Film songs based on classical ragas (4): The romantic quartet

August 13, 2012

Guest article by Subodh Agrawal

(Rains bring in romance in the air with their musical sound of raindrops, greenery and chirping of a variety of species which were, as if, only waiting for the monsoon.  Pankaj Mullick sang in his famous ‘Ye raatein ye mausam’ thus – Ki do garm saanson ka ek saath ana/ Ye badli ka chalnaa ye boondon ki runjhun/ Ye masti ke aalam mein khoye se hum tum/ Tumhara, tumhara mere saath ye gungunana/ Mujhe, mujhe bhool jana/ Inhe na bhulana, bhulana, bhulana.   But if manbhavan is away in saawan, the rains give pain as Kishori Amonkar sings ‘Barkha bairi bhayo’. Subodh explores in this post a group of four ragas – Chhayanat, Gaud Sarang, Gaud Malhar and Kamod – which characterise romance, in his by now familiar elegant style – AK)

Chhyanat, Gaud Sarang, Gaud Malhar, KamodMoonsoon has arrived after a long wait and brought with it – the season of romance immortalised in countless works of literature as well as folk, film and classical music. After toying with the idea of doing a post on Malhar and its variants I have opted to go for a group of four ragas: Chhayanat, Gaud Sarang, Gaud Malhar and Kamod, that are ideal for creating a romantic mood. There is a lot that is common between these ragas and it is easy to confuse between them – particularly for film songs as they usually don’t stay within the narrow confines of a particular raga. They also overlap with some other ragas like Hameer, Kedar, Bilawal and Bihag. My suggestion is to enjoy what is common between them without worrying too much about the finer distinctions.

What makes these ragas suitable for expression of romance is their movement. They do not follow a straight up or down movement through the scale. Instead, they weave a zigzag pattern of notes that gives them a conversational air. These ragas talk, tease and cajole. They can be playful and even naughty.

Since I am covering four ragas in one post, many excellent songs in them will have to be left out. I look forward to comments from the learned readers of SoY to make up for this deficiency. I am sure Mr Ashok Vaishnav and others will bring up many pleasant discoveries.

1. Baad muddat ke ye ghadi aayee by Mohammad Rafi and Suman Kalyanpur from Jahan Ara (1964), lyrics Rajendra Krishna, music director Madan Mohan

In my earlier post on Yaman I had commented on the suitability of that raga for ghazals. Chhayanat and the other three ragas taken up here are also used extensively by composers for ghazals in films. I begin with this song from Jahan Ara by Rafi and Suman Kalyanpur in Chhayanat. This song expresses the joy of meeting one’s beloved after a long time – ‘Baad muddat ke ye ghadi aayee, aap aaye to zindagi aayee ….Shukriya hai huzoor aane ka, waqt jaaga garibkhane ka.’ The beloved’s arrival has brought new life to one and better times to one’s humble abode. Madan Mohan’s music beautifully complements the lyrics of Rajinder Krishan.

2. Hum bekhudi mein tum ko pukare chale gaye by Mohammad Rafi from Kala Pani (1958), lyrics Majrooh Sultanpuri, music director S D Burman

The second song in Chhayanat has a more complicated setting. Dev Anand is looking for evidence that would clear his father of a false charge. His search takes him to Nalini Jaywant – a singer and dancer. He needs to get her on his side, and for this he decides to charm her with a masterfully rendered gazal. This song evokes the bygone era of leisure, when time flowed slowly. Rafi has all the time in the world to dwell lovingly on each note composed by S D Burman, and each word penned by Majrooh Sultanpuri.

3. Chanda re ja re ja re by Lata Mangeshkar from Ziddi (1948),  lyrics Prem Dhavan, music director Khemchand Prakash

The third song in Chhayanat uses the full potential of this raga’s zigzag movement to tease and cajole. It is one of the early songs of Lata and the youthfulness of her voice goes well with the lighthearted, playful mood. Years later Kishore Kumar would parody this song in the delightful Ek chatur naar in Padosan.

