Classical based film songs
Rajan Parrikar
In article <1992Jan2.1...@acsu.buffalo.edu> bav...@acsu.buffalo.edu (alok baveja) writes:
>
>Could someone post lists of classical based film songs along with
>the raga they are based on? IMHO, such songs serve as a convenient
>way for the layman to get acquainted with (begin to scratch the
>surface of) some popular classical Indian ragas.
>
A friend had sent me the following compilation. This should be of help.
There are a few errors and I have made comments (preceded by "C").
There may well be more errors. Haven't really given it a detailed
scrutiny. Also, the list is by no means exhaustive.
Another comment: The music directors in films are prone to import
notes alien to a Raga if they feel it enhances the "colour" of the
lyrics. Hence, most of the following songs are *based* on a Raga(s).
Rajan
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Adaana, Man-mohan man me ho tumhi, (Manna+Rafi+Suman Kalyanpur), (Kaise
Kahun), (SD Burman)
Ahir Bhairav, Meri veena tum bin roye Sajana, Sajana, Sajnaaa, (Lata),
(Dekh Kabira Roya), (Madan Mohan)
Ahir Bhairav, Pucho na kaise maine raina bitai, (Manna Dey), (Meri Soorat
Teri Ankhen), (SD Burman)
Asawari, Meri yaad me tum na ansu bahana, na dil ko jalana mujhe bhul
jana, (Talat), (Madhosh), (Madan Mohan)
Bageshri, Bedardi Dagabaaz Ja, Tu Nahin Balma Mora,Ja Ja Jare Ja, (Lata),
(BluffMaster), (Kalyanji Anandji)
Bageshri, Gulshan gulshan sholaye gul ke, (Mehdi Hasan)
C RAGESHRI (not Bageshri, they're different)
Bageshri, Jaag darde ishk jaag dil ko bekarar kar, (Hemant+Lata),
(Anarkali), (C Ramachandra)
Bageshri, Nabole na bole na bole re, (Lata), (Aazad), (C Ramachandra)
Bageshri, Nain se Nain Nahin Milao, (Lata, Hemant), (Jhanak Jhanak Payal
Baje), (Vasant Desai)
Basant Bahar, Ketaki gulab juhi champak ban phule, (Manna D+Bhimsen
Joshi), (Basant Bahar), (Shankar Jaikishan)
Bhairav, Mohe bhul gaye sanwariya, (Lata), (Baiju Bawara), (Naushad)
Bhairavi, Babul mora, naihar chutohe jaai, (Saigal), (Street Singer),
(Naushad?)
Bhairavi, Insaf ka mandir hai ye bhagwan ka ghar hai, (Rafi), (Amar),
(Naushad)
BAhairavi, Jyot se jyot jagate chalo, prem ki ganga bahate chalo, (Mukesh),
(Sant Gyaneshwar), (Lakshmikant Pyarelal)
Bhairavi, Kaise aun jamuna ke tir re, (Lata), (Devata), (C Ramachandra)
Bhairavi, Kaise samajhaun, bade na-samajh ho, (Rafi+Asha), (Sooraj),
(Shankar Jaikishan)
Bhairavi, Laga chunari me daag chupaun kaise, (Manna D), (Dil Hi To Hai),
(Roshan)
Bhairavi, Sajna, sajanaa kahe bhul gaye din pyar ke, (Lata), (Chand Mere
Aja), (Chitragupta)
Bhairavi, Tu Ganga ki mauj mai jamuna ka dhara, (Rafi), (Baiju Bawara),
(Naushad)
Bhimpalasi, Aai ri mai to prem diwani mera dard na jane koi, (Lata),
(Navbahar), (Roshan)
Bhimpalasi, Beena madhur madhur kuch bol, (Lata), (?), (?)
Bhimpalasi, Jhankaar payal ki tose binati kare, (Rafi), (Naag Devata), (SN
Tripathi)
Bhoop, Chanda hai tu mera suraj hai tu, (Lata), (Aaradhna), (SDBurman)
C (NOTE: This song starts off with *notes* from Bhoop. But it hardly
adheres to the Raag's rules of vistaar. Later on, in the antara, it
is not Bhoop anymore!)
