milan Ki Aas’, music SN Tripathi. Toone Chhal Kiya Mohd Rafi Lata Mangeshkar Film P: Jhan jhan jhan.

Baaje payaliya from ‘Rani Roopmati’ music SN Tripathi. Jhan Jhan Jhan Baje Payaliya Lata & Rafi Film Ran: and Gori aankhon me daale kajra from ‘Keechak Vadh, music by Master Krishna Rao.

Gori Aankhon Mein Dale Kazara-Keechak Vadh: Subodh Ji, I’ll request you also to kindly comment. August 10, 2014 at 8:34 am. Hello Arvinder, Recognising raagaas is a pastime of us south Indians (& many north Indians). I’d been doing this from childhood & as they say ‘practice makes perfect’ though nobody can claim to be perfect. As far as the songs you have posted are concerned, The later 2 fall in the category of ‘Brindaavan Saaranga’. I am not able to put my finger into the first 2 songs. There is this video that I’m posting which introduces this raag with a one line ‘mukhda’ & how it should be sung in less than 6 minutes.

If you listen to it several times, it would become easier to identify this raag whenever you hear it with the kind of taste that you have. This raag comes close to another one in Hindustani classical, “Megh Malhaar’, not to be confused. Thanks for your appreciation, Arvinder which will go a long way in intensifying my interest & search in this field. Srinivasan August 11, 2014 at 12:16 pm. Referring to Lathaji’s comment (158) on Brindavani Sarang, the 6 minutes rendering of this raga is really useful to identify this raga. However, many a times when I listen to songs based on this raga, I get a doubt whether the raga is Brindavani Sarang or Sur Malhar, as they are very similar!

A write-up on the webpage brings out the difference in the avaroha part of the two ragas. Thank you Lathaji for writing about the excellent piece on Brindavani Sarang on youtube. Latha August 12, 2014 at 3:57 pm. Srinivasanji, I agree with you 100%. MS amma’s rendering of “Sri Rangapuravihara” is the ultimate in Brindavan Saranga. I just wanted to introduce the raag & its ‘chalan’ & hence though MS crossed my mind, I posted Santhanagopalakrishnan instead.

Rugramji, Though Sur(das) Malhar is rare, Pt Bhimsen Joshi’s rendering is good & makes the raag quite clear. As you say, the avaroh part is different from Brindavan Saranga & that’s what distinguishes one from the other.

Thanks for the appreciation which will certainly make me go further in this quest & thanks for introducing the raag Surdas Malhaar. August 15, 2014 at 4:45 pm. Lata Ji, Many thanks for identifying the raags of my favorite songs and the useful clip accompanying your post.

A very diligent listening, akin to going back to the school, will have to be the drill. Subodh Ji and AK Ji, Three interesting video clips, where you will find two of Maharashtra’s legendary composers, namely Sudhir Phadke and C Ramchandra, enthralling their audiences with great classic compositions. Jyoti Kalash Chalke – Sudhir Phadke – Bhabhi Ki C: C Ramchandra singing live Aadha Hai Chandrama Raa: C. Ramchandra Live: Mohabbat Aisi Dhadkan Hai (BB: Many thanks to YouTube once again.

Krishna kadambi August 24, 2014 at 8:59 pm. This is a wonderful site for which Subodhji &AK ji deserve a thousand thanx. With so many people contributing, it is sure to become more popular as the days go. I would like to know the underlying raagas for the fol: songs naino mein badra chaye, Aaj socha to ansoo bhar aaye, ( Mmohan) mil ja re jaane jaana.,(benazir), kaise kahoon 2, mere ji ki batiya, tere mere sapne ab ek rang hain(SD) Radhike toone bansuri churayi, (SJ), Jaag dil-e-diwana rut jaagi(chitragupta) September 1, 2014 at 4:28 pm.

Super article and comments. My 2 cents 1. Raag Maru Bihag.

Song – Tum toh pyar ho, sajani. Film – Sehra. Music – Ramlal, I think. The best Maru Bihag that I have in my collection is an LP by vidushi Prabha Atre.

Would also like to mention a live concert that I heard about 3 years back, here in Pune, at Sawai Gandharva sangeet sammelan by Pandit Hariprasad Chaurasia. Raag Lalit Song – Ek shahenshah ne banwake haseen Taj Mahal. Film – Leader Music – Naushad.

