Yaman raag

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Film songs based on classical ragas (2) – A date with Yaman
APRIL 26, 2012

Guest article by Subodh Agrawal

(Subodh Agrawal’s second article in this series has been a long time in coming. I am responsible for part of the delay as it came when I had scheduled my post on the Best songs of 1955. But when you read it you would agree it has been well worth the wait. Subodh bears his scholarship lightly, and writes in a style as lucid and fluent as the Raga Yaman itself. Here is his piece on one of the most popular ragas which would delight both connoisseurs as well as lay listeners. – AK)


I have never understood why Yaman is the first raga to be taught to students. Yes, it does have a simple structure – in the sense that it has no komal svaras, but its simplicity is deceptive. Creating beauty in Yaman requires a high level of skill and sensitivity. It sounds bland and pedestrian in the hands of a novice or an artist of average capability. There is, however, no limit to the heights it can attain in the hands of a master. No wonder it is one of the favourite ragas of our film industry’s composers, some of whom – Roshan for example – have given their best in this raga.

Yaman and Kalyan are two different names of the same raga. Yaman Kalyan, interestingly, is slightly different, as it uses shuddha madhyam occasionally along with the teevra madhyam of Yaman. The difference is not much, and in this article I would use Yaman to mean both Yaman and Yaman Kalyan.

The predominant mood of Yaman is tranquility – shant rasa. Another great raga Malkauns is also known for evoking shant rasa, but there is an important difference between the two. The tranquility of Malkauns has a Yogic, meditative quality about it. Yaman’s serenity is much closer to everyday life. It evokes the kind of peace one feels when one is happy at home and with family, in the company of friends, watching a beautiful sunset, or doing something one enjoys.

The shant rasa of Yaman combines well with bhakti rasa. It is an ideal raga for devotional compositions. Let me therefore begin with one of the best known works of Roshan, Man re tu kahe na dheer dhare, from the film Chitralekha. A few years back Outlook magazine had polled some leading music personalities to come up with a list of twenty all time great songs from films, and this song topped that list. I wouldn’t quite go that far, but there is no doubt that this is one of the great songs of Hindi films.

Mohammad Rafi sings Man re tu kahe na dheer dhare from Chitralekha (1964), lyrics Sahir Ludhiyanvi, music Roshan

Because of its capacity of combining bhakti and shant rasa, Yaman is ideal for recitation of Sanskrit slokas. You can get a flavor of what this raga can do in this recitation of Bhagvad Gita by the incomparable Lata Mangeshkar

Another devotional masterpiece from Lata in Yaman is the Meera bhajan Kinu sang khelun holi set to music by her brother Hridaynath Mangeshkar:

Lata Mangeshkar sings Meera bhajan Kinu sang khelun holi

I have commented above on the kind of everyday serenity Yaman evokes. There can be no better illustration of this than this song – one of my all time favourites – from Bhabhi ki Chudiyan by Lata Mangeshkar, set to music by Sudhir Phadke. Apart from shant and bhakti rasa, this song also has a mood of joy. I sometimes wonder if the list of nine rasas is incomplete without a tenth –ananda rasa. If we could add this rasa then I would analyse Yaman’s mood as 40% shant rasa; and 20% each of bhakti, shringar and ananda rasas!

Lau lagati geet gati deep hun main by Lata Mangeshkar from Bhabhi Ki Chhdiyan (1961), lyrics Narendra Sharma, music Sudhir Phadke

I would now like to present two versions of the same bhajan by two great artists: Kishori Amonkar and Shobha Gurtu. Kishori Amonkar’s version is sweeter and classically orthodox. Shobha Gurtu, on the other hand, creates a different kind of impact in her powerful voice with a shehnai like timbre. In the comments on Youtube, there is some needless controversy as to which of the two is better. I think they are both beautiful in their own right.

Kishori Amonkar sings Mharo pranam in Raga Yaman

Shobha Gurtu sings Mharo pranam in Raga Yaman

Let’s move on, and add another rasa to the mix of shant and bhakti rasas – shringar. This song from Mamta by Roshan raises love to the level of worship. Roshan has surpassed himself in composing this, while Hemant and Lata have rendered it with feeling. Ashok Kumar and Suchitra Sen’s restrained acting superbly completes the picture. An NRI friend of mine commented that Ashok Kumar would win an Oscar hands down for the opening scene in which he covers his eyes with dark glasses and puffs on his cigarette. (I would gladly nominate this song for the title of the ‘all time greatest love duet from films’. My nominees for the male and female solos on love would be ‘Jalte hain jiske liye’ and ‘Tum apna ranj-o-gham’.)

Chhupa lo yun dil mein pyar mera by Hemant Kumar and Lata Mangeshkar from Mamta (1966), lyrics Majrooh Sultanpuri, music Roshan

At this stage I would like to introduce a regular classical piece. Bismillah Khan has taken an extremely simple composition. You can’t get simpler than ‘ni re ga re ni re sa ni dha ni re sa’ in Yaman. It takes the genius of Bismillah Khan to keep it from sinking into ordinariness. It is an excellent introductory piece for learners of classical music.

Raga Yaman by Bismillah Khan

I would not normally associate Yaman with karun rasa. However, trust Indian film music directors and Mukesh to evoke pathos even in this raga. I recall with amusement that for some unfathomable reason Mukesh’s song Ansoo bhari hain yeh jeevan ki raahen in Yaman was very popular with boys of my age when I was a University student. I myself used to sing it with great feeling. An aunt of mine, who otherwise encouraged me to sing, told me in no uncertain terms to refrain from singing this song, as she had had enough of it! More than forty years later I don’t have any lingering fondness for this song. However, I still hold another Mukesh song – Saranga teri yaad mein – in the same raga in high esteem. I am not posting it here because AK has already done that in his excellent post on Sardar Malik.