4. Na dir deem ta na de re na by Lata Mangeshkar from Pardesi(1957), lyrics Prem Dhavan and Sardar Jafri, music director Anil Biswas

Let’s move on to Gaud Sarang. The first song of this raga chosen by me has a mood very similar to that of Chanda re. For a long time I believed both were in the same raga, until I learned more about them. Out of the four ragas taken up in this post, Gaud Sarang is the most easily identifiable, thanks to its pakad or catch phrase ‘g r m g’. You can hear it at the end of the mukhda – ‘Na dir deem, ta na de re na’. As in many other songs covered earlier on SoY, the prelude is not in the raga. We hear Gaud Sarang only when our heroine starts dancing and the sitar starts playing in the background.

5. Dekho jadu bhare more nain by Geeta Dutt from Aasman (1952), lyrics Prem Dhavan, music director O P Nayyar

The next song puzzles me. There is no dearth of songs extolling the beauty and magic of women’s eyes. But it seems our leading lady in Aasman couldn’t find a suitable male to sing praises of her eyes, and had to do it herself. Youtube doesn’t have the video from the film and we can’t say what drove the lady to this desperate measure. Maybe our hero is too dense to notice something in plain sight, unless it is pointed out to him! We can only speculate until someone finds a DVD of the movie. Meanwhile let us enjoy the audio in Geeta Dutt’s lovely voice. Once again we can hear the signature phrase of Gaud Sarang in Dekho jaadu bhare more nain.

A comment on Youtube says it is the first song from Geeta Dutt-OP Nayyar team. If it is true then it is quite a milestone. The duo would go on to create magic for many films. (PS: Could it be that Geeta Dutt chose to sing this song in praise of her own eyes? She’d be fully justified going by the photograph that appears in the video from 18 to 23 seconds.)

6. Wo dekhen to unki inayat by Kishore Kumar and Asha Bhosle from Funtoosh (1956), lyrics Sahir Ludhiyanvi, music director S D Burman

We come to the naughtiest song of this post. The theme is Kabab mein haddi. Dev Anand and Sheila Ramani are in the ideal romantic setting – a boat in the middle of a lake. Unfortunately they have to cope with the annoying presence of a cartoonish poet, who is chosen by the girl’s father – none other than the villain K N Singh – to be her future husband. The poet tries wooing the lady with a romantic Urdu couplet. Our hero dismisses the rival with a rather heavy handed parody, much to the lady’s delight. Having thus humbled the competition he sings to work his own charm on the heroine and she joins in. The signature phrase of Gaud Sarang is not so clear in this song. However, I have the backing of – my favourite reference on the net for classical music – in classifying it as such.

7. Ritu aye ritu jaye sakhi ri by Manna Dey and Lata Mangeshkar from Humdard (1953), lyrics Prem Dhavan, music director Anil Biswas

The next song from Humdard gives the classically most complete presentation of Gaud Sarang from films, and provides a smooth transition to our next raga – Gaud Malhar. I recall reading in a book by Pandit Omkarnath Thakur about these two ragas. One of Panditji’s friends was so fond of them that he insisted on calling them ‘God’ Sarang, and ‘God’ Malhar. The song is in the form of a ragmalika covering the cycle of the seasons: the mukhda and first stanza are in Gaud Sarang. The second stanza is in Gaud Malhar, and the third in Jogiya. The full song, apparently, has a fourth stanza in Bahar; but the video available on Youtube does not have it. The signature phrase of Gaud Sarang is evident right from ritu aaye. Romance is not so obvious in this song.  Shekhar has just started giving music lessons to Nimmi. There is a longer video clip on Youtube that shows the dialogue preceding this song. One can see the ground being prepared for romance to sprout.

