Gulzar's first song -the story
Guri
came about...he is a young man of 26 working with stalwarts like Bimal
Roy and Sachin Dev Burman during the making of the movie 'Bandini' in
1962......
____________________________________________________________________
moraa goraa ang layi le
mohe syaam rang dayi de
chhup jaooNgi raat hi meiN
mohe pee ka sang dayi de
is geet ka janm vahaaN se shuroo huaa jab Bimal-da aur Sachin-da ne
mujhe bulaayaa situation samjhaane ke liye. Sachin-da ne shuroo kiyaa:
'Kalyani (Nutan) jo man hi man Vikas (Ashok Kr.) ko chaahne lagee hai,
ek raat choolhaa-chauNkaa sameTkar gungunaatee huyi baahar nikal aayi'
'aisaa karaykTar ghar se baahar jaakar nahiN gaa saktaa ', Bimal-da ne
vahiN rok diyaa.
'baahar nahiN jaayegi to baap ke saamne kaise gaayegi' Sachin-da ne
poochhaa.
'baap se hameshaa vaishnav-kavitaa sunaa kartee hai, sunaa kyoN nahiN
saktee?' Bimal-da ne daleel dee.
'ye kavitaa-paaTh nahiN hai daadaa, gaanaa hai!' (SD)
'to kavitaa likho, vo kavitaa gaayegi' (BR)
'gaanaa ghar meiN ghuT jaayegaa' (SD)
'to aaNgan meiN le aao, lekin baahar nahiN jaayegi' (BR)
'baahar nahiN jaayegaa to ham gaana nahiN banaayegaa!' Sachin-da ne
chetaavnee de dee.
to kuchh is tarah se pehlaa session tHaa. maine pooree kahaanee sunee
Debu se (Debu aur Saran dono Bimal-da ke assistants tHe.)
baad meiN Bimal-da ne dubaaraa bulaayaa aur samjhaayaa: 'raat ka waqt
hai, baahar jaane ko Dartee hai chaaNdanee raat meiN koyi dekh na
le...aaNgan se aage nahiN jaa paatee'
phir Sachin-da ka bulaavaa aayaa...gayaa to bole: 'chaaNdanee raat meiN
Dartee hai koyi dekh na le. aaNgan se baahar bhi aa gayi, lekin
muD.-muD. ke aaNgan kee taraf dekhtee hai'
ab mujhay kuchh-kuchh samajh meiN aane lagee Kalyani ki duvidhaa
Bimal-da aur Sachin-da ke beech meiN!
Sachin-da ne agle din bulaakar mujhe dhun sunaayi:
la-laa la-la-la la-la-la la-la-laa
Pancham (RD) ne thoD.aa saa change kiyaa:
da-daa daa~daa daa~daa da-da-daa
geet ki pehlee soorat samajh meiN aane lagee: kuchh la-laa aur kuchh
daa~daa!
maiN sur-taal se behraa bhauNchakka-sa dono ko dekhtaa rhaa, sochaa keh
dooN
ta-ta-t-ta-ta-ta-ta-t...nahiN aataa!
Sachin-da kuchh der harmonium par dhun bajaate rahe...aahistaa-aahistaa
maine gungunaane ki koshish kee...TooTe-TooTe se shabd aane lage:
do-chaar...do chaar...duyi-chaar pag pe aNganaa
bairee kaNga-naa chhanak na
galat-salat sataroN ke kuchh bol ban gaye:
bairee kanga-naa chhanak na
duyi-chaar pag pe aNganaa
mohe kosoN door laage...
Sachin-da ne apnee sur-waali aawaaz meiN gaa ke parkhaa, bole: 'haaN
dhun ki beher yahee rahegee'
chalaa aayaa. gungunaataa rahaa. Kalyani ke baare meiN sochtaa rahaa.
