Saaz Aur Aawaaz #4
shekhar
to post at least one instalment to get Neha and Ashok off my back :-)
This is very much a IMHO article, and this particular instrument
figures in so many songs, so RMIMers will probably have loads of their
own favourites to add. All additions, corrections and opinions
welcome!
THE ACCORDION
This handsome instrument was invented (1822) in Germany by Friedrich
Buschmann and till today remains prominent in European folk music,
although in N. America - except in enclaves of die-hard and cult fans
- it has a reputation as a geeky instrument. Some of the best
accordions are made in Germany (like Hohner) and Italy.
It is a portable reed instrument, and the classic piano accordion
features a keyboard for the right hand and bass buttons for the left.
The vertical line of bass buttons on the inside are root notes, and
the buttons in subsequent lines represent whole chords of those
respective notes - usually in the order of majors, minors, sevenths,
diminished etc. depending on how big a specific model is. In fact, the
size of an accordion is conventionally represented as being of 'x
bass', meaning the number of bass buttons it has. The bellows allow
for a variety of crescendo and shimmering effects unique to this
instrument, but more about that later.
What endows it with that uniquely rich sound are those reeds, which
exist as two treble sets and one bass set (not to be confused with
bass buttons as above), which may be combined or played solo using
couplers - larger piano-type keys that lie above its regular keyboard.
With its extended bellows, visible keys and highly polished and
usually colourful grill the accordion looks as rich as it sounds and
was once the centrepiece of stage programmes.
In India its presence was restricted to enclaves of Goa and among
Anglo-Indians and even today it has not been adapted (like the
mandolin or saxophone) for classical or semi-classical Indian music.
Film music has been its mainstay, but when exactly did it make its
appearance? The muted quality of older 78 rpm records make it
difficult to determine if a particular piece was played on the
harmonium or accordion. Somewhere around the late 40s is my guess,
with songs like "Chhod gaye baalam" (Barsaat).
Before we get into specific songs in HFM, a few random instances where
different combinations of reeds have been used: (1) single treble (2)
both trebles (3) bass and both trebles together.
(1)
- Tere bina zindagi se koi shikwaa (RDB, Aaandhi)
- Sheesha ho ya dil ho (LP, Aasha)
- Meet na mila re man ka (SDB, Abhimaan)
(2)
- Sub kuchh seekha hamne (SJ, Anari)
- Teri pyari pyari soorat ko (SJ, Sasural)
- Har dil jo pyar karega (SJ, Sangam)
(3)
- Kya hua, ye mujhe kya hua (SJ, Jis Desh Mein Ganga Behti Hai)
- Ek bewafaa se pyar kiya (SJ, Aawaara)
- Andaz mera mastaana (SJ, Dil Apna Aur Preet Parai)
Do you see what I see? Yessir, the duo who loved the accordion with a
passion was Shankar-Jaikishan. It's easier to find a song or movie
scored by them that did *not* feature it! So it only seems appropriate
to have them head our Hall of Fame list, MD-wise. Other MDs appear in
no particular order.
Shankar-Jaikishan
A rumour used to float around that it was Jaikishan who played the
accordion but in reality it was Goody Servai who was the man behind
all those now legendary songs, like the title songs of Aawara and
Anari (a fact divulged to me by S-J's long-time assistant Sebastian).
In their very first movie Barsaat S-J made full use of the accordion
in songs like "Chhod gaye baalam" and "Patli qamar hai" - not just
plain elongated notes but rapid staccatos that weave around going
berserk between the vocals and other instruments. Sadly, this is
pronounced only in the movie version of both songs, and mysteriously
subdued or missing in the record versions.
S-J also made full use of the 'slide' - sweeping the finger right
across one or more octaves of the keyboard - a pro player's show-off
manoeuvre that works in sight and sound! For the upward or ascending
slide there is again "Sub kuchh seekha hamne" in the 1st interlude,
and Parvarish's "Masti bhara hai sama" (okay, I know it's Dattaram but
I'll club him with S-J for now). The reverse or descending slide is
heard at the end of the antara in "Banke panchhi gaye pyaar ka
taraana" (Anari) and that grandaddy of accordion songs "Aaja sanam"
(Chori Chori). In fact "Aaja sanam" is 'inspired' by an Italian tune
called "Tarantella", itself an accordion favourite (Taxi Driver's
"Chaahe koi khush ho" also had the same tune).
