Visitor article by Subodh C Agrawal
(My pal Subodh Agrawal is a superb lover of music, he wields a fluent pen, and is aware of an excellent deal about classical music. Being among the many earliest ones to be part of SOY journey, he had accepted my request to write down a collection on movie songs primarily based on classical raags. It’s troublesome to imagine that after upon a time he was an energetic contributor to the Songs Of Yore. For the previous couple of years, he has been in hibernation, his solely excuse being he was not feeling like writing something. His final visitor article for SOY was greater than 4 years in the past. I’m completely happy that Rafi’s centenary has woken him up from his deep slumber.
For newcomers to the SOY, Subodh is from UP, labored in Punjab and Delhi, and after retirement, is settled at Chandigarh.
Subodh writes on a severe topic with a light-weight contact which you see in his very first sentence. In reality the topic line in his mail talked about, Kumbhkarn has woken up! The article was too late to be scheduled within the 2024, however it was too good to be disregarded. Some extra Rafi-fans additionally had despatched me their tributes considerably late, therefore I’m happy to increase the Rafi centenary celebrations. Thanks, Subodh for lastly giving this nice shock. – AK)
The beginning centenary of Mohammad Rafi (December 24, 2024) has pulled me out of my Kumbhkarn like slumber. I don’t even bear in mind after I contributed my final article to this platform. My apologies to those that anticipated extra from me. Hopefully this text will make up for the delay.
When one thinks of classical songs by male singers in Hindi movies, Manna Dey’s identify robotically springs to thoughts – and rightly so. He has given us a number of the best classical primarily based songs: ‘Poochho na kaise maine rain bitaayee’, ‘Laga chunari mein daag’, ‘Jhanak jhanak tori baaje payaliya’ to call just some. Nonetheless, the classical songs of Rafi are not any much less. His identify just isn’t so simply recognized with classical songs due to his amazingly wide selection. The songs within the checklist under present that he was not missing within the ability wanted to do full justice to classical ragas.
Earlier than I current the checklist I want to make a distinction between songs which might be fairly clearly and clearly primarily based on ragas as a result of they current the alaaps and taans typical of an everyday classical piece. There are numerous different songs, nevertheless, that are trustworthy to a raga, however don’t have the gildings typical of a classical efficiency. The checklist under presents each sorts of songs.
1. Man tarpat hari darshan to aaj, in Malkauns from Baiju Bawra (1952), music by Naushad, lyrics by Shakeel Badayuni
Some classical primarily based songs from Hindi movies have turn out to be iconic examples of their ragas. Lecturers of classical music use these songs to elucidate the construction of the raga to their college students. This music has the whole lot one expects from the majestic Malkauns: depth, an aura of tranquility regardless of expression of interior anguish, prayerful temper. Within the days of social media it’s usually offered as a traditional instance of our Ganga-Jamuni Tehzeeb with three Muslims creating an excellent Hindu prayer.
2. O duniya ke rakhwale, in Darbari from Baiju Bawra (1952), music by Naushad, lyrics by Shakeel Badayuni
This music is trustworthy to Darbari, often known as Darbari Kanada. Nonetheless, I don’t rely it amongst my favourites. I don’t like Darbari getting used for the sort of wailing and whining. Because the identify suggests, it’s a majestic raga and ought to be used as such. There are different ragas like Todi for as a lot wailing as one desires. Rafi, nevertheless, has completed a fantastic job with this music in each excessive and low notes.
3. Madhuban mein Radhika naache re, in Hameer from Kohinoor (1960), music by Naushad, lyrics by Shakeel Badayuni
One other iconic music from the Rafi-Naushad-Shakeel trio. College students of classical music have tuned their ears to Hameer by listening to this music. This has all of the gildings one associates with a full-fledged classical efficiency. Rafi manages all of them, besides the taans filmed on Mukri which, in line with Wikipedia, have been sung by Ustad Niaz Ahmad Khan. Another sources, nevertheless, attribute these taans to Ustad Amir Khan, thought that seems unlikely – given the sober model of Ustad Amir Khan. Our knowledgeable Sh. KL Pandey confirms that it’s Ustad Niaz Ahmad Khan. (In any case, that portion within the whole music is so insignificant that I want to give your entire credit score to Rafi for this nice music. – AK)
4. Man re tu kahe na dheer dhare, in Yaman from Chitralekha (1964), music by Roshan, lyrics by Sahir Ludhianvi
This was rated as the very best Hindi movie music of all time in a ballot carried out by Outlook Journal a few a long time again. It’s a easy composition with none difficult harkats or murkis however completely true to the tranquil and prayerful temper of Yaman – Roshan’s favorite raga (additionally mine!).
There’s a well-liked publish on social media a few dialogue between Sahir Ludhianvi and Pandit Narendra Sharma about Hindi and Urdu. Sahir, apparently, stated that Shuddh Hindi was incapable of expressing delicate moods and feelings wanted by songs and this was greatest left to Urdu. Pandit Narendra Sharma charmed him with the lyrics of Jyoti kalash chhalke and Sahir needed to concede that Hindi was as appropriate for songs as Urdu.