Bhopali, Jyoti kalsh chalke, (Lata), (Bhabhi ki Chudiyan), (Sudhir Phadke)
C (Yes, this is mostly Bhoop(also called Bhopali)
Bhopali, Pankha hoti to ud ati re, (Lata), (Sehra), (Ramlal)
Bhopali, Sayonara sayonara, wada nibhaungi sayonara, (Lata), (Love in
Tokyo), (Shankar Jaikishan)
(Again, just the notes from Bhoop. I would say this is in Deshkaar)
Bihag, Boliye surilee boliyan, (Bhupendra+Sulakshna Pandit),
(Grihapravesh)
Bihag, Hamare dil se na jana dhokha na khana, (Lata), (Udan Khatola),
(Naushad)
Bihag, Tere pyar me dildar jo hai mera haledar,koi dekhe ya na dekhe alla
dekh raha hai, (Lata), (Mere Mehboob), (Naushad)
Bihag, Tere sur aur mere geet, (Lata), (Goonj Uthi Shehnai), (Vasant
Desai)
Bilawal, Jana Gana Mana)
C No! A better example of Bilawal would be the song from Baawarchi:
Bhor aayee gayaa aandhiyaara by Manna Dey etc.(recall this?)
Chaya Nat, Baad muddat ki ye ghadi aai, aap aye to zindagi aai,
(Rafi+Suman), (Jahan Ara), (Madan Mohan)
Chaya Nat, Chain nahin aye, kahan din jaye, (Lata), (Samundar), (Madan
Mohan)
Chaya Nat, Chanda re ja re re, piya ko sandesa mera kahiyo ja, (Lata),
(Ziddi), (Anil Biswas)
Chaya Nat, Hum bekudi me tum ko pukare chale gaye, (Rafi), (Kala Pani),
(SD Burman)
C (A Raag like Chaya Nat is what is called a "Vakra" raag i.e. not a
straightforward one. Yeah, one may say that these songs are in Chaya
Nat but keep in mind, "the film touch".
Darbari Kannada, Ghunghat ke pat khol re tohe piya milenge, (Geeta Dutt),
(Jogan), (?)
Darbari Kannada, Jhanka jhanak tori baje payaliya, (Manna D), (Mehbooba),
(RD Burman)
Darbari Kannada, Mujhe tumse kuch bhi na chahiye, mujhe mere haal pe choda
do, (Mukesh), (Kanhaiya), (Shankar Jaikishan)
Darbari Kannada, Radhike tune bansuri churai, (Rafi), (Beti Bete),
(Shankar Jaikishan)
C I would be more inclined to call this one as Raag Adaana (it is
similar to Darbaari kanada!)
Darbari Kannada, O Duniya Ke Rakhwale, (Rafi), (Baiju Bawra)
(Naushad)
Desh, Aap ko pyar chupane ki buri aadat hai, (Rafi+Suman?), (Neela Akash),
(Madan Mohan)
Desh, Gori tore nainwa, kajar bin kare kare, (Rafi), (Main suhagan hun),
(Chitragupta/Lacchi Ram?)
Desh, Vande mataram)
Desi, Aaj gawat men mero jum ke, (Pd. Paluskar+Amir Khan), (Baiju Bawara),
(Naushad)
Durga, Geet gaya pathharon ne, (Kishori Amonkar), (GGPN), (Ram Lal)
Gaara, Moohe panaghat pe nand lal cheeda gayo re, (Lata), (Mughal-e-Azam),
(Naushad)
Gauda Malhar, Garajat barsat sawan ayo re, (Suman K+Kamal Barot), (Barsaat
ki Raat), (Roshan)
Hameer, Madhuban me radhika naache re, (Rafi), (Kohinoor), (Naushad)
Hansadhwani-Teen Tal, Ja to se nahin bolun kanhaiya, (Lata), (Parivaar),
(Salil Chaudhari)
Hemanta, Balma anadi mana bhaye, (Lata), (Bahurani), (C Ramachandra)
Jaunpuri, Chita nandan aage nachungi, (Asha), (?), (?)