More S-J gems, but still only scratching the surface:
- "Ae mere dil kahin aur chal" (Daag): Listen only a little harder at
the end of Talat singing the first line of the stanza "Chal jahan gham
ke maare na ho..." and the accordion takes off in a series of
counter-melodies of its own, accompanying the vocals all the way.
Stunning.
- "Andhe jahan ke andhe raaste" (Patita): Who can forget that
majestic solo accordion beginning and the subsequent riffs?
- "Sheeshae dil itna na uchhalo", "Andaz mera mastaana" (Dil Apna Aur
Preet Parai), "Aawara ae mere dil" - fast version (Raat Aur Din) -
many enjoyable little riffs between the sung lines.
- Repeating, but giving its own spin on the stanza lines the
accordion makes its presence felt in "Kahe jhoom jhoom raat ye suhani"
(Love Marriage)
- "Tera mera pyar amar" (Asli Naqli): a convoluted series of notes
follow the strings in the interludes before taking over completely.
- "Dil ki girah khol do" (Raat Aur Din): a combination of strings and
accordion used to ultra-rich effect, also seen in many other S-J songs
like "Jab bhi yeh dil udaas hota hai" (Seema)
- "Baat baat mein rootho na" (Seema): An exciting beginning that
allows the accordion to briefly expound on the notes of a 7th chord
before the whole gang kicks in. Many pleasures are scattered through
the antaras as well.
- "O sanam tere ho gaye hum": (Aayee Milan Ki Bela) - Not so much
in-your-face as some of the songs above, but delightfully and
delectably subtle, flitting between santoor, piano and strings.
S.D Burman
The carefree happy-go-lucky and innocent accordion of S-J acquires a
sexy, throwaway swagger under the baton of SDB. It's all in the subtle
varying of the volume using the bellows, plus a trick of jamming a
chord and allowing the hand to slide down - fingers still in position.
- "Ye meri zindagi, ek paagal hawa" (Ziddi) - the 1st and 3rd
interludes end with that showy effect. Don't miss those chords dodging
about Lata's "Aaj idhar, kal udhar..." at the end of the stanzas.
Cool!
- "Choodi nahin mera, dil hai" (Gambler), and "O meri, o meri
sharmilee" (Sharmilee): Stylish riffs run through both songs while
being allowed full interludes as well; also the zingy pieces of "Megha
chhaye" (Sharmilee).
- "Roop tera mastana" (Aradhana): In my opinion, this cult
favourite's secret weapon is the accordion. The very opening is an
arresting C-seventh chord that rapidly swells and breaks off. The
first interlude sports accordion chords followed by a solo sax line,
until the accordion reppears to play peekaboo with it; the second
interlude is all accordion crescendo and diminuendo. Was there ever a
better instrument to illustrate the song's theme of surging and barely
suppressed passions?
Salil Choudhury
Salil's trademark is his unpredictability and that goes for his
accordion pieces too. It is prominent in "Zindagi khwab hai" (Jaagte
Raho), as an exciting opening in "Sapnon mein meri" (Poonam Ki Raat),
and breezy in "Jungle mein mor naacha kisi ne na dekha" (Madhumati);
Maya's "Tasveer teri dil mein" has that arpeggio line that dashes away
every time the main line is sung, with longer drawn out ones for the
interludes; in "Khush ho rahe the pehle thukra ke zindai ko" (Prem
Patra) the cascading riffs are on their own trip interspersed between
the vocals. "Banki adaayen" (Amaanat) too is arresting.
But my Salil entrant for the accordion Hall of Fame?
"Teri yaad na dil se ja saki" (Chand Aur Suraj). I heard from Salil
himself how he drove an accordion player nuts trying to get him to
play the exceedingly complex passages in the interludes of this song.
You "Most Complicated Song" list-minded fiends, note: the singing
part is as difficult. A true gem of a song.
Finally a word about Salil's use of the accordion in "Guzar jaye din"
(Annadata). Kishore found this song exceedingly difficult (it's like a
vocal exercise in scale practice), and Salil had to add a small piece
in mid-antara to take KK to the (correct) next note.
