The place is the mukhada gone, the place is antara gone? For many of the historical past of Hindi movie songs they didn’t go wherever, they remained rooted the place they had been purported to be. The basic construction of our songs was a mukhada with a catchy tune and chorus. This was adopted by interlude music and two or three antaras with completely different tunes from the mukhada. Every antara would finish with a connector line which might neatly segue into the mukhada/chorus.
Take Shankar-Jaikishan’s iconic tune Awara hun, ya gardish mein hun, aasmaan ka tara hoon, awara hoon, which grew to become immensely standard in Russia and plenty of different international locations too. Its antara goes:
Ghar-baar nahin, sansar nahin, mujhse kisi ko pyar nahin
Us paar kisi se milne ka iqraar nahin, mujhse kisi ko pyar nahin
Then the connector line which segues into the chorus: Sunsan nagar anjaan dagar ka pyara hun….Awara hun.
Or one other of SJ-Raj Kapoor-Mukesh combo: Mere man ki Ganga aur tere man ki Jamuna ka, Bol Radha bol sangam hoga ke nahin. Have a look at its antara:
Kitni sadiyan beet gayin hain haye tujhe samjhaane mein
Mere jaisa dheerajwala hai koi aur zamane mein
Then the connector line: Dil ka badhta bojh kabhi kam hoga ke nahin…Bol Radha bol sangam hoga ke nahin.
You’d discover this sample in Naushad’s Rumjhum barse baadarwa, SD Burman’s Hum bekhudi mein tumko pukaare chale gaye, Roshan’s Teri duniya mein dil lagta nahin wapas bula le/ Principal sajde mein gira hun, mujhko ae maalik utha le.
This construction has been adopted by later music administrators too. I publish Jag ghoomeya thare jaisa na koi from Sultan (2016) as an instance the just about ubiquitous nature of this construction of our songs.
1. Jag ghoomeya thare jaisa na koi by Rahat Fateh Ali Khan from Sultan (2016), lyrics Irshad Kamil, music Vishal-Shekhar
Have a look at its antara and the way the connector line segues into the chorus:
Baarishon ke mausam ki bheegi hariyali tu
Sardiyon mein gaalon pe jo aati hai wo laali tu
Raaton ka sukoon bhi hai, subah ki azaan hai
Chaahaton ki chadaron mein maine hai sambhali tujhe
Kahin aag jaisi jalti hai, bane barkha ka pani kahin
Kabhi mann jaana chupke se
Yun hello apni chalaani kahin
Jaisi tu hai waisi rahna…
Jag ghoomeya thare jaisa na koi
Some artistic music administrators typically put off the necessity for a connector line, similar to on this completely melodious tune composed by Madan Mohan.
2. Principal to tum sang nain milakar haar gayi sajna by Lata Mangeshkar from Manmauji (1962), lyrics Rajendra Krishna. music Madan Mohan
Principal to tum sang nain milake haar gayi sajna
Kyon jhoothe se preet lagayi
Kyon chhaliye ko meet banaya
Kyon aandhi mein deep jalaya
Principal to tum sang…
Sapne mein jo baag lagaye
Neend khuli to veerane the
Hum bhi kitne deewane the
Principal to tum sang..
https://www.youtube.com/watch?v=XQonGT4CbUo
3. Unko ye shikayat hai ki hum kuchh nahin kahte by Lata Mangeshkar from Adalat (1958), lyrics Rajendra Krishna, music Madan Mohan
Ghazals, which happen very generally in Hindi movie songs, usually don’t require a connector line due to the inflexible guidelines of its construction. Each traces of the primary couplet (matla) should include the rhyming phrases and the phrases of chorus, i.e. they need to be humqafiya and humradeef. Within the subsequent two or three couplets (in filmi ghazals; in literary ghazals there are extra couplets), their first traces must be odd, solely their second traces needs to be humradeef, and their quick previous phrases needs to be humqafiya. Allow us to study the lyrics of this well-known ghazal sung by Lata Mangeshkar and composed by Madan Mohan.