8. Zurm-e-ulfat pe hame log saza dete hain by Lata Mangeshkar from Taj Mahal (1963), lyrics Sahir Ludhiyanvi, music director Roshan

I have already covered the most iconic song of Gaud Malhar Garjat barsat sawan ayo re in my earlier post on Best Film Songs Based on Classical Ragas. Another almost identical song, Garjat barsat bheejat aye le has been covered earlier on SoY by AK in Roshan’s songs for Lata.  For this post I have chosen a very famous song from Taj Mahal which has been listed under Chhayanat by some websites, and under Gaud Malhar by some others. The setting is similar to Pyar kiya to darna kya from Mughal-e-Azam. Emperor Jahangir gets a reminder of his own youthful peccadilloes when his son’s sweetheart defies him in open court. Unlike the brazen manner of Madhubala in of Mughal-e-Azam, however, the defiance here is handled with subtlety. The power of Urdu poetry to make one’s point with finesse and style is put to excellent use by Sahir Ludhiyanvi –  Hum ne dil de bhi liya, ahad-e-wafa le bhi liya. Aap ab shauq se, de len jo saza dete hain. Beena Rai’s eyes are as eloquent as Lata’s voice, Sahir’s words or Roshan’s music.

9. Sharabi sharabi yeh sawan ka mausam by Suman Kalyanpur from Noor Jehan (1967), lyrics Shakeel Badayuni, music director Roshan

The next song from Noor Jehan provides a transition from Gaud Malhar to Kamod. It was earlier listed under Gaud Malhar on, but is now listed as Kamod. Again, it seems to have elements of both ragas. This is one song in which Suman Kalyanpur’s voice finds its clear identity distinct from Lata’s, with a lovely flute like timbre. One has no option but to agree with her that this intoxicated month of Sawan would not have been beautiful, were it not suffused with the colour of love. This song ranks very high on my all time favourite list. All three elements: Shakeel Badayuni’s lyrics, Roshan’s music and Suman Kalyanpur’s voice combine perfectly to celebrate the magic of Sawan.

10. Ae ri jane na doongi by Lata Mangeshkar from Chitralekha(1964), lyrics Sahir Ludhiyanvi, music director Roshan

The last song is pure Kamod. I would have normally felt apprehensive about coming up with a ‘shudh Hindi’ composition soon after two outstanding examples of Urdu shairi, but the lyrics of Kidar Sharma rise confidently to the challenge. The opening lines Ae ri jane na doongi, main to apne rasik ko naino mein rakh loongi palkein moond moond are adapted from a traditional composition by Sadarang, a descendent of Tansen and the court musician of Muhammad Shah Rangila. You can hear a rendering of the traditional composition by Rajan and Sajan Mishra in the classical part at the end of this article.

That brings me to the end of the list. It has ended with a Roshan hat-trick, which is not surprising.  Roshan has to figure prominently in any list of songs based on classical ragas. What intrigues me is that half the songs are from films in a historical setting. Is there something about these ragas that makes them more suitable for historical films? Any thoughts, dear readers?

I now present the classical pieces. I will restrict myself to just one piece for each raga. Those whose appetite gets whetted by this sample are welcome to hours of rewarding exploration on Youtube, and other such sites.

For Chhayanat I have chosen this composition by Veena Sahasrabudhe. The bandish – Piya se mora kahiyo jaye sandeswa is an old and well established one. Ms Sahasrabuddhe has rendered it in a manner that would delight both beginners and connoisseurs.

For Gaud Sarang I couldn’t think of anything better than this short but masterly composition by DV Paluskar.

One hardly needs any justification to choose a piece by Kishori Amonkar – one of the finest exponents of classical music. Still, I’d say that I opted for this in preference to many other pieces by equally accomplished artists because this one has the energy we’ve come to associate with Gaud Malhar thanks to songs like Garjat barsat…

This piece in Kamod by Rajan and Sajan Mishra begins with a short introduction by Ustad Shujaat Husain Khan in which he explains the basics of the raga. What he says about the up-down movement of Kamod may apply equally well to the other three ragas covered in this post.

Some readers had asked for introductions to the ragas in their comments in my earlier posts. The best introductions I have found are by Sh. Ramashreya Jha ‘Ramrang’ on the site For the convenience of the readers I’ve posted the links below. These links may not work by clicking. You may have to copy and paste them in your browser’s address bar:


Gaud Malhar:


There is no separate link for Gaud Sarang but the explanation of Gaud Malhar touches upon the ‘Gaud’ part of Gaud Malhar.