I don’t know whether or not this anecdote is true or not, however an excellent story is an efficient story. Bhabhi Ki Chudiyan was launched in 1961. Three years later Sahir demonstrated his exceptional prowess with Shuddh Hindi within the songs of Chitralekha.
5. Nache man mora magan tig da dhigi digi, in Bhairavi from Meri Surat Teri Aankhen (1963), music by SD Burman, lyrics by Shailendra
This music ought to dispel any doubts one could have about Rafi’s capacity to sing songs primarily based on classical ragas. It’s from the identical movie wherein Manna Dey gave the all-time traditional Poochho na kaise principal rain bitayi. Nonetheless, SDB selected to offer this music to Rafi.
The tabla on this music is performed by Pandit Samta Prasad, often known as Gudai Maharaj. I vaguely recall there was an attention-grabbing anecdote about how he was persuaded to carry out, however I can’t recall the small print.
6. Radhike tune bansuri churayi in Nayaki Kanhda, Darbari, Pilu, Patdeep from Beti Bete (1964), Music by Shankar-Jaikishan, lyrics by Shailendra
The music begins with a flute prelude in Pilu adopted by a mixture of Darbari and Nayaki Kanhda with a glimpse of Patdeep within the second line of the stanza. I couldn’t affirm this with Mr KL Pandey’s magnum opus, as I didn’t discover it within the applicable place between Radhey Radhey (4943) and Radio (4944). I’d very a lot respect his valued feedback if he reads this. (Radhike tune bansuri churaayi is listed at #4744, and raags talked about are Darbari Kanhada+Naayaki Kanhda+Kafi+Patdeep. KL Pandey doesn’t point out Pilu, Subodh doesn’t point out Kafi – AK)
7. Koi sagar dil ko behlata nahin, in Kalawati/Jansammohini from Dil Diya Dard Liya (1967), music by Naushad, lyrics by Shakeel Badayuni
This music wouldn’t be thought of classical primarily based by most lay listeners, because it lacks the gildings and prospers typical of a classical efficiency. Whereas I’m fairly accustomed to Kalawati, my information of Jansammohini is restricted to the traditional Haye re wo din kyun na aaye from Anuradha. I’d establish it solely as Kalawati. I listened fastidiously to the music twice, however couldn’t place the word ‘re’ or the phrase ‘ga-re-ni-sa.’ I request Mr KL Pandey and Ashwin Bhandarkar to enlighten me by drawing consideration to the actual timestamp within the video.
8. Maine chand aur sitaron ki tamanna ki thi in Bhimpalasi from Chandrakanta (1956), Music by Datta Naik, lyrics by Sahir Ludhianvi
Bhimpalasi is likely one of the sweetest ragas. Datta Naik has stored this composition easy, making it well-liked with newbie singers. Rafi too has offered it in an easy method that goes on to the listener’s coronary heart.
9. Saaz ho tum aawaz hun principal, in Patdeep from Saaz aur Awaaz (1966), music by Naushad, lyrics by Khumar Barabanqvi
We had a glimpse of Patdeep in music no 6. Right here is the raga in its full glory. That is one other iconic music utilized by college students to get a really feel for the raga.
As I discussed in my article on Bhimpalasi and associated ragas, Patdeep is shaped by altering the komal ‘ni’ of Bhimpalasi to shudh, simply as Chandrakauns is shaped by an identical change in Malkauns. This one change fully alters the character of the raga. The female softness of Bhimpalasi goes out to get replaced by an aggressive masculinity.
10. Hum bekhudi mein tum ko pukare chale gaye in Chhayanat from Kala Pani (1958), Music by SD Burman, lyrics by Majrooh Sultanpuri
Chhayanat is eminently suited to ghazals. This music doesn’t meet the strict definition of a ghazal however the temper of expressing one’s emotions from the depth of 1’s coronary heart could be very very similar to a ghazal. Majrooh, SDB, and Rafi have joined arms to offer us an attractive composition and Dev Anand has not allow them to down.
Sorry for the advert at first of the video. All video variations that I may find had such annoying adverts, and I believed one thing can be misplaced if one didn’t present Dev Anand.
Ideas on Gara
I’d have sworn that Mohe panghat pe Nandlal chhed gayo re was Pilu. It got here as a shock to know that it was Gara. Gara is a really slippery raga usually confused with others.