Also a ghazal by Jagjit Singh, Koi paas aaya savere savere. Raag lalit doesn’t figure in a lot of pure classical concerts but I have an LP by Ustad Amir Khan sahab which is worth mentioning. One other by Ustad Bismillah Khan sahab is outstanding. Latha September 2, 2014 at 10:30 am.

Hai SBji, Yes. Prabha Atre is an expert in Maru Bihag. The film song, “Zubane badalthe hai” is also based on “Maru Bihag”. Lalit is another raag sung early in the morning. “Raina beethi jaay” starts in this raag.

Hi Asokji, ‘naino mein badra chaye’ is supposed to be Bimpalashree (Bhimpalas). In films one cannot get songs based entirely on a raag. There are bound to be deviations to make them ‘popular’ even among those who do not know classical music. Hence one can mention the raag only in a broad based sense. Of course, there are MDs like Naushad & Ilayaraja from the south who stick to rules in most of the songs.

Tere mere sapne is based on raag “Gaara”. Radhike toone bansuri churayi is “Adaana”. I leave the rest to better persons than me. SB September 2, 2014 at 12:09 pm.

Ashok ji, Latha ji has given all the answers that I could give to your queries. Most Hindi film songs, even those that sound ‘classical’ are not set to any specific raga – there is usually a lot of mixing.

This post is specific to those songs that are true to a particular raga and have become iconic examples of that raga. SB, you have set me a very pleasant task. Top 5 is always dicey: I notice that the list I have given in my post on Darbari is different from the one here! Top 10 personal favourites, that too instrumental and vocal separately, should be a lot easier. Here it goes: Vocal: 1. Amir Khan – Marwa 2.

Amir Khan – Malkauns 3. Dagar brothers(elder) – Darbari 4. Bhimsen Joshi – Malkauns 5. Kishori Amonkar – Bhupali 6.

Bhimsen Joshi – Shudh Kalyan 7. Amir Khan – Megh 8. Jasraj – Shudh Nat (comparatively rare) 9. Kumar Gandharva – Bageshree (purists have some problems with it!) 10. Prabha Atre – Yaman Instrumental: 1.

Vilayat and Imrat Khan – Miyan ki Malhar 2. Ali Akbar Khan – Lajwanti 3. Vilayat Khan – Yaman 4. Imrat Khan – Marwa 5. Pannalal Ghosh – Yaman 6.

Nikhil Banerjee – Malkauns 7. Ravi Shankar – Nat Bhairav 8. Vilayat Khan – Jhinjhoti 9. Abdul Halim Jafar Khan – Pahadi 10. Vilayat Khan and Bismillah Khan – Chaiti Dhun As a bonus here is a list of my favourite short recordings: 1.

Mogubai Kurdikar – Yaman 2. Amjad Ali Khan – Bihari gat 3. Jasraj – Nagardhwani kanada(Hamko bisar kahan chale) 4. Jasraj – Adana (Mata Kalika) 5. Bade Ghulam Ali – ‘Saiyan bolo’ Pilu 6. Bade Ghulam Ali – ‘Yaad piya ki aaye’ Bhinna Shadj (sounds more like Hemant) 7.Abdul Karim Khan – Shudh Kalyan (Mondar baaje) 8. DV Paluskar – Gaud Sarang (Piyu pal na laagi mori) 9.

DV Paluskar – Malhar (Aayi samdhan mori) 10. Bhimsen Joshi – Todi(E ri maayi aaj shubh mangal gaao) latha September 3, 2014 at 12:16 pm. Hello Subodh ji Dr Prabha Atre – Yaman, wasn’t to be found in my collection. All the other 19 titles r with me. Could u send me the details of YAMAN regarding whether it’s on a vinyl or CD, which bandish, etc.

Mentioning my favourites, the very very best of Indian classical music, KUMAR GANDHARVA – Raag Nand. Bandish – Rajan ab toh aa. KUMAR ji again – Raag Bhairav, Bhairav ke prakaar Shivmat, Bhavmat, Bihad Bhairav. Both these renditions are absolutely stunning and my favourites. O.P.RAJPUT September 7, 2014 at 12:34 pm.