Jaunpuri, Jaye to jayen kahan samjhe ga kaun yahan, (Talat), (Taxi
Driver), (SD Burman)
Jayjaywanti-Ek Taal, Mana mohana bade jhuthe, (Lata), (Seema), (Shankar
Jaikishan)
Jhap Taal, Aawaz de ke mujhe tum bulao, (Rafi+Lata), (Professor), (Shankar
Jaikishan)
C (Jhap Taal is not a Raag. It is a "Taal" or the cyclic beat on the
Tabla. The above song is in Raag Shivranjini. It is however, set to
Jhap Taal.
Jhap Taal, Tumhe zindagi ke ujale mubarak, (Mukesh), (Poornima), (Kalyanji
Anandji)
Raag: Darbaari Kanada
Jhap Taal, Baharon ne mera chaman loot kar, (Mukesh), (?), (?)i
C The beat is Jhap Taal, the Raag is Piloo!
Jhinjhoti, Mose chal kiye jaye, hai re hai hai, dekho saiyan beiman,
(Lata), (Guide), (SD Burman)
Jog, O jaane wale ho sake to laut ke ana, (Mukesh), (Bandini), (SD Burman)
Kafi, Biraj me, holi khelat nand lal, (Rafi), (Godaan), (Ravi Shankar)
Kaharva Taal, Unhi koi mil gaya tha sare raah chalte chalte, (Lata),
(Pakeezah), (Gulam Mohammad)
C (Set to Keharva taal. As for the Raag, it has strains of Bhoop and Kalyan.
Kalawati, Bhajan bina chain naa aye ram, (Manhar?or Shailendra Singh?),
(Rafoochakkar), (?)
Kalawati, Hai re wo din kyun na aye, (Lata), (Anuradha), (Ravi Shankar)
Kalawati, Kahe tarasai, jiyara, (Lata+Asha), (Chitralekha), (Roshan)
Kalawati, Koi sagar dil ko behlata nahin, (Rafi), (Dil Diya Dard Liya),
(Naushad)
Kalawati, Subah aur sham, kam hi kam, kyun nahin lete piya pyar ka naam,
(Lata), (Uljhan), (Kalyanji Anandji)
C (I can add another one: Hai agar dushman dushman, jamaana gam nahin--
the kawwali from Hum kissi se kam nahin!)
Kamod, Ai ri, jane na dungi, maito apne piya ke sang door door, (Lata),
(Chitralekha), (Roshan)
Kedara, Bekas pe karam kijiye, sarkare madina, (Lata), (Mughal-e-Azam),
(Naushad)
Kedara, Darshan do ghanshyam naath more ankhiyan pyasi re, (Manna),
(?), (?)
Kedara, Humko man ki shakti dena, (Vani Jayaram), (Guddi), (SD Burman)
Kedara, Pal do pal ka saath hamara, (Asha+Rafi), (The Burning Train),
(RDBurman)
Kedara, Uthaye ja unke sitam, aur jiye jaa, unhi muskurae jaa, (Lata),
(Andaaz), (Naushad)
C (Not in Kedara really. Another one or two in Kedara are: Bole to basuri
kahin, bajtee sunaayi re by Yesudas; Aap yoon hi agar humse milte
rahe, dekhiye ek din pyaar ho jaayega..Asha-Rafi in Ek Musafir Ek Hasina)
Khamaj, Ayo kahan se ghanashyam, (Manna D), (Buddha Mil Gaya), (RD Burman)
Khamaj, Kuch to log kahenge, (Kishore), (Amar Prem), (RD Burman)
Khamaj, Nazar lagi raja tore bungle par, (Asha), (Kaala Pani), (SD Burman)
Lalit, Tu hai mera prema devata, (Rafi+Manna), (Kalpana), (OP Naiyyar)
Maaj Khamaj, Jane kaise sapano me kho gai ankhiyan, (Lata), (Anuradha),
(Ravi Shankar)
Maaj Khamaj, Kaanha, kanha, aan padi re tere dwar, (Lata), (Aman),
(Shankar Jaikishan)
Maaj Khamaj, Kaise dina bite, kaise biti ratiyan, piya jane na, (Lata),
(Anuradha), (Ravi Shankar)
Maal Gunji, Ghar aaja, ghir aye badara sanwariya, (Lata), (Chote Nawab),
(RD Burman(1st))
Maarwa, Payalia banwari baje, (Lata), (Saaz aur Aawaz), (Naushad)
Malkauns, Ankhiyan sangh ankhiyan lage aaj, (Rafi), (Bada Aadami),
(Chitragupta)
Malkauns, Man tarapat hari darshan ko aaj, (Rafi), (Baiju Bawara),
(Naushad)
Marubihag, Jamunaa kinare aaja, chaliya pukare aaja, raadha jaye naa,
(Lata), (Mehbooba), (RD Burman)
Marubihag, Payal wali dekhna, yahin pe kahin dil hai, (Kishore), (Ek
Raaz), (?)