Let me get out of this foray into karun rasa by presenting a classical piece by the great Pannalal Ghosh, which would restore the mood of joyful tranquility more suited to Yaman. When I listen to this piece it evokes the image of a beautiful sunset across a gently flowing river. Sunsets can make you happy or sad. Yaman goes with happiness; another beautiful raga Marwa with sadness. Here is the Yaman piece:

Raga Yaman by Pannalal Ghosh

Back to shringar rasa. Two great songs come readily to my mind – Zindagi bhar nahi bhoolegi yeh barsaat ke raat and Abhi na jaao chhod kar. I am opting for the latter, as it has a nice teasing quality. In a TV program Javed Akhtar called it his favourite romantic song.

Abhi na jaao chhod kar by Rafi and Asha Bhosle from Hum Dono (1961), lyrics Sahir Ludhiyanvi, music Jaidev

My next classical piece is by Sanjeev Abhyankar. The interesting thing about this piece is use of the flute as an accompaniment. It sounds like a duet between the singer and the flute:

Sanjeev Abhayankar sings Raga Yaman

Apart from devotional compositions, Yaman also excels in ghazals. Several beautiful pieces spring to mind. The best, however, are non-film – Lata’s Har ek baat pe kahte ho tum; Mehdi Hasan’s Ranjish hi sahi, which launched a wave of Pakistan mania among Indian music lovers; and Aaj jaane ki zid na karo by Farida Khanum. I present here a comparatively less known, but equally charming piece by Farida Khanum:

Wo mujh se hue ham kalam by Farida Khanum

The next classical piece brings together two legends, one from north and the other from south. The Carnatic counterpart of Yaman is Kalyani. I only wish Pandit Bhimsen Joshi had yielded a little more time to the maestro from the south.

Yaman Kalyan by Pandit Bhimsen Joshi and Balamurali Krishna

E ri aali piya bin is one of the standard classical compositions of Yaman. Several versions are available on Youtube. Lata Mangeshkar sang it for the film Raag Rang. A note of caution – while the main bandish is in Yaman, the preceding instrumental alaap forays into several other ragas, including Bahaar:

E ri aali piya bin by Lata Mangeshkr from Raag Rang (1952), music Roshan

Now listen to Dr N Rajam and her family present the same bandish on violin. Dr Rajam’s violin brings to mind the lofty voice of Pandit Omkarnath Thakur, who was her guru:

N Rajam and family present Raga Yaman

I close the presentation of film songs in Yaman with one that evokes a mood of pure joy.

Ja re badra bairi ja by Lata Mangeshkar from Bahana (1960), lyrics Rajendra Krishna, music Madan Mohan

This tarana from Ms Veena Sahasrabuddhe complements the joyful mood of this song in a pure classical vein. Her husband Dr Sahasrabuddhe was on the faculty of IIT Kanpur when Pankaj Sharan and I were both students there. Her father Shankar S Bodas and brother Kashinath Bodas were respected figures in the world of classical music.

Tarana in Raga Yaman by Veena Sahasrabudhe

The next classical piece is by Rajan and Sajan Mishra, with an introduction by Shujaat Khan. In this piece the difference between Yaman and Yaman Kalyan is brought out quite clearly. Listen carefully at 3:25 in the recording.

Raga Yaman by Rajan and Sajan Mishra

My brother Vikas introduced me to this recording of Ravi Shankar and Anouskha. Ravi Shankar’s voice shows signs of age, but the pieces played on sitar by his daughter are quite good. I had never taken much interest in her recitals earlier, but this one has made me take notice, thanks to the rich tonal quality of her sitar.

Raga Yaman by Anoushka Shankar

This recording by Ustad Vilayat Khan in Yaman is one of my favourites. It is a very personal interpretation of Yaman. I like its mood of quiet introspection and the imaginative use of silence:


Part two of Vilayat Khan’s Yaman in madhya laya and part three in drut are available on Youtube. They present a more orthodox interpretation of the raga compared to part one:

Raga Yaman by Vilayat Khan in madhya laya

Raga Yaman by Vilayat Khan in drut laya

This is but a small sample of the vast possibilities of this great raga. As a leading exponent of classical music said during a private audience – one lifetime is too short to fully explore Yaman.

In parting:

As I said above, Yaman is ideally suited to reciting Sanskrit slokas. I can imagine what it would sound like in a rich, sonorous voice like that of Hemant Kumar. Unfortunately I have not been able to locate any such piece on the net. The closest I got is this song based on Jaidev’s Dashavatar Varnan from the film Anandmath. The raga is not Yaman, but the mood is quite close to Yaman. I present it to give a hint of how good Sanskrit slokas based on Yaman would sound in Hemant Kumar’s voice.

Hemant Kumar and Geeta Dutt sing Jai Jagdeesh Hare from Anandmath (1952)

I close by thanking AK once again for motivating me to write, and all the music lovers who have uploaded videos on Youtube. In particular I would mention Youtube user Thuryina who has uploaded many of the classical pieces I have used above. Tell us something about yourself Thuryina, if you are reading this.

AK presents a great surprise:

(Someone who can bring alive Raga Yaman in his writing, what impact would he create if he sang it! Subodh sings (or recites) Harivansh Rai Bacchan’s ‘Is paar priye madhu hai tum ho’ without any musical accompaniment. He has also composed its tune. He is not a professional singer, but when someone loves Yaman so much he can transport the listener to the magical and mysterious world of ‘Us paar’ – AK)

Here are the beautiful words of Harivansh Rai Bachchan:

इस पार, प्रिये मधु है तुम हो, उस पार न जाने क्या होगा!