Thank you SB. I will search for the these recordings of Kumar Gandharva. I have no details of vinyl or other recordings of Prabha Atre. I have heard her Yaman on Youtube. Mr OP Rajput: I had also thought of ‘Tere mere sapne’ from Guide as Jaijaiwanti. But all standard references on the net list it as Gara. Gara is a very tricky raga – in fact some people say it is not a raga at all but just kind of bandish.

I could have sworn ‘Mohe panghat pe nandlal chhed gayo ri’ from Mughale Azam was Pilu, but it is also Gara. I don’t understand this raga at all. Subodh Agrawal September 7, 2014 at 5:08 pm. Continuing further on the Gara territory. Lists ‘Kabhi khud pe kabhi halaat per rona aaya’ from ‘Hum Dono’ and ‘Aise to na dekho ki hamko nasha ho jaye’ from ‘Teen Devian’ as Gara. If that is so then ‘Aap aaye to khayal-e dil-e nashad aaya’ from ‘Gumraah’ must also be Gara because the similarity is striking. They are not far from ‘Tere mere sapne’ either.

However, I don’t see (hear) anything in common between them and ‘Mohe panghat pe nandlal’. Gara is confusing! Latha September 8, 2014 at 6:10 pm. Thanks Bhargav.

I am afraid I can’t pinpoint the raga of ‘Chalo chalein maa’. It follows mostly the scale that is common to Darbari and Asavari (komal ga, dha and ni) but does not follow the movement of either of them. It also uses shudh ga and ni, which are not permitted in these ragas. The number of ragas in the Kanada family, of which Darbari is the leader, is enormous, and I can’t claim to know even one tenth of them. It could be one of the ragas from this family, or it may just be some mixture that doesn’t follow any raga in particular. Thanks for reminding me of this childhood favorite. Makes me wonder, however, why all movies for children at that time – late fifties and early sixties – were such tear-jerkers!

Maybe the film-makers of that time all had very unhappy childhoods. Shrinivas December 16, 2014 at 10:51 pm.

Dear Subodh, Thank you for this wonderful site and it is indeed a pleasure to go through various discussions. As regards list of Maru Bihag based compositions, I would like to add the following songs: 1.

Payalwali Dekhna. Film: Ek Raz, Singer: Kishor Kumar, 2. Likhne Wale Ne Likha Hai Film: Arpan, Singers: Lata Mangeshkar, Suresh Wadkar, Music: Laxmikant Pyarelal 3.

Thare Vaste Re Dhola Naina Mere Jage, Film: Batwara Singers: Anuradha Paudwal, Kavita Krushnamurthy, Alka Yagnik, Music: Laxmikant Pyarelal, 4. Bada Dukh Dina, Film: Ram Lakhan, Singer Lata Mangeshkar, Music: Laxmikant Pyarelal Subodh Agrawal December 17, 2014 at 8:21 am. Subbodhji, very difficult job to select the best classical song. I am torn between the Poochhona kaise or the fabulous Ketaki gulab Juhi in Basant Bahar.

There is no better classical singer in films than Manna Dey Saab. He has even come close to Bhimsenji in that song! Of course the Famous Raag Desi composition by Naushad in Baiju Bawara with Pt Paluskar and UStad Amir Khan also is compelling.

Love your post. Only sorry that the new film music is so horrible. These people are destroying our common culture.

Achintya Prahlad February 20, 2015 at 2:01 am. This is my FIRST Visit to Website Technology is serving a lot in these new paradigm era of Knowledge workers. Hats Off for the services to this generation just like “GURU-SHISHYA Parampara” e.g.

Difference discussion on Gara-Jaijaivanti has gone deep into ‘pancham se Gara and Gara. I belong to Family of Founders’ of “Prayag Sangeet Samiti” and brought up at Allahabad with frequent visits and stay at Varanasi (Banaras Bharana); I can understand what Great Service this website is doing for such an explanations we used to wait a lot at Guru’s place and ‘when’ he is in ‘mood’ will tell all these fine differences of Raagas and Gharanas. Thank You May 11, 2015 at 2:50 pm. Savita, the most famous is the one suggested by Mr. Salilda has created a variation of the composition “Vatapi Ganapatim bhaje hum” by Muthuswami Dikshitar. There are wide variety of compositions based on Hamsadhwani by South Indian musicians as it is essentially a favoured Carnatic Raga. In Hindi there are very few compositions other than Salilda’s lovely take.