Madan Mohan
One doesn't associate Madan Mohan often with the accordion, given his
penchant for the ghazal and semi-classical kind of song. But listen to
"Thodi der ke liye mere ho jaao" (Akeli Mat Jaiyyo): A great mix of
rhythm guitars and castanets - and an invigorating accordion running
throughout. Still earlier, during his non-Lata OP-ish period MM
composed "Na dar sanam", the title song of Aakhri Dao, a jazzy swing
number with some stylish accordion pieces.
A few years later Madan Mohan put his 'chaap' on the instrument - he
was also the only one to use a double accordion. From listening to the
intricate nature of the pieces I assume there were *two* players, one
playing seconds, to achieve a rich and beautiful effect in these
songs:
- "Yun rootha na haseena" (Neend Hamari Khwab Tumhari)
- "Chhod kar tere pyar ka aalam" (Woh Kaun Thi)
And if it is indeed a single person playing those pieces, then hats
off to you sir, whoever you might be.
O.P. Nayyar
O.P. did find time from his favourite and ever-present staccato
clarionet and march beat, to dabble with the accordion. Check these
out:
"Babuji dheere chalna" (Aar Paar): Almost exclusively an accordion
song, over-familiar perhaps, but worthy of inclusion
"Man more gaa jhoom ke" (Mangu), and "Hoon abhi main jawan" (Aar
Paar): Especially in the latter's antara the accordion has something
to say after every sung line. To digress a bit - also a rare instance
of a lady (in this case, Shakila) shown playing it on screen - could
only recall Reena Roy's "Zindagi imtihan hoti hai" (Naseeb)
"Ye hai reshmi zulfon ka" (Mere Sanam): Mischievous arepeggios fill
out the gaps in the antaras.
But my top O.P. spot goes to "Woh baat jis pe ki dhadke jiya" (Hum Sub
Chor Hain)'s superb and mesmerising opening lines.
A quick nod to O.P.'s long-time assistant G.S. Kohli, who also used it
to electrifying effect in "Mere do naina matware" (Namastejee).
R.D. Burman
Surprisingly Burman Jr. doesn't seem to have been too enamoured of the
accordion. But before he did get full-fledged into electronic music,
several songs show a sparkling use of it:
"O mere sona re" (Teesri Manzil): A great intro and second interlude
by the accordion. Unfortunately the intro is obscured by conversation
in the LP and movie; the second interlude is missing from standard
play versions.
"Aana to sajni din ko aana" (Raaton Ka Raaja): The entire opening is a
lavish solo accordion that upstages the song itself. Also noteworthy
is "Agar saaz chheda taraane banenge" (Jawani Diwani).
The richest use of accordion by RDB is in the opening bars of "Main
chali, main chali" (Padosan) - but again, don't look for it in the
movie! It's edited out.
Ravi
Just like most of his compositions Ravi's accordion use too was of the
soft-touch type. The tunes are pleasant without being invigorating in
"Ye mausam rangeen sama" (Modern Girl), "Ye parda hatado" (Ek Phool Do
Mali), "Baar baar dekho" (China Town) and "Sheeshe se pee" (Phool Aur
Patthar) - in the last, it is subdued to the point of being faded out,
but not one bit less effective for it.
Laxmikant-Pyarelal
Was Bobby's zesty accordion L-P's doing or Raj Kapoor's? It hogs most
of "Hum tum ek kamre mein band ho" but L-P had made good use of it as
far back as Parasmani's "Hasta hua noorani chehra" and Shriman
Funtoosh's "Ye dard bhara afsaana". It also made a pleasant appearance
in Majboor - "Aadmi jo kehta hai". L-P's accordion otherwise was very
much a showy-song fixture, as in Amar Akbar Anthony's title song and
Naseeb's "John, Jani, Janardhan".