प्याला है पर पी पाएँगे, है ज्ञात नहीं इतना हमको
इस पार नियति ने भेजा है, असमर्थ बना कितना हमको
कहने वाले, पर कहते है, हम कर्मों में स्वाधीन सदा
करने वालों की परवशता है ज्ञात किसे जितनी हमको
कह तो सकते हैं, कहकर ही कुछ दिल हलका कर लेते हैं
उस पार अभागे मानव का अधिकार न जाने क्या होगा!
इस पार, प्रिये मधु है तुम हो, उस पार न जाने क्या होगा!

दृग देख जहाँ तक पाते हैं, तम का सागर लहराता है
फिर भी उस पार खड़ा कोई हम सब को खींच बुलाता है
मैं आज चला तुम आओगी, कल, परसों, सब संगी साथी
दुनिया रोती धोती रहती, जिसको जाना है, जाता है
मेरा तो होता मन डगडग, तट पर ही के हलकोरों से
जब मैं एकाकी पहुँचूँगा, मँझधार न जाने क्या होगा!
इस पार, प्रिये मधु है तुम हो, उस पार न जाने क्या होगा!

And here is an equally beautiful and lyrical translation by Subodh:

Your sweet presence is with me, my dear, on this shore
Who knows what awaits us across there

We have the cup but know not if we can drink
Fate has sent us so helpless to this world
There are those who claim we are always free in our actions
Who knows better than us how dependent they themselves are
At least we can soothe our hearts with such claims
Who knows if even this solace will be ours across there

A sea of darkness undulates as far as the eyes go
Yet, someone on the other side calls us across
I go today, tomorrow you will come, day after tomorrow all our friends
The world mourns, but those who have to go, have to go
The waves breaking on the shore make my heart tremble
What will happen when I reach the midstream all alone.

And here is the coup de grace:

Subodh Agrawal sings Is paar priye madhu hai tum ho us paar na jane kya hoga, poetry Harivansh Rai Bachchan

Bachchan’s poem is nine stanzas long. Subodh sings only two stanzas. If someone is interested in the entire poem here s a link.

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Tagged as: Harivansh Rai Bachchan, Hindi film songs on classical ragas, Yaman
131 comments… read them below or add one
1 Personal Concerns April 27, 2012 at 10:07 am
This is an amazing post. I got to know a lot about the raaga and the songs based on it. I am a complete illiterate in ragas yet love to know every little thing that I can.

Thanks to Subodh and AK ji for coming up with this great post. The surprise is nice too!

2 AK April 27, 2012 at 10:53 am
As for literacy in ragas, I am with you. But I love classical music, am and deeply passionate about many Ragas. Subodh is of course an expert. Thanks a lot from both of us.

3 Naresh P Mankad April 27, 2012 at 3:24 pm
The beauty of Yaman is that it is favourite raga of the masters of classical music as well as listeners. The reason for its popularity is not just the appeal of the raga for all classes but the limitless possibilities it holds for the artists. That is why you can come up with still many more songs of everlasting appeal in this raga

4 Vikas Chandra Agrawal April 28, 2012 at 7:27 am
Thanks bhaiya. Tarana by Veena Sahstrabudhe was expected inclusion. However exclusion of bandish Eree aali piya bin by Pandit Sanjeev Abhayanker was surprising.
Poem recital is beautiful. Graphics by Vrinda are equally mesmerising

5 Ashok Vaishnav April 28, 2012 at 3:26 pm
Shri Subodh Agrawal’s treatment of the subject is so thorough, lucid and interesting that I would pay tribute to it the only way it is possible – enjoying the post, wholly and severally, over several sessions.
Of course, my technical knowledge of Classical raag is next-to-nothing. But, I certainly knew, by reading from somewhere, that Mana Re Tu Kahe Na Dhir Dhare is based on Yaman. Since, then I know Raag Yaman as that song only.
Also, I have a very special feeling for the renderings by Ustad Amirkhan Saheb, embedded impressions of the formative years into understanding [whatever little of ] music. I remembered having seen couple of Usatdji’s clips on Yaman.
Here they are:
Ustad Amir Khan – Raag Yaman – .flv http://youtu.be/YUsVupRGs4s

THE COLOURS OF YAMAN -ustad amir khan http://youtu.be/joINLDtBilc

So I thought of doing some additional search while I would find out these clips from search egnines.
Pandit Ravi Shankar & Annapurna Devi.. Raag Yaman Kalyan Sitar and Surbahar.
This is the only recording where they both played together, but Pandit ji part is missing of sitar, I will try to find the rest of the recording. http://youtu.be/Tdm6eyqUEdc

Martial Music Of India Army 2 – 1999 – saregama
The search also has resulted in adding to my Yaman Favourite ‘Man Re..’ two more of my favotites – ‘Nathani Se.. by Manna Dey’ and ‘Paanv Paroon..by Mohammad Rafi’
I have listed edited results of my searches herebelow:
Non-Film Songs
 Nathani se toota moti re Singer & Music Director: Manna Dey; Poet: Madhukar Rajasthaani
http://youtu.be/imK1TGTFfKY Uploaded by sgtalageri on 10 Mar 2009

 Paanv paroon tore shaam, braj ko laut chalo (Bhajan) – Mohammad Rafi – Music Director: Khayyam
http://youtu.be/1dfEtUNn2h0 Uploaded by rc0972 on Aug 6, 2009

 Mugham baat paheli jaisi – A rare old ghazal by Mehdi Hassan
http://youtu.be/0zmsEQnSyKI Uploaded by senty1999 on Sep 6, 2010

 Sochte aur jaagte sansonka ek dariyaa hun mein – A Ghazal by Gulam Ali
http://youtu.be/Z5W0N7CMjp4 Uploaded by IFTEE555 on 19 Sep 2011

 Shola hun bhadakne ki gujarish nahin karta – A Ghazal by Jagjit Singh http://youtu.be/mUnw2Z00wMs Uploaded by ajayuv on 9 Mar 2010