This one from Navrang (C Ramchandra) comes close. This is a favourite of mine though non-filmi. The real sweetness starts around 0:57 into the recording. This from the Malayalam film Bharatam is Yesudas, quite wonderful SSW May 18, 2015 at 3:33 am. I have not been able to respond to the comments in time thanks to a problem with the internet.

For once I am thankful for it, because otherwise we might have been deprived of the excellent contribution from SSW. Thanks SSW, I agree entirely with you and thanks all the more for the links.

I plan to listen to them at leisure. Kushwaha and thanks for your appreciation.

We look forward to more inputs from you – given the excellence of the organization founded by your family. Ramesh, I have no idea at all of the Ionian scale. If, by any chance, it means the basic scale ‘Do re mi fa.’ a la ‘Sound of Music’ than it is indeed identical to Bilawal’s scale – which is also the base scale for Hindustani music will all swaras in their natural form – neither komal nor tivra.

A very brief foray into explanation of ‘playing Pahadi from ma’. This Wikipedia link gives the musical ratios of the Indian scale under the appropriate sub-heading. Now suppose we treat ma as sa then pa would become re and its ratio will be 3/2 x 3/4 = 9/8 which is the same as re. Using dha as ga also keeps the ratio unchanged. But when we come to ni the ratio becomes 45/32 which is different from any of the standard notes. Thus the basic scale changes and becomes suitable for playing Pahadi without too much effort. Otherwise playing Pahadi would require going into very low notes beyond the range of an instrument like the flute.

I hope this helps. Dr Satish K Kushwaha May 18, 2015 at 11:44 am. Sawitaji, Hansdhwani is basically Karnatic favourite. Most famous is the one suggested by Shri O.P Rajput ji.

Luckily, I was taught Western Classical by Parampujya Shri Nityananda (Nitai da) Ghosh Ji [Guru, who taught Violin to Pyare Bhai (of duo Laxmikant-Pyarelal) and Cheif Music Controller/Arranger of Ranjeet Movitone]; co-worker of Pt Pannalal Ghosh Ji; Nitaida was first cousin of Salilda. One day Nitai Da was telling about composition in Films and he first sang the Karnatic Bhajan and then played the composition of Salilda. Masterpiece Thanks and kind regards to all for sharing in such a detail. Subodh Agrawal May 18, 2015 at 5:03 pm. Mr.Venkatraman, I’m not quite sure about where you are leading with the question, but the augmented major seventh on the C major scale is not C E G B.

It is actually C E G# B. In the C major scale the notes of Hamsadhwani are C D E G B.

In this case since the rishabha is present you would have to include a 9th in the chording i.e the rishabha in the upper octave, so the chord would take the form C E G B D(upper octave). This is a C major 9th chord. But in reality the major ninth causes some amount of dissonance so ideally to accompany Hamsadhwani one would use the triad chords of C major, G major and E minor. As a progression. I don’t know if this helps answer your question. SSW May 19, 2015 at 4:50 pm.

V you are right about CM7. I have a question for Subodh. I wasn’t able to understand his answer to Mr.Phadke’s question.

I understand the concept of just intonation and equal temperament tuning but I did not quite get the answer to the question as to why Pahadi starts from Ma. To be completely honest I did not understand the question either. I do understand that if Sa is transposed to Ma then the aroha of Pahadi which is S R G P D S will still have the same tonal distance amongst the notes as in S R G P D S M P D S R M (same to same as some folks would say) But are we saying here that the tonic is Ma now. That would make it Durga in the aaroha. Of course in the avaroha you are free to use all the notes as long as you keep that emphasis around S G D P. Or is it something to do with the harmonium because really Kali 4 is tuned to Ab (flat) or G# if you prefer which in the C major scale is teevra Madhyam not shudh Madhyam. Rajan Parrikar says that Pahadi is essentially sung in the mandra and madhya saptaks and so the tonic is translated to to the Madhyam in performance but Indian music unlike western music having no fixed pitches to a note shouldn’t bother about that unless it limits wind instruments like the flute, shehnai etc which are unable to sound notes that would require a longer chamber.