Kalyanji-Anandji
Like most '50s and '60s music directors K-A too had their share of
accordion-based songs, as in Ishaara's "Chal mere dil" and "Dil
beqraar sa hai" (Lata version). The Subir Sen-Kamal Barot duet "Dil
leke jaate ho kahan" (O Tera Kya Kehna) can give "Masti bhara hai
sama" a run for its money any day, and remember "Naina hai jadoo
bhari" (Bedard Zamana Kya Jaane)? The chord that ends the opening
notes is inviting enough for a dead man to sit up and break into song.
(This minor 6th was also effectively used in the intro to Jugnu's
"Jaane kya pilaya tune" (SDB) and Night Club's "Kahan phir tum, kahan
phir hum" (MM).)
Naushad
The veteran maestro has made sparing use of accordion. Was it because
of his fondness for ethnic music? Still, it is present in later movies
like Saathi and Ganwaar (perhaps under the influence of arranger/
accordionist Kersi Lord). Some other Naushad tunes:
"Mujhe duniya waalo" (Leader)
"Pyaar ki raah bahaar ki manzil" (Saaz Aur Awaaz)
"Koi pyar ki dekhen jadugari" (Kohinoor)
Usha Khanna
I don't know if it was L-P or Usha Khanna but between them the
'stunt-movie' orchestration developed as a distinct entity in the
'60s. Arabian rhythms and tunes, trumpets, strings, a variety of drums
and of course, the accordion, all contributed to it.
Aao Pyar Karen's "Ye jhuki jhuki nigahen teri" comes to mind, as do
scores of others: remember these?
"Gaa deewane jhoom ke" (Flat No 9)
"Teri nigahon ne sawaal kiya" (Main Hun Alladin)
"Dil to nirala hi sharabi hai" (Awaara Baadal)
all the way up until
"Zindagi pyar ka geet hai" - Lata version (Souten) - dream pieces for
an accordionist.
Some of the older lot of MDs, and some lesser-known ones too deserve a
mention. I like C. Ramchandra's "Gore gore" (Samadhi) intro and first
interlude, Ganesh's "Dil ka nazrana le" (Chalaak), and two of
Chitragupt's finest, "Jaag dil-e-deewana" (Oonche Log) and "Ye
parbaton ke daaere" (Vaasna). And who can forget N. Dutta's unique use
of the instrument, whether unobtrusive as in "Ab woh qaram karen"
(Marine Drive) or ecstatically sparkling as in "Main tumhi se poochti
hun" (Black Cat)? Or Hemant Kumar's "Beqrar karke hamen" (Bees Saal
Baad) and "Bheegi bheegi phiza' (Anupama)? Also Roshan's "Mujhe mil
gaya bahana tere preet ka" (Barsaat Ki Raat) and Khayyam's ethereal
"Cheen-o-arab hamara" (Phir Subah Hogi) where the accordion has
something to say after every line by Mukesh.
What of the accordion in HFM today? Place it along with the dodo and
the slide rule. Except for occasional revival and nostalgia programmes
on stage it has all but disappeared, especially in the studios. Its
catchy riffs in "Tu hi tu starangi re" (Dil Se) make you briefly
wonder but knowing ARR's fondness for the synth, that's what it
probably is.
SKalra902
...snipped...
Thank you Shekhar for an excellent article on the Accordion and its use in the
HFM.
>Do you see what I see? Yessir, the duo who loved the accordion with a
>passion was Shankar-Jaikishan. It's easier to find a song or movie
>scored by them that did *not* feature it! So it only seems appropriate
>to have them head our Hall of Fame list, MD-wise.
I would venture to add that SJ were masters in not only using the Accordion in
a most useful way in orchestration, but also that they were the MDs who brought
orchestration itself into prominence in the HFM, right from the opening notes
of "hawaa mein udataa jaaye.." in Barsaat. It is said that they were the first
duo to use a three-digit - 101 person- strong orchestra for Jis Desh Mein Ganga
Behti Hai, and film producers stopped giving Shankar the customary,
minimum-65-person orchestra right after Jaikishan's death.
As re. SDB, his first use of the instrument can be traced as far back as
Naujawaan and Bahaar, both in 1951. "Thandii hawaayein lehraa ke aayein....."
and "saiyyan dil meina aanaa re..." both make a lavish use of the accordion.
The 1949 film Shabnam also had accordion in some song(s), but I can't recollect
which ones right now.