Film Songs
 Dil e betabko sinese – Palaki
 Dil diya dard liya – Dil Diya Dard Liya
 Saptasurana teen gram – Tansen
 Jaane vaale se mulaaqaat na hone paayi – Amar
 Inhi logon ne le leena dupatta mera – Pakeezah
 Mausam hai aashikaana, ai dil kahin se unko – Pakeezah
 Jiya le gayo re mora saanwariya – Anpadh
 Ja re badra bairi ja – Bahana
 Meri duniyamen tum aaye – Heer Ranjha
 Jara si ahat hoti hai…kahin yeh woh to nahin – Haqueeqat
 Nigahen milaneko ji chahata hai – Dil Hi To Hai
 Zindagi-bhar nahin bhulegi – Barsaat Ki Raat (old)
 Sansarse bhage phirte ho – Chitralekha
 Tum agar mujhko – Dil Hi To Hai
 Aap ke anurodh pe, main ye geet sunaata hoon – Anurodh
 Bhooli huyi yaadon, mujhe itna na sataao – Sanjog
 Chandan sa badan, chanchal chitavan – Saraswati Chandra
 Do naina matawaare tihaare, ham par zulm karen Film: Chhoti Bahan
This beautiful song, in Pankaj Malik’s voice, is till now missing on youtube, although the more famous version, in K L Saigal’s voice, is here.
http://youtu.be/Gz_Rd1jYIew Uploaded by Musique4ever on 20 Aug 2007

 Jab deep jale aana, jab shaam dhale aana – Chitchor
• ram ji, bada dukh deena – Ram Lakhan
 Woh shaam kuchh ajeeb thi, ye shaam bhi ajeeb hai – Khamoshi
 Ye chaman hamra apna hai – Ab Dilli door Nahin – Dattaram
 Chhodo chhodo chhodo mori baiyan a lovely suman kalyanpur solo-from-miyaan biwi razi– http://youtu.be/BPeKWtc4Kpc Uploaded by bobbyboko on 13 Dec 2008

 Kenu sang khelun hori – Chala vahi desh (non filmi album)
 Re man surmen ga
 Jay jay he jagadambe mata
 Jivan dor tumhi sang bandhi – Satyavaan Savitri
 Suni jo unke aane ki aahat – Satyam Shivam Sundaram
 Tum bin jivan kaise bita – Anita
 Woh jab yaad aye bahut yaad aye – Parasmani
 Dil jo na kahe saka – Bhigi Raat
 Woh haske mile humse – Baharen Phir Bhi Aayegi http://youtu.be/g3s7270G4YI Uploaded by ajayuv on 28 Sep 2009

 Savereka suraj tumhare liye – Ek Baar Muskuraa Do
 Yaad rahega, pyarka yeh rangin zamanaa yaad rahega – Umar Qaid
 Main kya janun kya jadu hai – K L Saigal
 Lagta nahin hai dil mera – Laal Quila
 Dhadkate dilka payam le lo
 Pritam aan milo
 Saranga teri yaadmen – Saaranga
 Phir na kije meri gustakh…Dekhiye apne phir pyarse – Phir Subah Hogi
http://youtu.be/rau5gPhmYwE Uploaded by mastkalandr on 2 Feb 2010

 Tum mujhe bhul bhi jao – Didi
http://youtu.be/Zr3Z5D60XnQ Uploaded by mastkalandr on 15 May 2009

[There are couple of additional versions of this song are also on You Tube, pertaining to live renderings by Sudha Malhotra in some of the concerts.
Here is one such version:
http://youtu.be/_rNUcRz6Tdc Uploaded by JyotikaChhibber on 11 Jan 2008 ]

 Bade bhole ho
 Seene men sulagte hain arman — Tarana
 Intazaar aur abhi – Lata Mangeshkar –
The only film with Raj and Shammi Kapoor together. ‘CHAR DIL CHAR RAAHEN’ by K. A. Abbas, the legendary film maker of ‘socialist’ themes, with Anil Biswas’s music.
http://youtu.be/Kmen8LxRppU Uploaded by sureshcverma on 30 Mar 2009

 Ansu samjhke kyun mujhe – Chhaaya
 Biti na bitai raina – Parichay
 Is modse jate hai – Aandhi
 Roj roj dalidali kya likh jaye – Angoor
 Ang ang rang jhalakae – Sankalp
 Ehasaan tera hoga mujhapar – Junglee
 Lau laga ke geet gaa ke – Bhabi Ki Chudiyan
 Shreeramchandra kripalu bhajamana
Here are some of the songs that would strictly fall beyond the scope of this blog:
 Ye shamen, sab ki sab shamen Film: Suraj Ka Saatvaan Ghora Music Director: Vanraj Bhatia
http://youtu.be/vjNL4LTYuCg Uploaded by deonates on 14 Jan 2009

 Koi jo mila tha mujhe “Breathless” – Breathless
 Mere hamsafar mere hamsafar mere paas aa mere paas aa – Refugee
 Ghar se nikalte hi – Papa Kehte Hain.
 Pyar mein hota hai kya jadoo – Papa Kehte Hain.
 Aapke anurodh pe – Anurodh
 Aaye ho meri zindagi me – Raja Hindusthaani
 Sochenge tumhe pyaar kare ki nahi – Deewana
 Salaam Salaam – Umrao Jaan (new)
[These songs are noted down from the sites ~ Shishir Sathe ~ http://shishirsathe.multiply.com/journal/item/1/Hindi_Songs_Based_on_Raga_Yaman and Haresh Bakshi’s http://www.soundofindia.com/index.asp .
Some of these songs are my personal favourites for which I have added video clip linkages. The uploading of these clips on You Tube is also acknowledged with each clip.]