Sorry for the longish post. Kanhayalal Sharma May 24, 2015 at 5:31 pm. Sharma from my viewpoint the concept of muurchana or shruti bhedham as is it is also called is a little different. You have to fix a base raga or a tonic note first from which you can do a muurchana.

It is the same concept as a scale change in western music where you shift the tonic note to some other note in the scale but only after having established the tonic first. Pahadi does not have a relationship with Bhupali because you start on the Madhyam. The aaroha in Pahadi and Bhupali has the same notes. If you were to start from the Madhyam (which does not exist in the Bhupali aaroha) in relation to the Bhupali Sa (tonic) then you would end up with Durga on the same scale with the Bhupali Ma as the tonic Sa for Durga.

This is what I showed in my earlier post when I transposed Ma onto Sa. You may be saying the same thing so you’ll have to forgive me if I do seem to be a little backward at understanding. Kanhayalal Sharma May 25, 2015 at 12:43 pm.

You are perfectly right, Sir. You are much advanced in knowledge and learning. What confused me was that Pahadi is generally sung or played from Madhyam being treated as Shadaj. To quote” It is fashioned from the scale of Bhoopali but the smooth arcs decorating Bhoopali are pared. Both M and N are summoned in avarohi tracts through special sangatis. Due to its kshudra nature, there is considerable latitude available and ‘foreign’ swaras are often sought for embellishment as are other ragas such as Yaman, Mand and Jhinjhoti. Pahadi’s sphere of activity is concentrated in the mandra and madhya saptaks; for this reason the tonic shadaj is often translated to the madhyam in performance.

” Your reference to Durga is also apt. What I found Pahadi and Maand, which emanates from folk music very difficult to master. B.V.SHENOY June 6, 2015 at 5:00 pm. Sorry to sound skeptic.

After reading the views of great people here and songs many heard long before and many unheard, all of them gems of Indian music, what great creations they are and what great effort went into them. But the present generation has discarded and is discarding even lighter songs without giving them a chance.

To understand classical music some training is of course required. Should the State take some responsibility to inculcate some values and training in children when still young to preserve our great culture and the treasures we in art, music, culture., etc. I find foreigners learn and practice with more devotion and dedication, primarily because they realise its worth and we do not. Subodh Agrawal June 9, 2015 at 12:51 pm. Thank you Mr.

I was associated with SPIC-MACAY since my early college days. I had told Mr.

Kiran Seth then that if only you make college students listen to great singers, etc, it may not achieve much. I had requested him to focus on schools. I had organised some performances of dancers like Raja – Radha Reddy and Uma Sharma ji in promary schools and everyone was surprised at the response to the Abhinayas. For classical music some training to children when still small may help in making “Kaansens” is not “Taansens”. Unfortunately the curriculum of children gets heavier by the day and is only focused on career.

If something of our culture is part of it, it may also produce a well rounded personality. SSW June 9, 2015 at 4:44 pm. Mr.Sharma even here in the US in schools, funding for the arts is being relentlessly reduced in order to be more career friendly (sic).

Growing up in Bombay we had music lessons till the fourth standard, we had to sing anyway though most of us could not carry a tune in a bucket. It was Western music (I attended a Jesuit school) and our teacher was a tough old lady who loved dogs and children who could sing. The rest of us were tolerated and pushed to the back where we belted out choruses loudly and un-tunefully and happily. It would be nice to have music education in Indian schools. Teach children the basics of music a bit of singing some folk songs, a bit of rhythm on a simple drum, maybe play a recorder type flute (not the transverse one) before they are ten and they will be retain some interest. The teaching need not be of our art music, that can come later with individual interest. Adil July 4, 2015 at 6:08 pm.

Hello Subodh, What a wonderful article and website overall. I love how you guys have put so much effort and probably have done extensive research to ensure as much accuracy in detailing the different raags and songs based on those raags.

I am coming to you after my search for the raags used in songs like “ye kahan aagaye hum” from Silsila and “tere mast mast do nain” proved fruitless. Both songs sound like they are from a similar raag, but I have not been able to find out which raag it is. Your guidance will be highly appreciated. Thank you and keep up this great work.