I also hope that you had the article copyrighted, Dr. Shekhar. :-)) Otherwise,
someday you may find it or excerpts from it in some article in India without
even an acknowledgment re. its source.
Happy listenings.
Satish Kalra
Afzal A. Khan
> I don't know if you could call this a revival of the series, but I had
> to post at least one instalment to get Neha and Ashok off my back :-)
>
> (2)
> - Sub kuchh seekha hamne (SJ, Anari)
> - Teri pyari pyari soorat ko (SJ, Sasural)
> - Har dil jo pyar karega (SJ, Sangam)
>
> (3)
> - Kya hua, ye mujhe kya hua (SJ, Jis Desh Mein Ganga Behti Hai)
> - Ek bewafaa se pyar kiya (SJ, Aawaara)
> - Andaz mera mastaana (SJ, Dil Apna Aur Preet Parai)
>
> Do you see what I see? Yessir, the duo who loved the accordion with a
> passion was Shankar-Jaikishan. It's easier to find a song or movie
> scored by them that did *not* feature it! So it only seems appropriate
> to have them head our Hall of Fame list, MD-wise.
An excellent article. But I have a question.
You want someone off your back. How can you hope to do so
by lavishing so much praise on S-J ? (!)
Afzal
Srinivas Ganti
"shekhar" <she...@emirates.net.ae> wrote in message
news:83fb4ecf.01083...@posting.google.com...
> I don't know if you could call this a revival of the series, but I had
> to post at least one instalment to get Neha and Ashok off my back :-)
Please post more articles.I wasn't around at that time
when you posted the previous artciles, and after
reading this I got the rest from the archives.
Your technical knowledge about the instruments
adds to the pleasure.
> More S-J gems, but still only scratching the surface:
>
> - "Ae mere dil kahin aur chal" (Daag): Listen only a little harder at
> the end of Talat singing the first line of the stanza "Chal jahan gham
> ke maare na ho..." and the accordion takes off in a series of
> counter-melodies of its own, accompanying the vocals all the way.
> Stunning.
I like the slower version better.For many years I thought that the slow
version was only in Lata's voice.
I never heard the slower version in Talat's voice
on the Radio and Lata's slow version only a few times.
Satishji, I am referring to my listening years:)
Talat's faster version was very popular.
>And who can forget N. Dutta's unique use
> of the instrument, whether unobtrusive as in "Ab woh >qaram karen"
> (Marine Drive) or ecstatically sparkling as in "Main tumhi se poochti
> hun" (Black Cat)?
N Datta's accordian pieces are a delight.
How about "ai dil zubaan na khol, sirf dekh le"
from Naach Ghar ?
SG.
shekhar
>
> As re. SDB, his first use of the instrument can be traced as far back as
> Naujawaan and Bahaar, both in 1951. "Thandii hawaayein lehraa ke aayein....."
> and "saiyyan dil meina aanaa re..." both make a lavish use of the accordion.
> The 1949 film Shabnam also had accordion in some song(s), but I can't recollect
> which ones right now.
>
Thanks, Satishji.
I missed another real SDB winner - "Raat akeli hai" (Jewel Thief),
where the accordion is as seductive as Asha's voice.
Also - RDB's "Waadiyan mera daaman" (Abhilasha) and Hridaynath's
Marathi bhavgeet "Anandi anandigade" (apologies for any typo error).
Aside from Goody Servai and Kersi Lord I should have mentioned Y.S.
Mulki and Sumeet Mitra as other well-known accordionists in the
industry.
Regards
Shekhar
SKalra902
...snipped...
>Aside from Goody Servai and Kersi Lord I should have mentioned Y.S.
>Mulki and Sumeet Mitra as other well-known accordionists in the
>industry.
How about adding Enoch Daniels to the elite list. He provided music to the
re-recorded Talat LP (in 1980) and used the accordion as the instrument of
choice in the interludes for most of the songs. Besides, he had many
instrumental LPs of his own, such as Vintage Wine, using the Piano Accordion
extensively.
IIRC, E. Daniels also composed (rather completed the orchestration and
recorded) music for a film which had originally been assigned to Shankar, who
passed away before completing the assignment.
The film? Someone please help.
Happy listenings.