6 Subodh Agrawal April 29, 2012 at 10:09 am
Thank you AK and Ashok Vaishnav. The list of film songs in Yaman is practically endless. The only other raga which has so many film songs is Bhairavi. The other popular ones are Darbari, Pahadi and Pilu. It was very tough for me to decide what to include and what to leave out. I ultimately opted for one song representing each major mood of the raga.

There is something interesting about the film Papa Kehte Hain. As it is a film from the nineties, it is way out of the range of songsofyore. However, It is worth dwelling upon a while, as the music is by Rajesh Roshan, son of the great Roshan, who was without doubt the finest exponent of Yaman in film music. The film sank without trace, and the only reason I remember it is the music. The songs ‘Ghar se nikalte hi’, ‘Pyar mein hota hai kya jaadu, and ‘Yeh jo thode se hain paise’ are fine examples of Yaman. Their beauty lies in their simplicity.

Legend says that Yaman was created by Amir Khusro by combining Indian raga Hindol with an Iranian raga. I have searched the web for a perfect rendition in Yaman of his ‘Chhaap tilak sab chheeni’ but haven’t quite got what I was looking for. The best I found is this one by Habib Wali Mohammad: http://youtu.be/KZA1gUoV1E0. This is a beautiful composition and HWM’s voice is magical, but it does stray a lot from the purity of Yaman. This version by Richa Sharma stays more faithful to the raga, but I found the loudness rather jarring: http://youtu.be/zgLEe2KNwN4

7 Raja Pundalik April 30, 2012 at 6:55 pm
Very interesting piece! Love Yaman immensely myself – in fact, I posted a piece on Yaman on the same day as of your post on this blog. My approach, of course, was slightly different so the post has become more popular-music oriented. But then I wrote three episodes on Yaman – do take a look and tell me how you find them. The blog address is given above in the form.



8 AK May 1, 2012 at 12:45 am
@Ashok Vaishnav
You have added a massive amount of outstanding Yaman. I have started listening to them one by one. About Pankaj Mullick version of Do naina matware tihare here is a link:

Do naina matwrae tihare sung by Pankaj Mullick from My Sister

I remembered it because because I had used it in one of my earlier blogs in the context of discussion which version was better. In fact YouTube also has other songs as well of My Sister in Pankaj Mullick’s voice.

9 AK May 1, 2012 at 1:09 am
@Subodh Agrawal
Chhap tilak sab chheeni re mose naina milaye ke I first thought you meant Habib Painter. Habib Wali Mohammad’s was for me a disappointment, sorry about that, though I am a huge admirer of some of his songs – I consider his Lagta nahi hai jee mera the best in the world. I am sure Habib Painter’s is also on YouTube though I am not able to locate it. But at least as good or better is Nusrat Fateh Ali Khan. I am so used to associating Amir Khusro with male qawwali singers that I have difficulty in appreciating a female singer.

Nusrat Fateh Ali’s Chhap tilak (Part 1)

Nusrat Fateh Ali’s Chhap tilak (Part 2)

Nusrat Fateh Ali’s Chhap tilak (Part 3)

10 AK May 1, 2012 at 1:13 am
@Raja Pundalik
I visited your blog. Your Yaman in 3 parts is very impressive and contains some absolutely magical music. My congratulations. Yes, it is indeed an amazing coincidence that about the same time the two blogs should be writing on Yaman.

11 Subodh Agrawal May 2, 2012 at 7:39 am
@Raja Pundalik
I fully endorse AK’s comments on your blog. The Marathi compositions are a real find for me.
I was absolutely delighted when I stumbled upon Nusrat Fateh Ali Khan’s ‘Chhaap tilak’ in my search. Khan Saheb has, however, chosen to develop this bandish not in Yaman but mostly in Bihag. Otherwise it would have been the centerpiece of my article. My search for a perfect rendering of this immortal composition in Yaman, one that does justice to the beauty of its lyrics without too many vocal flourishes, continues.

12 Mohan Kotwal May 17, 2012 at 9:58 pm
Wonderful site. I was glad to see such large collection of raga based songs.
Keep it up and all the best!

13 Arvindkumar shah May 25, 2012 at 10:07 am
Great cllection of Yaman and fascinating information.

14 Subodh Agrawal May 28, 2012 at 5:09 pm
I have discovered two rare and very good songs in Yaman, thanks to http://www.parrikar.org – my standard reference in case of any doubt about ragas – ‘Supna ban sajan aaye’ from ‘Shokhiyan’ http://youtu.be/l7Fargq102U and ‘Maangne se jo maut mil jaati’ from ‘Sunehra Kadam’ http://youtu.be/iKVTXhePlHs . The two music directors Jamal Sen and Bulo C Rani could be candidates for the forgotten composer series.

15 Ashok Vaishnav May 28, 2012 at 10:57 pm
@ Suobdhji – indeed a very rich haul , in terms of these two gems.
These are really the gems that we come to remember only when these are pointed out, which itself is rare of rares. Radio Ceylon, in its hey days in 50s and 60s, was really very good at that service.
I also record my agreement in totality that these two music directors do be considered by Shri AKji for the ‘forgotten music directors.. ‘ series.

16 AK May 28, 2012 at 11:17 pm
Sapna ban sajan aye I had heard before. I would have bet it was a Sudhir Phadke composition. Jamal Sen goes up in my esteem. In Shokhiyan he gave a terrific Suraiya song Raton ki neend chheen li. I have used it in my post on Suraiya. Jamal Sen is of course a very befitting candidate for ‘Forgotten Composers’. I think he gave music for only two or three films. Bulo C Rani has a long history from mid-40’s to mid-60’s. Jogan had famous bhajans by Geeta Dutt like Ghunghat ke pat khol re. He also has the iconic qawwali Humein to loot liya mil ke husnwalon ne to his credit.