Deepak Raja wrote an excellent piece on the nuances of Gara on his weblog swaratala.blogspot.com. The article is now not on the location therefore I can’t add the hyperlink right here. I reproduce a couple of excerpts I stored from it, somewhat than giving my very own views:
Gara is a uncommon raga. However, if in case you have heard a number of renditions of it, you possibly can be confused as a result of one Gara usually doesn’t sound like others. There’s a good purpose for this as a result of Gara, just isn’t the unique identify of a well-defined melodic entity. Gara is, in reality, an impartial raga, in addition to an additive perfume to different ragas; and that too, in two variants. If there may be confusion about Gara, it’s as a result of musicians may announce, merely, Gara, once they determine to carry out one of many two variants, every of which has a self-explanatory identify.
Gara belongs to a household of ragas, which have been apparently derived from people melodies, and entered art-music in affiliation with the Thumree style. (Manuel, Peter. Thumree in historic and stylistic views, First version, 1989, Motilal Barasidass, Delhi). This household consists of ragas like Kafi, Pilu, Jangula, Barwa, and Zilla, together with a number of others. These ragas remained unfastened, casual melodic entities till the 18th century, after which their grammar was organized by classically skilled musicians. Nonetheless, even at present, as Manuel factors out (Ibid. 1989), they’re carried out solely sometimes in classical and semi-classical music, and in disparate variations.
Raga Jaijaiwanti bears the closest resemblance to Gara. Nonetheless, in line with some authors (B Subba Rao, Raga Nidhi, 4th version. 1996, Music Academy, Madras), Gara is a mixture of Khamaj, Piloo and Jhinjhoti. The raga belongs to the Kafi dad or mum scale.
This raga is characterised by restricted improvisational potential and a zigzag phrasing, each defending it from the shadow of Jaijaiwanti. However its phrasing technique exposes it to threat of confusion with different ragas, comparable to Pilu and Desi within the purvanga, and Barwa (Agra model) within the uttaranga. Essentially the most complete threat of confusion for Gara comes, in fact, from Jaijaiwanti of both anga (bias) – Desh or Bageshri.
Don’t fear should you can’t make sense of half the phrases and phrases above. The central message is obvious – Gara just isn’t straightforward to understand and infrequently will get blended up with ragas like Jaijaiwanti, Pilu, and Jhinjhoti.
Why this diversion on Gara in an article on Rafi’s classical songs? A seek for classical movie songs in Gara on Chandrakantha.com brings up seven movie songs of which 4 are Rafi solos, two Rafi duets and just one Mohe panghat pe Nandlal in one other voice. The reason being not far to hunt. All these songs have an identical really feel – of the singer baring his soul to a pal, a beloved, or simply to himself in an introspective temper. That is one thing wherein Rafi had no parallel.
So, with out additional ado I publish hyperlinks to the songs of Rafi in Gara:
11. Tere mere sapne ab ek rang hain from Information (1965), music by SD Burman, lyrics by Shailendra
12. Kabhi khud pe kabhi halat pe rona aaya from Hum Dono (1961), music by Jaidev, lyrics by Sahir Ludhianvi
13. Aise to na dekho from Teen Deviyan (1965), music by SD Burman, lyrics by Majrooh Sultanpuri
14. Deewana kah ke aaj mujhe phir pukariye from Mulzim (1963), music by Ravi, lyrics by Shakeel Badayuni
15. Humsafar saath apna chhod chale with Asha Bhosle from Aakhri Daao (1953), music by Madan Mohan, lyrics by Majrooh Sultanpuri
16. Jeevan mein piya tera saath rahe with Lata Mangeshkar from Goonj Uthi Shehnai (1959), music by Vasant Desai, lyrics by Bharat Vyas
This one is totally different from the opposite 5 with its peppy rhythm.
Songs 1 to 10 relate to ragas which have featured earlier on SoY and these songs have additionally been offered. Therefore, I’m not including clips of classical music in these ragas. Nonetheless, as Gara is that includes for the primary time, I add a couple of items for the enjoyment of discovered readers of this weblog.
Ustad Vilayat Khan: https://youtu.be/wITfom4rqu8?si=2uzFxMYwermKSfBj
Rajan and Sajan Mishra: https://youtu.be/rchjc0Sb1tM?si=VgtfNafLT3NMLc00
Kaushiki Chakraborty: https://youtu.be/Gjh_SskKvPQ?si=IoiSZdJMDiZaWLgy
Earlier than leaving let me say that after listening to songs 11 to fifteen I had thought the songs Aap aaye to khayal-e dil-e nashad aaya and Jaag dil-e diwana have been additionally in Gara. The primary is listed as Gara on one YouTube channel, however Shri Okay L Pandey’s guide doesn’t checklist both of them as Gara. I defer to his superior information. (KL Pandey identifies Aap aaye to khayal-e-dil-e-nashad yaad aya as Bageshree+Malgunji; and Jaag dil-e-deewana rut jaagi as Bhairavi.)
With this I take depart and return to my slumber; for a way lengthy, I do know not!
Acknowledgement and Disclaimer:
The music hyperlinks have been have been embedded just for listening pleasure of music lovers. Neither the writer nor the weblog have any business curiosity and declare no copyright over these songs which vests with the respective rights homeowners.