Satish Kalra
SKalra902
...snipped...
>> More S-J gems, but still only scratching the surface:
>>
>> - "Ae mere dil kahin aur chal" (Daag): Listen only a little harder at
>> the end of Talat singing the first line of the stanza "Chal jahan gham
>> ke maare na ho..." and the accordion takes off in a series of
>> counter-melodies of its own, accompanying the vocals all the way.
>> Stunning.
>
>I like the slower version better.For many years I thought that the slow
>version was only in Lata's voice.
>I never heard the slower version in Talat's voice
>on the Radio and Lata's slow version only a few times.
>Satishji, I am referring to my listening years:)
>Talat's faster version was very popular.
>
In the case of this song, in my listening years, I also did not hear the slower
Talat version because it was never released on the 78 rpm reocrds. :-) The
first time I heard this version besides the film was when an LP of the film was
released. There are actually two LPs of Daag, one has the Talat slower
version, the other doesn't. IIRC, one of them is an EMI Pakistan LP.
Happy listenings.
Satish Kalra
Sudhir
Your article is one of the most interesting write-up, I have ever
read.
On a scale of 1 to 10, it is 11 (by adding info. on this intruments,
which
very few people are aware of)
How about doing a similar article on another instrument: Castanets.
It
has been used in a number of Dance Songs (specially Arabian type
music)
If I am not mistaken, the instrument's origin is Arabic, but is
generally
classified as a Spanish piece.
I like it a lot and have tried to find some Spanish instrumental
numbers
(like Flamenco: Argentinian or Gypsy : European and Spanish).
However, my collection is very small. May be you are aware of some
"Instrumental only Songs", in which this little instrument is used
effectively.
Thanks in anticipation.
P.s.: Regarding your notes on Barsaat songs. The film versions (only
one song: Barsaat Mein Hum Se - was re-issued / available on a
Tape:
Jagte Raho + R.K. Films Hits) ) and 78 rpms versions
(which are the ones on all formats (LP, CD, Tape) are
entirely
different. The 78rpms were probably recorded later
Sudhir
Sanjeev Ramabhadran
> Shekhar wrote:
>
> IIRC, E. Daniels also composed (rather completed the orchestration and
> recorded) music for a film which had originally been assigned to Shankar, who
> passed away before completing the assignment.
>
> The film? Someone please help.
Not sure about Shankar dying before or during the assignment, but
didn't ED compose as part of a duo or trio calling themselves "Suraj"
for a late 60s movie called "Street Singer"? There are two
okayish-at-best Rafi songs I seem to remember which are from this
movie:
1) "Ghar Ki Murgi Daal Barabar"
2) "Bina Tumhaare Mazaa Kya Hai Aise Jeene Men"
Is this the one you're thinking of or am I way off?
Sanjeev
uday
What an article! Even for somone like me who doesn't understand about
instruments, the songs mentioned were old gems I will listen
once again with more interest.
How about an article on 'sitar' and songs/MD in which the sitar is
used. Chandan sa badan,,, etc
Some more articles please, even in small doses.
Uday Patel
"shekhar" <she...@emirates.net.ae> wrote in message
news:83fb4ecf.01083...@posting.google.com...
SKalra902
No. Street Singer was indeed a film reportedly composed by Shankar, in the
name of "Suraj". IIRC, for the film's publicity, Suraj was described as one of
Shankar-Jaikishan's assistants, and one more time IIRC, even in the film's
credit titles, there was some reference to it.
The Enoch Daniels film I was talking about was released in the late 80's/ early
90's. I wish I could now remember the film's name.
Maybe Dr. Hamraaz can shed a light on the film's name.
Happy listenings.
Satish Kalra
kcp
shekhar wrote:
> Finally a word about Salil's use of the accordion in "Guzar jaye din"
> (Annadata). Kishore found this song exceedingly difficult (it's like
a
> vocal exercise in scale practice), and Salil had to add a small piece
> in mid-antara to take KK to the (correct) next note.
Hello Doc
this above info which you gave was not appearing in Salilda's interview
with you...or did Salilda tell you about this acc piece info separately
?
Any particular place ( exact word in the mid antara, after which )where
the Accordian was played and Kishore went to the next note ??