While writing this article I noticed in the Youtube comments that Hum bekhudi mein tum is based on a Bengali original Bhulechi ghum composed and sung by S D Burman. Here it is. The uploader has thoughtfully provided English translation of the lyrics:

{ 45 comments… read them below or add one }

1 ASHOK M VAISHNAV August 13, 2012 at 11:42 am

Subodhji has notched a very high bar this time, and that would make the task of picking up the gauntlet of searching out something that he has not already covered all the more savoury!
Ever since I heard the Bengali original “Bhulechi ghum” by SDB himself, I liked “Hum bekhudi mein tum’ even more, because only Rafi sa’ab could have brought in so much emotion and musical variation to the spirit of the original.
If Geeta (Roy) Dutt had chosen to sing “Dekho jadu bhare more nain” to make good what Guru Dutt may have told her during their period of courtship, the sheer beauty of her eyes may still need help of Shri V K Murthy, Guru Dutt’s ace cinematographer, to capture it in any other form of the art.
AK ji has so subtly ensured that this post also remains etched in Inhe Na Bhulana vault of the fans of Hindi Film Music of Yore.

2 VIKAS CHANDRA AGRAWAL August 13, 2012 at 7:17 pm

Just one word,” KHOOBSURAT”

3 Arunkumar Deshmukh August 13, 2012 at 8:31 pm

Just Superb.
Very good song selection too.
BTW,in the song No 6 “Wo dekhen to….” from Fantoosh(one of my fav songs as well as the films),the 3rd person in the Boat-the Shayar- is actor BHAGWAN SINHA.

4 AK August 13, 2012 at 10:02 pm

I would also like to add my compliments to Subodh – this is what is called गागर में सागर. About No. 6, I also had doubt about KN singh. Now that Arunkumar Deshmukhji has identified him, it is interesting, how hundreds of such faceless people had their temporary moments of glory, and then were completely forgotten.

5 Subodh Agrawal August 13, 2012 at 11:26 pm

AK, a clarification about song 6. KN Singh plays the girl’s father in the film and has chosen the poet played by Bhagwan Sinha to be Sheila Ramani’s future husband. I now realize there is an ambiguity in the way I have written it.

Thanks for your compliments Mr Vaishnav, Mr Deshmukh, Vikas and AK.

6 Soumya Banerji August 14, 2012 at 2:13 am

My favorite rendering of Chayanat by Malabika Kanan:

7 Ashok Vaishnav August 14, 2012 at 10:11 am

Let me present the results of wanderlust, spurred by the so loving ,soft whiplashed wink by Shri Subodhji:

Film Songs:

Chain Nahin Aye Lata Mangeshkar – Samundar – Madan Mohan..

Tere naina talash karen jisse wo hai tujhi main kahin – Manna Dey – Talash -S D Burman

Tum meri Zindagi Mein: Kishore Kumar, Lata Mangeshkar – Bombay To Goa – R D Burman

The comment on You Tube links this song to “Theme From Limelight” of Charlie Chaplin (” obviously, worked so effectively by Pancham!”)
Here are a couple of compositions on “Theme from Limelight”: –

Luzes da Ribalta (Theme From Limelight)

Chet Atkins “The Terry Theme From Limelight”

and here is the link to the movie “Limelight – {Charlie Chaplin] (1952), where we enjoy not only the movie , but also the original piece of the theme music:

One piece from the Classical Music World: Pt. Omkarnath Thakur –

The esteemed readers and the owner of the post and the blog will be subjected to either one huge sinle burst or small bursts. I have chosen small bursts. Hence, I would present the results of my labours for each of the raag separately .

Please bear with me.

8 Subodh Agrawal August 16, 2012 at 8:00 am

Mr Ashok Vaishnav has lived up to our expectations. I was familiar with ‘Tere naina’ but ‘Chain nahin aaye’ was a pleasant reminder of something long forgotten.

