Hindustani Song
Annette Fazzari
Hum Hindustani (Translation We, the Indians ) is a 1960 Hindi movie produced by Sashadhar Mukherjee and directed by Ram Mukherjee. The film stars Sunil Dutt, Joy Mukherjee, Asha Parekh, Jagirdar, Helen, Leela Chitnis, Agha, Prem Chopra and Sanjeev Kumar in his debut.[1] The film is a remake of the 1952 Bengali movie Basu Poribar.[2] The film is about a family who lost everything but didn't leave the path of truth. The music is very good.It has a famous song "Chhodo Kal Ki Baatein" (Let go old stories) sung by Mukesh,[3] with music by Usha Khanna and written by IPTA poet, Prem Dhawan.[4]
The film's music is by Usha Khanna. The film did "above average" business at the box office.[5] Helen said in an interview that she wasn't offered character roles after this film, until later in career and was typecast as a dancer.[6]
Suken and Satyen are brothers. They were very rich but their father lost everything when his relatives produced fake documents and evidences and took all the properties from him. Suken's marriage with Sudha is cancelled because of their changed fortunes. Satyen's engagement is still intact. Suken works hard and does many things like writing a book titled "Hum Hindustani" which is sold for millions copies, runs an employment agency and participates in stage programs. Satyen works under Mr Verma. One day Mr Verma gives him ten thousand rupees to give to someone. Satyen forgets to lock the almirah and Mr Verma's nephew Shankar steals the money. Meanwhile Suken had gone to pick up Satyen. Satyen is accused of stealing the money and the matter is taken to court. At home, Satyen accuses Suken of stealing and a fist-fight ensues. Suken then discloses how he has earned all the money. Meanwhile, Anand finds Shankar's diary at the place of the theft and learns about the real thief and gives evidence of the same in court. Shankar tries to foil the brothers' plan to apprehend him and the police arrive in time and arrest him.
Hum Logon Ko Samajh Sako To Samjho Dilbar Jaani
Thodi Majboori Hai Lekin Thodi Hai Manmaani
Thodi Tu Tu Main Main Hai Aur Thodi si sheataani
Hum Mein Kaafi Baatein Hain Jo Lagti Hain Deewani
its hard to translate hindi into english, because i feel like the nuances of my mother tongue get lost when i try but still here it is, this song is close to my heart, and it gives me strength, when im struggling to fit out and about into the world.
Gaana is your gateway to the best and latest in music, offering over 30 million songs across diverse languages including Hindi, English, Bollywood, and regional tracks. Stream your favourite Hindi songs, Bollywood music, English MP3 songs, radio, podcast and regional music online or download songs to enjoy anytime, anywhere!
Dhaage Lyrics is a beautiful song from the new movie Hindustani 2 sung by Abby V & Shruthika Samudhrala and presented by Sony Music India Music label. The music for this captivating track Dhaage has been given by Anirudh Ravichander, with heartfelt lyrics penned by Manoj Muntashir Shukla. Shankar has skillfully directed the music video for Dhaage and the song Dhaage Casting Kamal Haasan, Sidharth, Kajal Agarwal, Rakul Preet Singh, and more.
Twin Citians have the chance to hear a truly amazing voice this weekend. Minneapolis-based, north Indian classical singer Pooja Goswami Pavan will perform at Pangea World Theater on Lake Street. The event comes on the heels of the release of her latest CD, a collection of ancient Sufi love songs re-imagined for a modern audience.
Encountering her voice for the first time is startling. It's a soaring sound, slipping between notes with ease, bending with exquisite control, the product of years of Hindustani vocal training that began when she was a child growing up in India.
Now she has leant that technique in the service of another of her deep interests: Sufi poetry. For her new album, "In What Land's My Beloved" she takes poems, some of them 800 years old, and puts them to music.
Sufism is an ancient practice, deeply entwined with Islam, although some say its roots lie before the time of the Prophet Mohammed. Pooja's husband Allalaghatta Pavan, a renowned tabla player himself whose day job is at Honeywell, describes Sufism as a devotional practice which has produced a wealth of love poetry.
"I'm exposed to every kind of music and I love that," she said. "So that was my idea: why not use jazz? Why not to use traditional Indian classical music or why not to use Middle Eastern instruments?"
Pooja and Pavan then traveled to India for the final recording. The final mix took place in Minneapolis, where she has lived for the past six years, and the work was released by Minneapolis world music label Blind Eye records. Label president Ken Onstad remembers how it felt when he first heard the recording.
"Extremely embarrassing" he said. "I've been in the music business for a very very very long time, and I was stunned with how wonderful it was and how little I knew about what it was they were doing right in our backyard."