GANDHE July 7, 2015 at 1:23 pm. Mr.Rajput, I am no expert but let me take the bait. My qualified answer would be that the raga that is closest to the major portions of the tunes of these songs is Jhinjhoti. At the same time, it seems to me that the first song has a higher degree of Jhinjhotiness to it.

For example, the tune for the ‘aa gaye hum, mere saath saath chalke’ portion is a very typical Jhinjhoti phrase. A more detailed and precise dissection/analysis of the songs would require more time and energy to be expended, but I guess hair-splitting to this degree is not really required, hence I rest the matter here with a request to the raga-cognoscenti to corroborate/refute my opinion. Subodh Agrawal July 22, 2015 at 4:50 pm. Dear Mr Rangan Frankly I don’t know Deshkar well enough to say anything authoritatively on this point.

I was not aware of what Sudhir Phadke himself has said. Of the two most reliable references on the internet Chandrakantha.com lists ‘Jyoti kalash’ as Bhupali, while parrikar.org says it traverses the borderline between the two.

One would have to have a very fine and trained ear to distinguish between not two but three ragas Bhupali, Deshkar and Jayatkalyan in the limited space provided by a five note scale. To my semi-trained ears the song sounds a lot more like Bhupali than Deshkar. Most performances in Deshkar, at least the ones I have heard, use very limited movements – maybe in their anxiety to keep it clear of Bhupali. Performances in Bhupali on the other hand, are more relaxed and freely use embellishments and grace notes to create a joyous mood.

On this count also the song is closer to Bhupali. A lot of references on the net list it as Bhupali-Deshkar. AVINASH September 14, 2015 at 1:48 pm. SSW, the song does not follow the established movement of Pahadi.

But that is true of many other ‘raga’ based songs from films. The raga that comes closest to the mood of this song could well be Pahadi.

As I mentioned in the beginning of my earlier comment, every musical composition could be stretched to fit some raga or the other. Normally the moniker ‘Classical song’ would be reserved for those which are reasonably faithful to one of the established ragas.

This one does not fall in that category. SSW September 14, 2015 at 7:08 pm.

Subodh, I get what you are trying to say but I think in an opposite way which is why I have a problem with people trying to find a raga in songs. A raga as we know is not a scale, it is a usage of notes in specific scale in a particular way. If we look at the scale and say it is a particular raga it does not make it so especially if the scale is used in non traditional way. So in agreement with you this does not sound like a traditional Pahadi treatment so it does not evoke Pahadi to me.

RD is probably the only person who could have answered this and he is gone, so the rest is speculation. Madhu February 5, 2016 at 9:45 am. Man Mohana in Seema is a gem.

About Hamsadhvani.I think, this duet by Lata and Asha is in that ragam. Film Sharadha. Music by C.Ramachandra. Subodhji, the BEST period of Hindi Film music was between 1947 and 1957. ( It is no mere coincidence that it also corresponds to the early period of Lata. She indirectly inspired music directors like C.Ramachandra, Naushad, Madan Mohan,Sjhankar-Jaikishen and Ravi Shankar to create great songs based on classical Hindusthani ragams. I have concentrated on Lata songs only because she is the most beloved of singers for Madrasi listeners of yore!Subodhji is requested to give tentative ragams of the songs in the page of mine September 22, 2016 at 4:25 pm.

Subodhji, So very kind of you to have replied and sent the Latha version of Garjat Barsat. It is a treasure. Music has no language barriers. Though I dont know much of Hindi, it has not prevented me from cherishing so many great film songs though I dont know the lyrics nor understand them..Sometimes, the lyrics and video may enhance the experience. But more often, it diverts the attention from the music. As you had mentioned, the Ramarajya song in Bimplas is a wonderful creation.

I too have included the song in my favourite illustration for the ragam..In the hope that language may not deter your appreciation, I am inviting you to my beemplas page The first song is by N.C.Vasanthakokilam. Then I have given very popular song by Mani Iyer and then comes the starSaraswathi Rane in RamRajya Could you please enlighten me about the ragam of ‘Barath Desh nari ke hum’ Was it ever given as a 78 rpm record by Salamath Ali brothers? Subodh Agrawal September 23, 2016 at 7:15 am.