Ek khayaal aayaa...chaaNd se minnat karegee:
maiN piyaa ko dekh aaooN
jaraa mooNh phiraayi le chaNdaa
chaaNd baar-baar badlee haTaakar jhaaNk rahaa hai, muskuraa rahaa hai,
jaise keh rahaa ho: kahaaN jaa rahee ho? kaise jaaogee? maiN roshanee
kar dooNgaa, sab dekh leNge. chiD.ke Kalyani ne gaali de dee:
tohe raahu laage bairee
muskaaye jee jalaayi ke
gusse meiN Kalyani vahiN baiTh gayi...sochaa waapas lauT jaaooN, lekin
moh baaNh se pakaD. kar kheeNch rahaa hai, aur laaj paaNv pakaD.e rok
rahee hai...kucch samajh meiN nahiN aataa kyaa kare. apne aap se
poochhne lagtee hai:
kahaaN le chalaa hai manavaa
mohe baaNwaree banaayi ke
gumsum Kalyani baiThee hai, sochtee hai: 'kaash aaj roshne na hotee,
itnee chaaNdanee na hotee...ya maiN hi itnee goree na hotee ki
chaaNdanee meiN chhalak-chhalak jaatee hooN...saaNwali hotee to kaise
DhaNkee-chhupee apne piyaa ke paas pahuNch jaatee'
lauT aayi bechaari Kalyani, waapas ghar lauT aayi, yahee
gaate-gungunaate:
moraa goraa ang layi le
mohe syaam rang dayi de
chhup jaaooNgi raat hi meiN
mohe pee ka sang dayi de
ho~ O~O~
moraa goraa ang layi le
mohe syaam rang dayi de
chhup jaaooNgi raat hi meiN
mohe pee ka sang dayi de
[If you've noticed, the first time this sthaayi is sung by the
Kalyani-Lata, Sachin-da has composed an almost gungunaane waalaa style
with the rhythm starting and then pausing, and then starting and then
pausing again...succinctly bringing out the duvidhaa mentioned above by
Gulzar. And what a tremendously innovative placement of the sam of this
rhythm in the meter...it seems play opposite by coming right between
the words 'goraa' and 'ang', and following that placement throughout
the song!]
[The interlude here reminds me of the kind of stuff one heard later in
'Guide', quite playful]
ik laaj roke paiyaaN
ik moh kheeNche bayiaaN~~~~~
ik laaj roke paiyaaN
ik moh kheeNche bayiaaN
jaaooN kidhar na jaanoo
hamkaa koyi bataayi de
ho~ O~O~ <====The way Lata brings this in
softly, mmmmaaaah!!!
moraa goraa ang layi le
mohe syaam rang dayi de
chhup jaaooNgi raat hi meiN
mohe pee ka sang dayi de
This interlude is the piece de resistance for this song...he creates
the rain-filled clouds with percussion and crescendo strings, then
suddenly brings this 'chupke se' waala phrase consisting of 2-2-2-2-1
pattern notes on the surmandal, a very soft tabla playing eight cycles
of 3-3, and even softer jaltarag playing notes 'in chord' with the
surmandal and 'in rhythm' with the tabla, (i.e. 3s instead of the 2s of
the surmandal)...finally ending with a sweep on the surmandal...just
amazing! A 'hats-off' cheez!
badaree haTaa ke chaNdaa
chupke se jhaaNke chanDaa~~~~~
badaree haTaa ke chaNdaa
chupke se jhaaNke chanDaa
tohe raahu laage bairee
muskaaye jee jalaaye ke
ho~ O~O~ <====There she goes again,
stealing my heart!
moraa goraa ang layi le
mohe syaam rang dayi de
chhup jaaooNgi raat hi meiN
mohe pee ka sang dayi de
[A reprise of the first interlude]
kuchh kho diyaa hai paayi ke
kuchh pa liyaa gaNwaayi ke~~~~~
kuchh kho diyaa hai paayi ke
kuchh pa liyaa gaNwaayi ke
kahaaN le chalaa hai manavaa
mohe baaNwaree banaayi ke
ho~ O~O~ <====okay okay, I'll shut up :))
moraa goraa ang layi le
mohe syaam rang dayi de
chhup jaaooNgi raat hi meiN
mohe pee ka sang dayi de
______________________________________________________
guri
Ikram Ahmed Khan
: The following is Gulzar relating the story of how his first film-song
: came about...he is a young man of 26 working with stalwarts like Bimal
: Roy and Sachin Dev Burman during the making of the movie 'Bandini' in
: 1962......
: ____________________________________________________________________
: moraa goraa ang layi le
: mohe syaam rang dayi de
: chhup jaooNgi raat hi meiN
: mohe pee ka sang dayi de
Jeeyo Guriji Jeeyo,
bhai mazaaa aa gayaaa, wah !!
Thanks for making the day/week of at least half of the ppl on rmim....