Marubihag, Tum to pyaar ho, sajana, mohe tum se pyara aur na koi,
(Lata+Rafi), (Sehra), (Ramlal)
C (Add a recent one: Raadhaa jaaye naa...by Lata)
Megha, Kahan se aie badara, dhulta jaye kajara, (Yesudas+Hemanti Shukla),
(Chashme Baddur), (Ravindra Jain?)
Mishra Gaara, Diwana kahke aaj mujhe phir pukariye, (Rafi), (Muzlim),
(Ravi)
Mishra Pilu, Kaun gali gayo shyam, (Parveen Sultana), (Pakeezah), (Gulam
Mohammad)
Mishra Shivaranjani, Kadar meri naa lini re, bahut din bite bite re, bahut
din bite, (Lata), (?), (?)
Mishra Shivaranjani, Tere mere beech me kaisa hai ye bandhan anjaana, (SP
Balasubramaniam), (Ek Duje Ke Liye), (Lakshmikant Pyarelal)
C (There are hundreds in this Raag, especially the sad ones. Jaane kahan
gaye woh din...by Mukesh is one example!)
Mishra Tilang, Chupgaye tare nazare ai kya baat ho gai, tune kajal lagaya
din me raat ho gai, (Rafi+Lata), (Do Raaste), (Lakshmikant Pyarelal)
Mishra Tilang, Itna to yaad hai mujhe, ki tumse mulakat hui, baad me jane
kya hua, (Rafi+Lata), (Mehboob ki Mehndi), (Lakshmikant Pyarelal)
Miyan Malhar, Bol re papihara, papihara, (Vani Jayaram), (Guddi), (SD
Burman)
Pahadi, Is modse jaate hain, (Lata-Kishore), (Aandhi), (RD Burman)
Pahadi, Isharon Isharon mein dil lenewale , (Lata-Rafi), (Kashmir Ki Kali), (OP Nayyar)
Pahadi, Mausam hai ashikana, (Lata), (Pakeezah), (Gulam Mohd.)
Pahadi, More ankhon me bas gaya koi re mohe neend na aye kya karun, (Lata),
(Barsaat), (Shankar Jaikishan(1st))
Pahadi, Saajan ki galiyan choda chale dil roya ansu beh na sake, (Lata),
(Baazar), (Shyam Sundar)
Pahadi, Suhani raat dhal chuki, na jane tum kab aoge, (Rafi), (Dulari),
(Naushad)
Pahadi, Tood diya dil mera tune, ai bewafa, (Lata), (Dulari), (Naushad)
Pahadi, Ye dil aur unki nigahon ke saye, (Lata), (Prem Parvat), (Jaidev)
Pilu, Chahe to mora jiyara laile, (Lata), (Mamta), (Roshan)
Pilu, Maine rang li aaj chunariya, sajana tore rang me, (Lata), (Dulhan Ek
Raat Ki), (Madan Mohan)
Rajeshwari, Kaun aya mere man ke dware, (Manna D), (Dekh Kabira Roya),
(Madan Mohan)
C (RAAGESHREE)
Roopak Taal, Hai isi me pyaar ki abru, wo jafa karen mai wafa karun,
(Lata), (Anpadh), (Madan Mohan)
Roopak Taal, Chupke chupke raat din aansoo bahana yaad hai,
(Ghulam Ali), (Nikah), (?)