Unko ye shikayat hai ki hum kuchh nahin kahte
Apni to ye aadat hai ki hum kuchh nahin kahte
Kahne ko bahut kuchh tha agar kahne pe aate
Duniya ki inayat hai ki hum kuchh nahin kahte
Kuchh kahne pe toofan utha leti hai duniya
Ab is pe qayamat hai ki hum kuchh nahin kahte
Right here Kuchh nahin kahte are the phrases of radeef (repeating phrases), and aadat, inayat, qayamat are humqafiya (rhyming phrases).
But there have been songs during which mukhada and antara have gone far, far-off. In some they’ve strayed a little bit bit from the crushed path. Does this require an amazing ability in composition. Maybe sure, you do sit up and be aware of the tune. Are these songs superior and extra profitable? I’m cautious of constructing a normal assertion about our music. However let me publish some songs which have damaged this construction and which have held me below thrall proper since I first heard them.
4. Khushiyon ke din manaye ja…Abhi to fundamental jawan hun, abhi to fundamental jawan hun by Lata Mangeshkar from Afsana (1951), lyrics Gafil Harnalvi, music Husnlal-Bhagatram
There was an iconic Malika Pukhraj ghazal, Abhi to man jawan hun. And there was Khushiyon ke din manaye ja..Abhi to fundamental jawan hun by Lata Mangeshkar from the movie Afsana (1951), composed by Husnlal-Bhagatram. It was the signature tune of the Radio Ceylon’s weekly programme “Hamesha Jawan Geet” anchored by Manohar Mahajan each Sunday night time at 10pm. This tune was just like the Pied Piper of Hamelin for me. As quickly as this programme got here, I used to be in a trance and inexorably drawn to my hostel frequent room within the faculty. A lot later I noticed the movie, and felt this lovely tune composed in waltz model was wasted on the adulterous couple Pran and Kuldeep Kaur.
The tune begins with the antara, and the opposite antara too consists in the identical model.
Khushiyon ke din manaye ja, dil ke tarane gaye ja
Tujhko jawani ki kasam dil ki lagi bujhaye ja
Duniya meri basa piya, aaja piya aaja piya
Abhi to fundamental jawan hun
Abhi to fundamental jawan hun
Abhi to fundamental jawan hun
Zahid yun hello badnam hai, gham se tujhe kya kaam hai
Ye muskurati zindagi zindadili ka naam hai
Dil dil se muskurye ja, uth jaye ja, bal khaye ja
Abhi to fundamental jawan hun
Abhi to fundamental jawan hun
Abhi to fundamental jawan hun
5. Nain dwar se man mein wo aake tan mein aag lagaye by Mukesh and Lata Mangeshkar from Sawan (1959), lyrics Prem Dhawan, music Hansraj Behl
Which is the mukhada on this tune? Mukesh sings the chorus Nain dwar se man mein wo aake at a really gradual tempo. Lata Mangeshkar replies to him at a really quick tempo, Haye rasiya, haye re koi chhaliya. Since each refrains happen after each antara, each benefit to be the mukhada, although they’re in very contrasting tunes.