Mazaa aagayaa waaqai meiN,
and the way you transliterated character, instantly made me imagine Gulzar
saying the word... reminded of how he calls award as awAArD in true Urdu
speaking style (reference to Jaya Bhaduri Bachchan giving the award to her
bhai for ... was it yaara seelee seelee)
Thanks once again,
Ikram.
Ikram Ahmed Khan
: The following is Gulzar relating the story of how his first film-song
: came about...he is a young man of 26 working with stalwarts like Bimal
: Roy and Sachin Dev Burman during the making of the movie 'Bandini' in
: 1962......
: ____________________________________________________________________
: moraa goraa ang layi le
: mohe syaam rang dayi de
: chhup jaooNgi raat hi meiN
: mohe pee ka sang dayi de
[great transliterated stuff deleted]
Jeeyo Guriji Jeeyo!!
Mazaa aa gayaa bhai!!
Thank you for this too,
Ikram.
S. Narasimhan
the article.
--Narasimhan
Ravi Subramanyam
not sure if Gulzar ever used those as lyrics for some of his films later. Does anybody know
anything about this?
Ravi Subramanyam
Guri
==>Meena Kumari's shaayari edited/released by Gulzar after her death
contains the following nazm:
pyaar sochaa tHaa, pyaar DhooNDaa tHaa
ThanDee-ThanDee see hasrateN DhooNdee
sauNdhee-suNdhee see rooh kee miTTee
taptay naukeelay naNge rastoN par
naNge pairoN ne dauRkar, thamkar
dhoop meiN seNkee chhaNv kee choTeN
chhaNv meiN dekhe dhoop ke chhaale
apne andar mehak rahaa tHaa pyaar
khud se baahar talaash karte tHe
Gulzar wrote the following song for the movie 'RAHGIR'
(music: Hemant Kumar, singers: Lata & chorus):
The song starts with Lata singing the mukhDaa without music, and the
music is one of Hemant-da's gems, especially the use of DHAFLI in
parts...other instuments used are Shehnai, Dholak and Iktara...all
together creating a very moving 'banjaaraa' feeling:
Mitwaa~~~~a~~ re~~~
Bhoo~~l gaye tHe, raaheN~ mitwaa <====dholak and iktara
start the 8-beat
rhythm cycle here
mitwaa~~~ re~~~
bhool gaye tHe raaheN~ mitwaa <=== a small shehnai
connexion here, and then
the dhafli comes in
ek musaafir, laa~khoN raste~
ek musaafir, laa~khoN raste
jaane kahaaN tHee, teree raaheN
dholak &
iktara
resume==> Mitwaa~~~~a~~ re~~~
Bhoo~~l gaye tHe, raaheN~ mitwaa
The first of two identical interludes ensues...basically shehnai,
dhafli & iktara...again, the banjaaraa scene. The first antaraa
follows, with dholak and iktara:
lambe soone veeraano meiN
kitnee baar ruke dilwaale~~
lambe soone veeraano meiN
kitnee baar ruke dilwaale
dhoop meiN sekeeN, chhaNv kee choTeN~
dhoop meiN sekeeN, chhaNv kee choTeN
chaaNv meiN dekhe~ dhoop ke chhaale
And the dholak beat stops. The way dhafli picks the last couplet of the
stanza!!!...bas jhoomne lagtaa hai man:
hoToN par hee, rok lee hamne~
hoToN par hee, rok lee hamne
ek haNsee meiN, saaree aaheN
dholak &
iktara
resume==> Mitwaa~~~~a~~ re~~~
Bhoo~~l gaye tHe, raaheN~ mitwaa
Then the second (identical) interlude, and the same format for the
second stanza:
ek se ek judaa tHaa raahee
paas tHe saare, sang naa koyi~~
ek se ek judaa tHaa raahee
paas tHe saare, sang naa koyi
sab rangoN ke, dekhe cheheray~
sab rangoN ke, de~khe cheheray
in aaNkhoN sa raNg na koyi <==again, dholak stops, pause,
and dhafli picks up...
jin baahoN meiN neeNd aa jaaye~
jin baahoN meiN neeNd aa jaaye
DhooND rahe tHe, vo~hee baaheN
dholak &
iktara
resume==> Mitwaa~~~~a~~ re~~~
Bhoo~~l gaye tHe, raaheN~ mitwaa
Mitwaa~~~~a~~ re~~~
Bhoo~~l gaye tHe, raaheN~ mitwaa
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so he did use one couplet from what is credited as a Meena Kumari nazm
in the book.
guri
>Ravi Subramanyam
>