What is it that makes you nod or sway your head when you listen to a song? What is it that makes you clap, tap your finger/ palm on your thigh, or your feet while listening to music? What is it that makes you want to dance? It is the rhythm of the song.
Melody and rhythm are two integral parts of music. They go hand in hand and complement each other in the composition as well as during the rendition. Music is incomplete without either of them. Hence, as it is important to sing in tune, it is equally important to understand the rhythmic aspect of it. In Indian classical music, rhythm is maintained through Taal and lay.
Here is an example of one Avartan in Teen Taal and how it starts with the first Taali and comes back to it on completion. Irrespective of whether the Taal is demonstrated on hand or any other percussion instrument, it will follow the same diktat. Teen Taal consists of 16 beats in a single Avartan -
In each Taal, the total number of beats is divided into clusters that are termed Vibhag or Khand. The above example of teen Taal is divided into 4 Vibhaag. Each Vibhaag is separated with the help of a vertical line or Purna Viram in Hindi.
This is how the Avartan keeps repeating till the end of the song binding the lyrics and the melodies in a well-defined rhythm. The entire melodic structure of a raga rests on this rhythmic time cycle of the Taal.
Natyashastra is the first book in Indian history where each concept related to the three verticals of sangeet, namely - Vadya, Geeta, and Nritya is explained in detail. It also elaborates that different musical instruments can be categorized into four types according to their acoustic principles. They are - chordophones (stringed instruments like Taanpura), aerophones (hollow instruments such as flute), idiophones (made of solid metal such as brass cymbals), and membranophones (such as tabla).
Later, solid metal or earthen instruments (idiophones) such as a bell, cymbal, gong, wooded block, thali, Khartaal, etc., debuted as deserving accompaniments to music. Sound is created through these instruments by striking them with each other or with a wood object.
The other set of instruments used to establish rhythm includes membranophones. These are mostly wooden or metallic bodies, hollow from the inside, and covered with some kind of skin/ membrane on a single side or on both sides. Examples of membranophones include - tabla, mridangam, pakhawaj, and drums.
There are 9 types of Taal in Hindustani classical music according to the count and structure of the beat. They are - Tintaal, Jhoomra, Tilwara, Dhamar, Ektaal, Chautaal, Jhaptaal, Keherwa, Roopak and Dadra.
Some of these Taal such as Ektaal, Chautal and Dhamar support slow to medium tempo. They were picked for performing Bada Khayal. Teen Taal, also known as Tri-tal is believed to be the most versatile of all that supports all the tempos with equal aplomb. Hence, most of the Bandish in Hindustani classical music uses Teen Taal.
Laya can be explained as the distance between two beats. Hence, the lesser the distance, the faster the tempo of the song, and vice versa. There are three types of lay - Vilambit lay, Madhya lay and Drut lay.
In Hindustani classical music, Chhota Khayal is sung in Drut laya, while Vilambit and Madhya laya is used for singing Bada Khayal. Several Avartan of a Taal is required to complete the Sthayi of a Chhota Khayal while just one Avartan is sufficient for the Sthayi of a Bada Khayal.
In semi-classical music, the laya or tempo of a song depends on the mood of the song. A very peppy and energetic song will have a very fast tempo, a romantic song or a Gazal will have a medium tempo, while a sad song will be sung at a slow tempo.
Sur-Taal, tune, and rhythm are a part of the universe. It is not something that was invented or created by humans. It is there - all around us. It is for us to find it within us. Just like we find Sur - first through our ears and then in our vocal cords. Subsequently, we learn to use our vocal cords to express Sur. The same holds for Taal and lay as well.
The rain drops in a rhythm, and the way we breathe also follow a certain rhythm. All we have to do is to understand the principles of Taal and lay that go into making melodies. Only then will we be able to understand music in its totality.
A vocal performance of classical Indian music is ranked higher than a purely instrumental one (see 'the pecking order'). Nowadays, it is more usual to have performances of khayal, as opposed to the older, purer form of dhrupad. For khayal, there is usually just one soloist (often a maestro of some standing, male or female), sometimes supported by a senior or advanced student who is granted the privilege of also playing the accompanying tanpura to provide a constant drone in the background.
Other accompanying instruments are the tabla for percussion and some kind of melodic instrument, ideally a sarangi although but it is more usual to find a harmonium for melodic accompaniment. The role of the melodic instrument is purely a secondary one, mainly shadowing and filling in some interludes if the singer requires to pause, or to briefly think through the next improvisation since khayal, although based on a composed song text, is a highly ornamented improvised form of singing.