I had not paid attention to ‘Tum meri zindagi mei aaye’ when I had seen the movie years back, and I wonder how I could miss something so beautiful. Many thanks, Mr Vaishnav, for ‘Theme from Limelight’. As you said, Pancham has done an excellent job. He has taken the theme as the foundation to build on it something classically Indian.

Pt Omkarnath Thakur’s piece is a classic, so is the one by Malabika Kanan mentioned by Soumya Banerji. I used the one by Veena Sahasrabudhe as I thought it would be more accessible to those who are in the process of bridging the gap between film and classical music.

9 ASHOK M VAISHNAV August 16, 2012 at 9:17 am

We now have a look at the results of the search on Raag Gaud Malhar:

Film Songs:



is also bracketed with this song in a few clips on You Tube.

DRISHTI – Megha Jhar Jhar Barasat re – Kishori Amonkar,

This song of Kishori Amonkar should easily enable me to juxtapose Paapi dadarva bulaye, also by rendered by her –

to take up the further journey into the realm of Classical Illustrative pieces.

I would take liberty to present one more classic piece, since that not only happens to have been rendered by Ustad Amir Khan Saheb – my personal great favourite – but also because of the remark – “This is an excerpt from an apparently private concert recording of Ustad Amir Khan where he is singing Gaud Malhar – a raga not usually heard from him – for a very lively and enthusiastic audience” – along with the clip

10 Subodh Agrawal August 16, 2012 at 1:25 pm

Thanks again Mr Vaishnav for the clips, particularly the one of Amir Khan – a discovery for me.

We now have three clips in Gaud Malhar on this post from Kishori Amonkar. It must be a favourite raga of hers. Her treatment is, however, somewhat atypical. Her Gaud Malhar overlaps a lot with Miyan ki Malhar, particularly in the use of komal and shudh ni with dha. I have not heard any othe artist do that.

11 Ashok Vaishnav August 16, 2012 at 3:17 pm

Amol Palekar has done a documenatry on Kishori Amonkar lasy year – Bhinna ShaDaj- Note Extraordinaire.

Here is the link to the purchse of the DVD –, till we find out other sources.

12 harvey August 17, 2012 at 3:50 am

I don’t understand sa of ragas, but reading your post was all the same enthralling! It simply does me good to read it. It is like going through a forest and trying to understand the trees and its other inhabitants. And every small discovery makes me feel happy.
I also find it good that you also give snippets of info to the songs and the plot of the film.
Thank you for the post Subodh!

13 Subodh Agrawal August 17, 2012 at 8:55 am

Thank you Harvey. Compliments are always welcome, they are even more so when they come from people like you, who know a lot about music and have great writing skills.

My objective in these articles is to give the readers an intuitive feel for the ragas and provide a bridge to the appreciation of regular classical pieces. Hearing the film and classical version of ‘E ri jane na doongi’ for example would be a very good illustration of what I am aiming at.

14 Ashok Vaishnav August 18, 2012 at 1:14 pm

We now take up Raag Kamod, Film Sings first:

Chheda Diye Mere Dil Ke Tara Ko – Ragini – 1958 Audio –

Most of us has listened to the audio or have seen the video of the song “Jao Re Jog Tum Jao Re Lata Shankar Jaikishan Amrapali 1966”. So ihave picked up a Violin Instrumental piece here:

Tumko Dekha To Ye Khayal Aya – Saath Saath – Music Director – Kuldip Singh – Singer Jagjit Singh

We also have a Farida Khanum rendering in Raag Kamod

And now let us enjoy Students of Vyas Sangeet Vidya Mandir performing chota khyal of RAAG – KAMOD and thereafter Hindi film song “eri jaanenaa dungi” based on this raag

as very pleasant introduction to the classical side, for which we have a highly representative piece by Pt. Kumar Gandharva

15 AK August 18, 2012 at 2:43 pm

Ashok Vaishnavji
It seems some links you must have given are not showing up and some already removed. I have found alternatives.

The audio link you have sent for Chhed diye dil ke taar ko has been taken off by the site. Fast work. But here is a video link I found.