6. Kaanton se kheench ke ye aanchal….Aaj phir jeene ki tamanna hai, aaj phir marne ka irada hai by Lata Mangeshkar from Information (1965), lyrics Shailendra, music SD Burman
In my opening remarks I discussed an SD Burman tune on the basic mukhada-antara sample. However here’s a path-breaking tune by a lady breaking free from an oppressive marriage and discovering her personal happiness. The mukhada of the tune appears to be Aaj phir jeene ki tamanna hai, aaj phir marne ka isada hai. However the tune begins with antara, and all of the antaras too are in the identical tune. Was SD Burman making a symbolic assertion in breaking free from custom in composition to suggest the girl who was breaking free? Listed below are the lyrics:
Kaanton se kheench ke ye aanchal, tod ke bandhan baandhi payal
Koi na roko dil ki udan ko, dil wo chala
Aaj phir jeene ki tamanna hai, aaj phir marne ka irada hai
Apne hello bas mein nahin fundamental, dil hai kahin to hun kahin fundamental
Jaane kya pa ke meri zindagi ne, hans kar kaha
Aaj phir jeene ki tamanna hai, aaj phir marne ka irada hai
Principal hun gubaar ya toofan hun, koi bataye fundamental kahan hun
Dar hai safar mein kahin kho na jaaun fundamental, rasta naya
Aaj phir jeene ki tamanna hai…
7. Naa fundamental janun aarti vandan, naa poja ki reet…Ae ri fundamental to prem diwani mera darad na jane koye by Lata Mangeskar from Naubahar (1952), lyrics Meerabai, Satyendra Atthaiya, music Roshan
Who doesn’t know Meerabai’s iconic bhajan, Ae ri fundamental to prem diwani mera darad na jane koye? A number of singers, together with Juthika Roy, have sung it. In movies, a few years earlier Geeta Dutt had sung it in Jogan (1950), below the baton of Bulo C Rani. Composing one other model of this bhajan was a daring activity. However a younger and impressed Roshan fully breaks free from mukhada-antara format. This lengthy tune seems in fragments at completely different levels within the movie. The lyrics have been tweaked a little bit. Due to this fact, I add Satyendra Atthaiya’s title too as he’s talked about in HFGK. The uploader has added Shailendra’s title too, who was additionally a lyricist within the movie, for some songs. Satyendra Atthaiya’s title could also be unfamiliar to us, however there’s a well-known connection. He was the husband of the famend costume designer Bhanu Atthaiya, who received the Oscars within the Richard Attenborough’s movie Gandhi (1982). I grew to become conscious of her title solely after the Oscar. We don’t give a lot consideration to ‘minor’ (technical) awards, however she was a famend costume designer having designed the costumes of Nadira in Mud mud ke na dekh (Shree 420, 1955), Guru Dutt in Dekhi zamaane ki yaari (Kagaz Ke Phool, 1959), Sadhana in Waqt (1965), Dev Anand and Waheeda Rehman in Information (1965), Vyjayanthimala in Amrapali (1966), and in numerous different iconic movies.
Naa fundamental janun aarti vandan, naa pooja ki reet
Hai anjani daras diwani meri pagal preet
Liye ri maine do nainon ke deepak liye sanjoye
Ae ri fundamental to prem diwani mera darad na jane koye
8. Kaune rang mungwa kawan rang motiya by Suman Kalyanpur and Sudha Malhotra from Heera Moti (1959), lyrics Prem Dhawan, music Roshan
Roshan is much less adventurous on this people duet by girls. He composes antaras, too, in the identical tune as mukhada. However the tune doesn’t turn into monotonous.
9. Hamdam mere khel na jaano chahat ke iqrar ko by Rafi and Asha Bhosle from Phir Wahi Dil Laya Hun (1963), lyrics Majrooh Sultanpuri, music OP Nayyar
Here’s a actually wild tune the place mukhada and antara have gone astray. OP Nayyar lets mukhada and antara roam throughout mountains and valleys of Kashmir in Phir Wohi Dil Laya hun to veer off Far, far-off.
Door bahut mat jaiye, leke qarar hamara
Aisa no ho koi loot le, raah mein pyar hamara
Paas raho ya door tum, tum ho saath hamaare
Denge gavahi pooch lo, ye khamosh nazaare
Nazneen bada rangeen hai vada tera
O haseen hai kidhar ka irada tera
Aankh mudti huyi, zulf udati huyi
Faasla kyon hai zyada tera
O hamdam mere khel na jaano chahat ke iqrar ko
Jaane jahan, yaad karoge ik din mere pyar ko
10. Hamdam mere maan bhi jaao kaha mere pyar ka by Rafi from Mere Sanam (1965), lyrics Majrooh Sultanpuri, music OP Nayyar
OP Nayyar should have realised that he shouldn’t have let mukhada and antara go so wild. He brings them again and leashes them firmly to their place. Distinction the earlier Hamdam mere tune with this typical Hamdam mere tune with mukhada-antara.