Shivaranjani, Jaane kahan gaye wo din, (Mukesh), (Mera Naam Joker),
(Shankar Jaikishan)
Shivaranjani, Kahin deep jale kahin dil, (Lata), (Bees Saal Baad), (Hemant
K)
Shivaranjani, Mere naina sawan bhado, phir bhi mera man pyaasa, (Kishore),
(Mehbooba), (RD Burman)
Shuddha Kalyan, Rasik Balma, (Lata), (Chori Chori), (Shankar Jaikishan)
C (Also: Jahaan daal daal par sone ki cheediyaan karti hai baser, woh
bharat desh hai mera..Rafi Film: Sikandar-ei-azam)
Sohini, Jhoomati chali hawa yaad aa gaya koi, (Mukesh), (Sangeet Samraat
Tansen), (SN Tripathi)
Sohini, Jogan ban jaungi, saiyan tore karan, (Lata), (Shabab), (Naushad)
Sohini, Kuhu, kuhu bole koyaliya, (Lata+Rafi), (Swarna Sundari), (S
Rajeshwara Rao)
Sur malhar, Dar lage garaje badariya mai kaha karun kit jaaun, (Lata),
(Raam Rajya), (?)
Sur malhar, Hale dil unko sunaya na gaya, (Lata), (?), (?)
Tilang, Choota sa baalama, ankhiyana need udai le gayo, (Asha), (Raagini),
(OP Naiyyar)
Tilang, Sajana sangh kaaahe, maha lagaye, (Lata), (Mai Nashe Me Hun),
(Shankar Jaikishan)
Yaman-Jhap Taal, Aansu bhari hai je jeewan ki rahen, (Mukesh), (Parvarish),
(Dattaram)
Yaman, Ang anga ranga chalkaye, (Sulakshna Pundit), (Sankalp), (Khaiyyam)
Yaman, Dile betab ko seene se laga hoga, (Lata+Rafi), (Palaki), (Naushad)
Yaman, Ja re badara bairi ja,re ja re, (Lata), (Bahana), (Madan Mohan)
Yaman, Jiya ley gayo re mora sanwariya, (Lata), (Anpadh), (Madan Mohan)
Yaman Kalyan, Chandan sa badan chanchal chitawan, (Mukesh),
(Saraswatichandra), (Kalyanji Anandji)
Yaman Kalyan, Jab deep jale ana, jab sham dhale ana, (Yesudas),
(Chitchor), (Ravindra Jain)
Yaman Kalyan, Jeewan door tumhi sangh bandhi, (Lata), (?), (Lakshmikant
Pyarelal)
Film: Sati Savitri
Yaman Kalyan, Lau laga ke geet gaa ke, (Lata), (Bhabi Ki Chudiyan),
(Sudhir Padke)
Yaman Kalyan, Jiya Le gayoji mora sawanria, (??), (Anapadh),
(Madan Mohan)
Yaman Kalyan, Man re, tu kahe na dhir dhare, (Rafi), (Chitralehha),
(Roshan)
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There are many many more. Perhaps one day we can compile them all!
Rajan Parrikar
==============
MIMICAD CENTRE
Department of Electrical and Computer Engineering
University of Colorado at Boulder
E-mail: parr...@mimicad.colorado.edu
(O): 303-492-8719
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O FOR THE GOLDEN SANDS OF GOA!!
..AND THE GLORIOUS COLORADO ROCKIES!!