An interesting discussion has taken place on the YouTube about its singers. The Hindi Film Geet Kosh mentions Ustad Amanat Ali Khan and Ustad Fatah Ali Khan, but one comment mentions very confidently Pandit Laxman Prasad Jaipurwale and Ustad Niaz Ahmad Khan as the sigers.

Similarly YouTube has been very fast in removing the video you have linked. But here is another one.

Tumko dekha to ye khayal aya from Saath Saath

Here is a Farida Khanam Kamod:

And this is the one for Vyas Sangeet Vidya Mandir chhita khayal in Kamod followed by Ae ei jane na dungi?

About Kumar Gandharva’s Kamod, he is my top favourite. There are several on YouTube. I am linking his live.

16 Subodh Agrawal August 18, 2012 at 4:28 pm

Thank you Mr Vaishnav and AK for these uploads.

There seems to be something wrong with the recording of Farida Khanum’s Kamod. It goes off key at several places. I can’t imagine an artist of her caliber making such mistakes. My guess is that it is a fault of the recording, maybe due to variations in the tape speed. The Kumar Gandharva piece is a find for me.

17 Ashok Vaishnav August 18, 2012 at 5:38 pm

Thnaks AKji for taking pains to correct my mistakes. In fact, this time except for Chaya Nat, each of the ther one has some or other problem, even as I have been following the identical procedure.

Shri Subodhji is requested to scale down his expectations from my contributions, since mine is only the labour of search and what I would like while listening, in so far as classical part is concerned. So, quite a few number of times, it may not measure upto any decent konwledgeable yardstick.

18 Subodh Agrawal August 18, 2012 at 6:27 pm

Mr Vaishnav I have great respect for your knowledge, interest in music and your ability to find hidden gems. My comment on the Farida Khanum piece is only an expression of my disappointment that a recording by such a fine artist appears to have been spoilt because of the studio’s carelessness. Please do not take it otherwise.

19 ASHOK M VAISHNAV August 18, 2012 at 6:44 pm

Oh no, Subodhji, I could very well understand your frustration regarding Farida Khanum link. I also do not check some of the links that I had had listened to much earlier, simply as a hobby, and then would recall that , search them out and [just] publish them here in the context of the original article. Well, if internet and You Tube have provided us so much wealth, we have to take in some inconveniences as well. I am quite sure we all can take that in our stride.
What I meant was the kind of appreciation that I can see in your observations on what ever little I contribute to this site, I know I do not deserve all of it. However, so long as that is found relevant and does remain in consonance with the spirit of of the site and the article in particular, I also feel greatly elevated to be in such an august[remote] gathering.

20 Anu Warrier August 20, 2012 at 11:09 pm

It’s rather nice to come back after a long hiatus to such an in-depth post. Like Harvey, I’m not very knowledgeable about Hindustani raagas unlike my husband who can recognise the raaga from the first few notes. It was very interesting to read this post, though I cannot say that that will help me recognise the raaga if I hear it again. 🙁 I loved the snippets you provided, especially of the non-filmi songs. Thanks, Subodh!

21 Subodh Agrawal August 21, 2012 at 9:22 am

Thanks Anu. Please read my response to Harvey and take it as repeated word for word!

22 Ashok Vaishnav August 21, 2012 at 2:57 pm

Today we take up Gaud Sarang:

Film Song:

Only one additional song seems to be listed to Gaud Sarang:

Allah Tero Naam Ishwar Tero Naam by Lata Mangeshkar from Hum Dono, music Jaidev

Here is a live concert organized by Jalaj Group, Indore, rendering beautiful presentation of this song in instrumental melody:

On the classical side, I would present Shri Kumar Gandharva:

and by Ustad Ghulam Mustafa Khan Saheb:

and an interesting visual compilation uploaded by IMIRZA777 on You Tube

23 Subodh Agrawal August 27, 2012 at 12:17 pm

@Ashok M Vaishnav: ‘Allah tero naam’ is a favourite of mine and one of the best bhajans from films. It’s treatment of Gaud Sarang is, however, somewhat unconventional, like that of ‘Jo dekhen to unki inayat.’