17 Naresh P Mankad May 31, 2012 at 12:45 am
I personally feel that the Shokhiyan number – Sapna ban sajan aaye, composed by Jamal Sen, is a song without which a list of top ten songs in Yaman is incomplete. There is another song composed by Jamal Sen that should have the honour of securing a place not just in top ten songs in Yaman but also in top FIVE songs of Mohammad Rafi, if you permit a duet, and certainly in top five duets of film music: Film Daayara’s “Devta tum ho mera sahaara.” Those who have not heard the song have missed a gem.

18 AK May 31, 2012 at 9:55 am
On Sapna ban sajan aye I am entirely with you. Subodh also agrees, had he come across it earlier it woul have surely figured in his write up prominently.

Devta tum ho sahara I am hearing for the first time. Unlike Sapna ban whose tune sticks with you the first time you hear it, Devta tum ho takes time to grow on you. Thanks for introducing this rare gem to us.

19 Subodh Agrawal May 31, 2012 at 10:33 am
I have also heard Devta tum ho mera sahara for the first time. It is, without doubt, a great song. There are several versions on Youtube. I have tried three of them. In all of them Mubarak Begum’s voice comes our prominently, while Rafi’s voice is mostly mixed with the chorus – but for a small part at the end. Is there a version with more of Rafi in it? Thanks, Naresh P Mankad, for introducing us to this song.

20 Naresh P Mankad June 1, 2012 at 1:40 am
@Subodh Agarwal:
I had memory of hearing the song decades back, then it was never heard. On somebody mentioning the song, the memory got refreshed and I started searching for the movie. I first found the song on a video CD of the movie Daayara, perhaps a pirated copy. It was believed to have come from outside India and had the worst picture quality.

21 mayank baxi June 19, 2012 at 5:44 pm
Ashok Vaishnav
your detailed list it self reflects depth of equality of your comment on your knowledge of raag next to nothing. How beautifully you have enumerated your comments and the treasure which will enlighten this segment forever.


22 Ashok Vaishnav June 21, 2012 at 11:00 pm
@ Mayank Baxi
The credit for the list is to the resources available on internet [ I have already mentioned the [resent sources in my comment]. I was simply an instrument of collating them here.
I have been on the treasure hunt on internet an You Tube for a long time, but it was only because of SoY that I was motivated to, and have, become structured in the search, as well documenting my views on what I listen.

23 Subodh Agrawal September 2, 2012 at 8:09 am
My brother Vikas posted this Yaman composition rendered by Habib Wali Mohammad on his facebook page. Heard it for the first time and found it very good.

Gajra bana ke le aa malania by Habib Wali Mohammad

24 Deepika September 6, 2012 at 9:39 pm
Heylo 🙂
Had visited your site before also: AWESOME site!

Stumbled on this page – as i was searching for ‘Chupa lo yun dil mein’ .. WhatASong ! I am not much of a lyrics person – i can’t understand that much hindi – but the Ragas enchant me 🙂

And the scenes preceding the song bring in the perfect mood. Suchitra Sen and Ashok Kumar take love and longing to a different level.
The song is so beautiful.. It has been haunting me ever since I heard it last night. And just how beautifully you have written here 🙂 Lovely 🙂

When I was learning Carnatic music, Kalyani raga never appealed to me as much as its doing now. Which verifies your first paragraph 🙂

Request you to do a post on Raag Durbari Kanad – another super fav 🙂
Also, is there an equivalent of Ananda Bhairavi Raga in Hindustani?


25 Naresh P. Mankad September 7, 2012 at 9:10 am
Yaman was never such electrifying as it is in this performance on sitar-maestro Vilayat Khan’s singing sitar. This recording has an interesting history. The proof of his genius is that he came to the studio to play Marwa, and not Yaman. But he was already very late, he took too long to prepare and tune, the technicians were getting restless, the Ustad himself was not in mood and some hippy-like persons in the audience at the studio swaying their heads while the Ustad was tuning added to his irritation. He declared he was not going to play Marwa. The studio people were worried but the Ustad retuned his sitar and straightaway started his performance that stunned the people present there by the virtuosity, the speed, the clarity and the cross strokes! It was simply a master’s performance.

26 Subodh Agrawal September 7, 2012 at 9:34 am
Thank you Deepika. I am happy that this post has helped you appreciate Raga Kalyani more. This is the best compliment I have received.

I will get around to Darbari Kanada eventually. Please keep visiting Songs of Yore and enjoy the articles by my friend AK on a host of interesting themes.

I have not found any Hindustani equivalent of Ananda Bhairavi. I listened to a recording by Balamurali, and it didn’t sound like any North Indian raga I am familiar with. I will get back if I learn something more.

27 Subodh Agrawal September 7, 2012 at 1:34 pm
Mr Mankad, your comment brought back old memories. This LP of Vilayat Khan’s yaman, whose sleeve describes the recording session you have so vividly reconstructed, was among the first LP’s I bought when I started building my collection in the early seventies. It is, indeed, one of the finest recordings of yaman, of Vilayat Khan, and of sitar.

28 Naresh P. Mankad September 7, 2012 at 3:57 pm
Yes, Subodhji, such extra details are rarely seen on the LP’s covers. They should have made it a practice to give such material for the benefit of listeners. Of course, there are anecdotes that would interest the music buffs but no body would print them on the covers fearing controversies they may raise. This LP is one of my prized collection, because it is a lesson in excellence for those who are interested in learning sitar as also for those who love classical music.

29 N Venkataraman September 10, 2012 at 10:21 pm
There is no Raag called Anandabhairavi in Hindustani Sangeet. The
Raag Anand Bhairav of Hindustani Sangeet is quite a different Raag and is placed under the Bhairav That. Strictly speaking it should come under the Carnatic Melakarta”Chakravaham”,whereas Raag Anandabhairavi is derived from the Melakarta Natabhairavi which corresponds to Asavari That.
The Marathi stage song “Dehata Sharanagata” from the play “Manapaman” is supposed to be the imitation of a song in Anandabhairavi of the south. I could not find any recording of this Marathi version. As sung at present it has not got the Anandabhairavi Swaroop.It is now sung like a mixture of Hindustani Kafi & Piloo.