-------------------------------------------------------------------------
Rajan Parrikar
>In article <ARA.92Ja...@schwyz.ai.mit.edu> a...@zurich.ai.mit.edu (Allan Adler) writes:
>>
>>I saw a movie (I think in Gujerati, but I don't remember now) called The
> ^^^^^^^^^^^
>>Hungry Stones, based on a
> ^^^^^^^^^^^^^
>>short story by Rabindanath Tagore with the same name. I liked the
>>movie much better than the short story and would love to have a copy
>>of it.
>
>The original movie, which I unfortunately have not seen, is in Bengali, I
>believe. The music was composed by Ustad Ali Akbar Khan I think. As I
>remember, this was mentioned in the relevant excerpt from G. N. Joshi's
>book posted by Rajan Parrikar on s.c.i.
>
>Amitava
>
Just checked the excerpt on Ali Akbar Khan. The film is Bengali and it is
called Kshudito Pashan (Hungry Stones).
Rajan
=====
Allan Adler
because it was much more vivid. The short story was rather sketchy,
I thought. A lot of work goes into making a movie and into transforming
a story or novel into a film script, complete with detailed information
in the form of scenery and musical background. It is the art of the
screen writer and the director to see the potential hidden in Tagore's
story and elucidate it. This does not diminish the art of the Nobel
prizewinning author. By the way, I may have been mistaken. The film
might have been in Bengali.
As long as one is one the subject of Rabindranath Tagore, I understand
that he was also a composer, producing what is now called
Tangorsangeet (I think). But can one articulate, from a musical point
of view, what is different about Tagore's music and what are its stylistic
elements and innovations ?
Allan Adler
a...@altdorf.ai.mit.edu
Daniel Neuman
based on a repertoire of Tagore texts and music which can be loosely
thought of as a combination classical, folk and urban (Calcutta) tunes.
--
______________________________________________________________________
Daniel Neuman Internet: da...@u.washington.edu
School of Music DN-10 Bitnet: DANN@MILTON
Univ. of Washington Fax: (206) 543-8421
Shivanand Shenoy
>As long as one is one the subject of Rabindranath Tagore, I understand
>that he was also a composer, producing what is now called
>Tangorsangeet (I think). But can one articulate, from a musical point
I think you mean 'Rabindrasangeet (pronounced Robindroshongeet)'
--
Shiva Shenoy | e-mail: she...@iastate.edu
2066 Black, | Office: (515)-294-0082
Dept. of Aero. Engg. & Engg. Mechanics | Home : (515)-296-7640
Iowa State University, Ames, IA 50010 |
The Devil
>I thought the movie Hungry Stones was better than the short story
>because it was much more vivid. The short story was rather sketchy,
>I thought. A lot of work goes into making a movie and into transforming
I agree with you here -- personally I found the movie and also a dramatic
adaptation (for the radio) more captivating than the story. But on the other
hand, if Tagore ever wrote a story for the screen, this was it (uninten-
tionally, of course). But I presume you don't read Bengali, so you might
not have noticed that.
>Tangorsangeet (I think). But can one articulate, from a musical point
Rabindrasangeet (pronounced Robeen-dro-shong-geeth; all `o's are as in hoe, and
`ee' as in been) -- most definitely the music closest to the Bengali spirit,
has a lot of experimentation and innovation in it. I cannot really point you
to discussions about all of that -- my knowledge comes from reading articles
and listening to discussions by singers. There is a new album (double?) out
from HMV/EMI that has Amjad Ali Khan playing a raag on the sarod and then
Suchitra Mitra singing a song based on it.
Tagore utilized his training in Hindustani classical music really well -- I
have heard songs based on raags that haven't heard anywhere else (raag aleya
for example). More than half his tunes are actually very short and melodious
expositions of various raags (not at all easy -- look at the note on Pandit
Paluskar that was posted last week) -- the rest are experimentations on
floating between raags, modifying folk tunes and sometimes European tunes
as well.
So much for today.
Best wishes,
Amitabha
--
Statutory Disclaimer : My opinions may be hazardous to your sanity.
Sometimes even I don't agree with myself.
Amitabha Lahiri, Dept. of Physics, Syracuse University.
E-mail: ala...@mailbox.syr.edu, lah...@suhep.phy.syr.edu, lah...@suhep.bitnet