Another song with orthodox treatment of Gaud Sarang is ‘Kuchh aur zamana kahta hai,’ by Meena Kapoor from Chhoti Chhoit Baatein

The classical pieces chosen by you are very good. Thanks

24 AK August 27, 2012 at 6:07 pm

@Ashok Vaishnav, Subodh Agrawal
I must be in minority of one who is not fond of Allah tero naam. I know this song has a very special place. When Lata Mangeshkar made a list of her best ten in 1967, she included it in the list. Later, when Noorjehan returned to Bomabay 35 years after leaving for a concert, she sarted with Awaz de kahan hai, and Lata Mangeshkar started with Allah tero naam. All the other Gaud Sarang pieces, whether films or classical, I find outstanding. Just wanted to share how a song can affect different persons so differently.

25 K R Vaishampayan September 3, 2012 at 8:14 am

This is pure simple joy that educates and entertains simultaneously. I liked the special bonus…Ghoom Bhulechi by Dada Burman and all other gems that came along wonderful comments. I shall be eternally grateful for this wonderful post. Regards – K R V aishampayan

26 Subodh Agrawal September 5, 2012 at 5:35 am

Thank you Mr Vaishampayan

27 Satish April 25, 2015 at 10:56 pm

Dear Subodh ji, wonderful writeup..I don’t know how I came across this website so late, inspite of being a hardcore fan of Old Hindi Film music!

Ashok Vaishnav ji, Million Thanks to you for sharing the beautiful song “Chain Nahi Aaye”, which I have somehow not heard till now, despite being fanatic of Madanmohanji-Lataji songs..this is such a superb melodic tune composed. But only 1 thing my humble opinion and knowledge of music, I don’t find it to be in Chaayanat Raag..its some raag in the Asavari thaat…is it not?


28 D P Rangan November 8, 2015 at 10:41 pm

The desire to experience something which might prove addictive in the end is a common failing of many human beings. I also joined the rank and stumbling on AK site was a serendipitous occasion. I spend lot of time on SoY going through old posts and plunge into the world of You Tube to dig out more songs. I confess AK has completely enmeshed me in his net and I now have a sinking feeling I will never get out of it. The one good thing to come out is accessing more and more rare songs which I would otherwise have never listened to. Here is one such song from Nirmohi (1952) in the divine voice of Lata Mangeshkar under the direction of magic musician Madan Mohan. I would like to know whether I can declare it belonging Chaayanat.

29 Subodh Agrawal November 9, 2015 at 7:14 am

Welcome and Thanks Mr Rangan. As I have admitted in the article, I find it hard to distinguish between different ragas of this family, unless the composer favours me by highlighting the characteristic movement of a particular one. Madan Mohan, in his versatility, has not made it easy – the initial alaap ends with a movement characteristic of Gaud Sarang, but the instrumental interludes are typical of Bihag. The voice traverses the whole gamut of these ragas. Chhayanat is a very good guess, as it contains what is common between all these ragas without their characteristic movements. Some internet sites classify it as Gaud Sarang – maybe because of the initial movement.

30 D P Rangan November 9, 2015 at 7:25 am

Subodhji I am amazed at the alacrity with which you have given your expert opinion. I am quite conversant with Carnatic system of music having listened to it more than 60 years with an erudite father and two good musician sons. I do listen to Hindustani music in plenty. Except for a few raga like Jayjaywanti, Bahar, Yaman, it is a struggle for me. I expect at least to learn music in my next janma if I am lucky to be reborn in this great country of ours. Can I trouble you in future for any songs raga identification. I went to the concerned site. It states ragas and songs coming under it, which is not useful to me. I have not seen you in many posts for a long time and thought you had gone into winter lodgings like polar bears quite early. I thank God I woke you out of slumber albeit for a fleeting moment. I do not mean any offence. Just my way of appreciating your role as a teacher.