30 Subodh Agrawal September 11, 2012 at 7:18 am
Mr Venkataraman, thanks for your valuable comment. I know very little about Carnatic music, although I enjoy listening to it. Would you like to suggest some good pieces, both popular and classical, in Kalyani?

31 n.venkataraman September 11, 2012 at 3:18 pm

32 N Venkataraman September 11, 2012 at 3:46 pm
This is a song from Tamil movie sung by T M Sounderarajan from film “Naane Raja”

33 Subodh Agrawal September 11, 2012 at 5:10 pm
Thank you Mr Venkataraman. This song is very good.

34 n.venkataraman September 11, 2012 at 9:20 pm
This one is a slokam rendered in Kalyani Raag from the Telegu Film “Shankarabharanam” directed by K Vishwanath, produced in 1979. This film was later produced in Hindi, where Girish Karnad played the leading role.The name of the film, if my memory is right, was Swarsangam.

Manikyaveena mupalaalayanti

The next one is a instrumental rendering of Raag Kalyani.
The short Aalap is played on the violin by the Doyen of Carnatic Music
Sri T N Krishnan, who incidentally is the elder brother of Smt.N.Rajam

The third one,also in Raag Kalyani, is by Dr Balamuralikrishana

The last one is a popular devotional song rendered by T M Soundararajan. The song starts with Anandabhairavi and then moves on to Kalyani, Bhageswari and ends with Ranjani.

35 AK September 11, 2012 at 10:11 pm
This is superb! I have heard Ustad Rahim Fhimuddin Khan Dagar sing the Sanskrit shloka Manikyaveena mupalaalayanti in his Dhrupad performance. This is a famous shloka written by the poet Kalidas in praise of Goddess Saraswati. Hearing Dagar Sahab sing this is a divine experience. This shows the universal unity of all forms of music.

The link you have given for Balmuralikrishna is not correct. It is a repeat of TN Krishnan’s piece. Could you please give the correct link.

36 n.venkataraman September 11, 2012 at 11:06 pm
I am extremely sorry. Thank you for pointing out my mistake AKji.
Actually the rendition is in two parts.
I hope I am not bombarding with an overdose of Carnatic Music.

37 AK September 11, 2012 at 11:53 pm
Don’t worry. I love it, and I am sure, so would Subodh and other readers who are fond of classical music. By the way, YouTube mentions these as Part 2 and Part 3 of a performance, which means there must also be a Part 1 of this.

38 Subodh Agrawal September 12, 2012 at 7:08 am
What a treasure, Mr Venkataraman! Your comments and links have enhanced this article. The sanskrit shloka from Shankarabharanam – a film I have seen thrice for its music alone – confirms what I have written about the beauty of shlokas rendered in this raga. Thanks a lot. I would look forward to generous doses of Carnatic music from you in any future posts I may do on classical songs.

AK, is the rendition by Raheem Faheemuddin Dagar available on the net?

39 AK September 12, 2012 at 10:09 am
Unfortunately I could not locate it on YouTube. But I have heard him so many times sing this that I am sure it would turn up some day. He would start with Rigved’s first mantra अग्निमीढ़े पुरोहितम्‌ and go on to this shloka. Beautiful.

The best I could locate is from a Telugu film Mahakavi Kalidasu in which this shloka is sung by Ghantshala. The YouTube comments indicate that Rajkumar has also sung it in the Kannada version of this film, which is supposed to be even better. Could not locate it though. I am sure Mr Venkataraman would throw more light on this. Meanwhile enjoy this version by Ghantshala. Here let me add, I am familiar with Kalidas’s shloka. While Dagar sings the exact version, this one is quite different. Let me locate the original shloka – the defining phrase in that is सा रे ग म प ध निरतांताम्‌ , which is missing in this version.

Manikyaveena mupalaalayanti from Mahakavi Kalidasu

40 N Venkataraman September 12, 2012 at 10:18 pm
My acquaintance with Hindi is through Hindi films and songs. But I read the Kavita by Sri Harivansh Rai Bachchan and the English translation by Subodh ji. I enjoyed both. Thanks AK ji & Subodhji. Subodhji’s spirited rendition was a bonus.
This is second Kavita of Sri Bachchan I am coming across in my life.
The first one is the famous “Madhushala”. I heard it for the first time in the early eighties, set to music by Jaidev ji and sung by Sri Manna Dey. Although my knowledge of Hindi is limited, I enjoyed the lyrics and the composition. In fact I purchased the LP.
I would be looking forward to Akji and Subodh ji to do a post on “Madhushala”, giving the lyrical translation and philosophical intrepretaion.

41 N Venkataraman September 12, 2012 at 10:50 pm
AK ji I Could not locate the part 1 of “Sundaree Nee” by Dr.Balamuralikrishana in the you tube.
But you will find the entire piece in the following audio link.

42 N Venkataraman September 12, 2012 at 11:07 pm
Sorry. It seems it is not a free download link.

43 AK September 13, 2012 at 7:24 am
What about Rajkumar’s version of Manikyaveena mupalaalayanti? If you are familiar with this we would love to have it. Here a small clarification – actually it should be Manikyaveenam uplaalayanti, but because of the rules of sandhi in Sanskrit grammar the soft consonant ‘m’ at the end of the first word is combined with the vowel ‘u’ of the followng word. Subodh would be aware, French also has similar sandhi (but only in pronunciation).