Hamdam mere maan bi jaao, kahna mere pyar ka
Halka halka surkh labon pe rang to hai iqarar ka
Pyar mohabbat ki hawa pahle chalti hai
Phir ek lat inkar ki rukh pe jhalti hai
Ye sach hai kam se kam to ae mere sanam
Latein chehre se sarkaao, tamanna aankhein malti hai
Hoye..Hamdam mere maan bhi jaao
And a a lot later tune, which doesn’t observe mukhada-antara construction.
11. Mera kuchh saaman tumhare paas pada hai, …mera wo saaman lauta do by Asha Bhosle from Ijazat (1987), lyrics Gulzar, music RD Burman
RD Burman and Gulzar had been very shut buddies, and when their sensibilities mixed – one because the music director, and the opposite as the author/director/lyricist, the outcome was often artistically excellent. This movie primarily based on a Bangla novel and movie Jatugriha was a delicate story of a pair who’re divorced/estranged however have fond reminiscences of one another.
When RD Burman noticed this prose-like monologue, he advised Gulzar, Gullu, subsequent you’d give me The Occasions Of India headline to set it to music. Gulzar gave full rein to his imageries, and the outcome was this good tune with out the standard mukhada-antara.
Patjhad hai kuchh, hai na?
O! patjhad mein kuchh patton ke girne ki aahat
Kaanon mein ek baar pahan ke laut aai thi
Patjhad ki wo shaakh abhi tak kaanp rahi hai
Wo shaakh gira do, mera wo saamaan lauta do
Wo shaakh gira do, mera wo saaman lauta do
12. Bidi jalaile jigar se piya jigar ma badi aag hai by Sukhwinder Singh, Sunidhi Chauhan, Nachiketa Chakravarty from Omkara (2006), lyrics Gulzar, music Vishal Bharadwaj
Gulzar is understood for some very delicate imagery in Hindi movies, as we simply noticed in Ijazat, within the tune Mera wo kuchh saman lauta do, or as he wrote in Tum aa gaye ho noor aa gaya hai (Aandhi), Tere bina zindagi se koi shikwa to nahin (Aandhi), Musafir hun yaaron (Parichay). However on this adaptation of Shakespeare’s nice tragedy set in UP badlands, Gulzar goes fully wild in his imagery throwing mukhada and antara to the winds. One thought the mukhada of the tune is Bidi jalaile, however how does it begin?
Na gilaaf na lihaaf, thandi hawa bhi kharab sasuri
Ho itni sardi hai kisi ka lihaf laile, ja padosi ke chulhe se aag lai le
Ho bidi jalaile jigar se piya, jigar ma badi aag hai
The antaras additionally begin in the identical vein:
Na kasur na fatur, bina zuram ke huzoor mar gaye
Ho aise ek din dupahari bulai liyo re
Baandh ghunghroo kachehri lagai liyo re
Anghithi jalaile, jigar se piya, jigar ma badi aag hai
Bidi jalailr jigar se piya
And it goes on like this: Na to chakkuon ki dhaar, na daraanti na katar, Aisa kaate ki daant ka nishan chhod de, ke kataai to koi kbhi kisan jod de. From the place does Gulzar get such idiomatic makes use of! I really like Baandh ghunghroo kachehri lagai liyo re. It evokes the picture of a feudal overlord who makes the dancer put on a ghughroo and units up a mehfil for his cronies to observe the raunchy dance. The funky lyrics, the out of this world music by Vishal Bharadwaj, the singers, and the characters on the display screen performed by Saif Ali Khan, Vivek Oberoi, Bipasha Basu and Deepak Dobriyal, all create an immortal tune.
Acknowledgements and Disclaimer:
The YT hyperlinks of songs have been embedded just for the listening pleasure of the music lovers. This weblog has no industrial curiosity, and claims no copyright over the songs, which belongs to the respective house owners.