31 Subodh Agrawal November 9, 2015 at 11:19 am

Thanks Mr Rangan. I confess I have been hibernating during the summer – I wonder which animal does that? Hopefully I will be more regular in my comments and posts this winter season.

32 D P Rangan November 9, 2015 at 12:20 pm

Subhodji just posted a comment directly from my e mail id. It has been sent. Most probably a puzzled AK must be wondering who is the crank behind such inane post. Since he is an extremely busy gentleman, I do not waste his time in mindless speculations.

33 D P Rangan November 9, 2015 at 12:22 pm

Once again a faux pas committed by me. Please read last sentence as —
I do not want him to waste his time in mindless speculations.

34 AK November 9, 2015 at 2:19 pm

DP Rangan,
I have seen that so called Subodh’s comment from your mail id. Probably you are confused. His comment has gone to your mail, which is a standard part of the registration and your option to get all follow-up comments. If you reply to that mail, it would come to SoY mail id.

35 D P Rangan November 9, 2015 at 4:16 pm


Immediately after my e mail I checked and found last entry as 31 and hastened to add the two posts 32 and 33. I am still puzzled. I replied to his query about animals hibernating in summer and do not find it at all. Perhaps you can solve it.

36 Ashwin Bhandarkar July 29, 2017 at 6:40 pm

Khurshid singing ‘Jhuji aayi ri badariya’ (Gaud Malhar) in the film ‘Bhabhi’:

37 Ashwin Bhandarkar July 29, 2017 at 6:44 pm

Sorry for the typo – ‘Jhuji’ should have been ‘Jhuki’.

38 Ashwin Bhandarkar July 29, 2017 at 6:56 pm

Here is Roshan Kumari dancing a ‘tirvat’ (a composition akin to the tarana but with the difference that it has pakhawaj bols instead of table bols) in Satyajit Ray’s ‘Jalsaghar’. To me it sounds like the tirvat is in Gaud Malhar but with Chhaya Nat peeping in at times. As is well known, Roshan Kumari’s mother was Zohrabai Ambalewali, and the latter sang for her daughter’s dance performances after she withdrew from playback singing. Methinks that the voice doing the ‘padhant’ for this dance sequence belongs to Zohrabai.

39 Subodh Agrawal August 13, 2017 at 1:12 pm

Thanks Ashwin for these wonderful links. I thought I had already responded to your comments, but maybe I forgot to click on the ‘Submit’ button!

40 Ashwin Bhandarkar August 13, 2017 at 10:46 pm

My pleasure, Subodhji! And here’s a Gaud Malhar composition, in which the main singer is Roshanara Begum, from a 1969 Pakistani film, Neela Parbat:

41 Subodh Agrawal August 14, 2017 at 7:29 am

Thanks Ashwin. This song is very good, and it helped me see what is common between Gaud Malhar and Gaud Sarang.

42 Subodh Agrawal August 14, 2017 at 7:40 am

While playing the song from Neela Parbat – comment #39 – I noticed this ‘Deepak vs Malhar’ video in the sidebar and played it out of curiosity. Raag Deepak, as sung in this video, sounds like a combination of Multani and Shree. I was trying to locate some information on its structure but failed.

43 Ashwin Bhandarkar August 14, 2017 at 11:38 pm


I listened to the ‘Deepak vs Malhar’ clip as well and to a bit of Ghulam Mustafa Khan’s Deepak rendition as well. In your statement above, I would replace Multani with Puriyadhanashri. Also, I was reminded of Jaitashree, the Atrauli-Jaipur jod raga, when I listened to Deepak. Here’s a rendition of Jaitashree by Ulhas Kashalkar:

44 Ashwin Bhandarkar August 14, 2017 at 11:44 pm

Here is a kid explaining the structure of Deepak:

And here’s a tutorial on Raga Deepak in Punjabi

45 Subodh Agrawal August 15, 2017 at 6:09 pm

Jaitashree is clearly derived from Shree, particularly the heavy meend from komal dha to tivra ma, which is also present in the Deepak part of the film clip. Ghulam Mustafa Khan’s use of komal re is more like Bhairav.

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