Its just for my info
Regds
KCP
bharat pandya
Frankie, Johnie Gomez and my favourite of them all, Chic Chocolate
(yeah, that is the name ) All Goans..As for Enoch Daniels' accordion
songs, pick a SJ accordion song. any one of them and it was played by
ED by
and large, the cream of SJ's accordion songs of the
'50s have featured the squeeze box sounds of Enoch Daniels. Some of
these arrangers were seen on the screen also.Was man seen on screen in
Koi kisika divana na bane -Sargam Chick Chocolate or ED ? or any other
istance ?
gautam
Sekhar.
Here's my 2 euro cent.
"Guzar jaaye din" is in the key of Fm (F-minor). Yes it does use some
"uncommon" arpeggios in Eb-Major, C-Major and G-Major etc but it always
comes come back to F-Minor.
Thats typical Salilda.
Once you understand the chord progression its not that difficult.
Although the song starts in F-Minor, the antara starts in the key of
Eb-Major and the notes are quite simple really with the last word "ye"
ending on "pa" like this :
Kishore begins the antara with
" rahe naa to bas me ye, na maane koi ras me ye"
( pa..............ga sa pa, pa................. ga sa pa) - high "pa"
to low "pa" - remember - in the key of Eb Major.
The next line (ke khaan.u main to kasme ye) "ke" starts with the note "D"
of the Eb key (komal-ga) which is also the "pa" or the fifth note of the
G-Major key and Kishore is now in G-Major with "ke khaau,n main to kasme
ye". Basically Kishore was having trouble hitting that note "D" or
"komal-ga" of Eb key straight from the "pa" (the previous note "ye") one
octave below.
The accordion arpeggio leads him to that note.
If this sounds confusing or rubbish to you, just try to hum the song without
any instrument and you may be surprised to find that it does take a while
before you can hit that "D".
Here's the sample for you to hear :
http://www.salilda.com/songs/guzar_sample.mp3
Finally, there are all kinds of write-ups and articles on this song and how
it took Kishore many takes etc. Majority of these articles are copies of the
copis of the same story which nobody really tried to verify or even test.
Lets face it, most of these reviewers wouldn't know the difference between
a major and a minor key.
I think Kishore did a fantastic job and I can't really think of anybody else
who would have done a better job.
After singing the antara when he returns to the mukhDa, he starts with an
off-beat "aha" and sings "aha - guzar jaay din". I found the timing of that
"aha" really amazing.
Gautam
"kcp" <kcpi...@yahoo.com> wrote in message
news:1096104964.3...@h37g2000oda.googlegroups.com...
bharat pandya
accordian musical pisces . Kishor Sahu was playing accordian and Beena
Roy was singing.
Raj Kapoor was very fond of [pcturing himself with acc, played with
such acting that it seemed as if he was really playing it.Remember
Jhon Jhony Janardan..
( that also reminds me of Dilip playing Sitaar in "Madhuban me
Raadhika" and Piano in " Tute na dil tute naa )
Surma Bhopali
> One SJ song from Mayurpankh " Illa beli ya re " had some beautiful
> accordian musical pisces . Kishor Sahu was playing accordian and Beena
> Roy was singing.
> Raj Kapoor was very fond of [pcturing himself with acc, played with
> such acting that it seemed as if he was really playing it.Remember
> Jhon Jhony Janardan..
Raj Kapoor and ##John Jaani Janardan##?? If you are referring to
Naseeb song, it is Amitabh.
bharat pandya
>
> Raj Kapoor and ##John Jaani Janardan##?? If you are referring to
> Naseeb song, it is Amitabh.
Thank You... Yes, it is Amithabh song sung in a party various
film personalities are included and RajKapoor is offered Accordian By
Amitabh , and he is shown playing it.
>
> >
kcp
Basically Kishore was having trouble hitting that note "D" or
> "komal-ga" of Eb key straight from the "pa" (the previous note "ye") one
> octave below.
> The accordion arpeggio leads him to that note.
100% understood and grasped your point Gautam ji...really it was
explained in a very very simple manner ( in fact the short clip
explained it better for me because i dont understand technical aspects
)...and what a lovely way that "small piece" of accordion played !!
WONDERFUL - only a genuius like Salilda can do it !!!! PLEASE PLEASE
share such kind of trivias/experiences...they are just awesomne :)
Thanks a lot..
Now just last question ( to you specifically ) - did Salilda tell you
about this difficulty in hitting this particular "D" Note ?? the
reason was that in earlier interview of Dr Shekhar with Salilda he did
not mention this specific accordion trivia...
Regards
Kaustubh
PS : I am playing this small sample 100th time !!
gautam
I am glad to know that my explanation was comprehensible !
To answer your question, yes Salilda did mention this to us quite a few
years back when we were discussing some of his songs which had caused some
problems with playback singers. Some of them are well known, not only Hindi
film songs but also bengali songs. One of the most famous bengali songs sung
by Hemanta Mukherjee is "shono kono akdin" (no hindi version was made !).
This song uses three keys (saptaks). Basically that means the "sa" changes
three times. Hemant couldn't do it, so Salilda introduced subtle
orchestration to lead and help Hemant to move from one key to the next.
However, Hemant never sang it on stage since he couldn't play the harmonium
in three keys ! While we were discussing this fact (Why Hemant never sang
this song in public), we asked Salilda what were the challenges during the
recording of "Guzar jaay din" (why it took Kishore 18 takes ?). Thats when
Salilda mentioned that in his original bengali version of that song "Chole
je jaay din" by Shyamal Mitra he didn't have to help Shyamal to jump from
the lower "pa" to the higher "komal ga", so he didn't think about inserting
any music, but Kishore was having some difficulties with hitting the note
and was getting more and more nervous. To solve the problem Salilda quickly
introduced that little accordion piece - which beautifully bridges the gap
and in fact has become a part of the song.
As I said before its not a difficult song when you understand the little
grammer. I could play it on my harmonica without much trouble, and I'm not
really a musician !
(http://www.salilda.com/songs/guzar_harmonica_sample.mp3)
Gautam
"kcp" <kcpi...@yahoo.com> wrote in message
news:aad5e896.04100...@posting.google.com...
kcp
> Kaustubh,
>
> I am glad to know that my explanation was comprehensible !
> To answer your question, yes Salilda did mention this to us quite a few
> years back when we were discussing some of his songs which had caused some
> problems with playback singers. Some of them are well known, not only Hindi
> film songs but also bengali songs.
WHen it was Salilda the singers were always on their toes...Kishore
being a non-trained singer must definitely have found trouble in some
complex tunes of Salilda...I am sure that there must be more examples
As an aside : Salilda must have also found it difficult to cope up
with Kishore in some of his ut-patang comedy songs, where Kishore
definitely taught lessons to many a composer in the 50's, by adding
his own dimensions to the songs ? !!
>One of the most famous bengali songs sung
> by Hemanta Mukherjee is "shono kono akdin" (no hindi version was made !).
> This song uses three keys (saptaks). Basically that means the "sa" changes
> three times. Hemant couldn't do it, so Salilda introduced subtle
> orchestration to lead and help Hemant to move from one key to the next.
> However, Hemant never sang it on stage since he couldn't play the harmonium
> in three keys !
>>Thats interesting !!! I wonder if Kishore sang this number ( Guzar
Jaaye ) in any live stage show :P
>While we were discussing this fact (Why Hemant never sang
> this song in public), we asked Salilda what were the challenges during the
> recording of "Guzar jaay din" (why it took Kishore 18 takes ?). Thats when
> Salilda mentioned that in his original bengali version of that song "Chole
> je jaay din" by Shyamal Mitra he didn't have to help Shyamal to jump from
> the lower "pa" to the higher "komal ga", so he didn't think about inserting
> any music, but Kishore was having some difficulties with hitting the note
> and was getting more and more nervous. To solve the problem Salilda quickly
> introduced that little accordion piece - which beautifully bridges the gap
> and in fact has become a part of the song.
Oh yess....thanks again for this confirmation.
> As I said before its not a difficult song when you understand the little
> grammer. I could play it on my harmonica without much trouble, and I'm not
> really a musician !
> (http://www.salilda.com/songs/guzar_harmonica_sample.mp3)
Thats impressive, i must say :)
KCP