44 N Venkataraman September 14, 2012 at 12:13 am
Ghantashala’s version of “Shymala Dandakam” was superb. It was a delight to listen to the Aalapanas and Gamakams. After repeated listening, I think the following Carnatic Ragams were used in the composition.
1.Mohanam – The prelude, played in the Sitar, is set to Ragam Mohanam. Hindusthani Raag Bhoopali has great resemblance to Mohanam. As Vaadi and Samavaadi restrictions are not strictly observed while singing Carnatic Ragams, Ragam Mohanam also sounds like Raag Deshkar of Hindusthani music.
2.Kedara Gowla – It belongs to the Harikambhoji Melakarta of Carnatic Sangeet, which corresponds to the Khamaj That of Hindusthani Sangeet. Ragam Kedara Gowla resembles Raag Desh closely.
3.Kalyani – or Mechakalyani resembles Raag Yaman of Hindusthani Sangeet.
4.Durbari Kanada – In Hindusthani Sangeet there are a number of Ragas called Durbari Kananda, Nayaki Kanada, Abhogi Kanada etc. But in Carnatic Sangeet there is only one Ragam called Kanada. Raag Durbari Kanada resembles the Carnatic Ragam Kanada very closely.
5.Shankarabharanam – belongs to the Dheera Shankarabharanam Melakarta of Carnatic Sangeet which corresponds to the Bilawal That . Raag Suddha Bilaval corresponds to Ragam Shankarbharanam.
6.Madhyamavati – a popular Ragam, is a janya of the Melakarta Kharaharapriya. The Hindusthani Raag Madhumad Sarang, which belongs to Kafi That, corresponds with this Ragam. Madhyamavati is considered to be very auspicious and music concerts generally conclude with a short Aalapana in this Ragam. Here too, Ghantasala concludes his rendering of “Shyamala Dandakam” with Madhyamavati.
7. Poorvi Kalyani – The grand finale, played in the Sitar, is set to the Carnatic Raagam Poorvi Kalyani, which resembles Pooria Kalyan.
Raag Pooria Kalyan belongs to the Marwa That, which again corresponds to the Melakarta Gamanashrama.
I could locate the Raaj Kumar version of “Shyamala Dandakam”.
This one is also equally good.

Here Raaj Kumar has employed a different set of Ragams.
1.Hamsadhvani – Basically this is a Carnatic Ragam which has become popular in the North. This Raag is placed under the Bilaval That which corresponds to the Melakarta Dhira Shankarabharanam. Even in Carnatic Sangeet, this Raag is not a very old one and is not mentioned in the ancient books.It is said to have been composed by Late Ramaswamy Dikshitar, father of Late Mutthuswamy Dikshitar. Music concerts in South very often commence with a composition in Ragam Hamsadhvani . Here too, Raaj kumar starts his rendition with this Ragam.
Kaapi – Carnatic Ragam Kaapi is a mixture of Hindusthani Ragas Kafi, Sindhura and Piloo.This mixture has found its way to the South and was initially sung under the name Hindusthani Kaapi.
Kalyani – or Mechakalyani resembles Raag Yaman of Hindusthani Sangeet.
Aarabhi – also belongs to the Melakarata Dheera Shankarabharanam or Bilawal That. Ragam Arabhi is one of the Ragas introduced into Hindusthani Sangeet from the South through the stage of Maharashtra.
This Raag is rarely heard being sung in Concerts in the North whereas it is very popular Ragam in the South.
Bhairavi – of Carnatic Sangeet is a very popular raga, but has no resemblance to Hindustani Bhairavi. Ragam Bhairavi belongs to the Melakarta Natabhairavi which corresponds to the Asavari That.
Mohanam – discussed earlier.

45 AK September 14, 2012 at 1:23 pm
This is awesome. I also hear traces of Raga Shudh Saveri.

46 N Venkataraman September 14, 2012 at 1:42 pm
Is it in the Raaj Kumar’s Version?
I listened to it again. I have missed out Ragam Hindolam, which comes after Kaapi. Raag Malkosh resembles Raag Hindolam of Carnatic Music.

47 N Venkataraman September 14, 2012 at 1:56 pm
I think you are refering to Ragam Aarabhi. Raagam Suddha Saveri of Carnatic Sangeet is allied to Ragam Aarabhi. I think, the Hindusthani equivalent of Ragam Suddha Saveri is Raag Durga. As mentioned earlier, Ragam Aarabhi is one of the Ragas introduced into Hindusthani Sangeet from the South through the stage of Maharashtra.But North Indian Vocalist prefer Raag Durga to Raag Aarabhi.

48 n.venkataraman September 15, 2012 at 11:58 am
Ak ji your reference to Rahim Fahimuddin dagar brought back nostalgic memories. I had the good fortune of listening to all the 7 Dagar brothers/cousins sometime during the early 80s. In fact they were 8 brothers belonging to the 19th generation of the Dagar heritage. The eldest of the brothers Ustad Nasir Moinuddin Dagar (Bade Guruji) had already passed away then. Now. only two of the brothers are living.
Ustad Rahim Fahimuddin Dagar was the son of Ustad Rahimuddin Dagar.
I had the good fortune of listening to Ustad Rahimuddin Dagar (Bageshri Kanada).
There is a seven part Aalap by Ustad Zia Mohiuddin Dagar played on the Rudra Veena in Raag Yaman and another hour long Aalap performed at France. This is an elixir for the purist.Those who are interested in going through the intricate nuances of this pristine and divine format can visit the you tube.
I am attaching a composition in Raag Yaman set to Chowtaal played by Ustad Zia Mohiuddin Dagar and accompanied by Sri Mani Munde.

49 n.venkataraman September 15, 2012 at 1:37 pm
I would like to share three of my favourite Yaman Kalyan Compositions.

The first one is by the Sufi Singer Abeeda parveen Ji. Her Ghazal ” Woh humsafar tha, Magar us sey humnawai na thi” was too good. But here I would like to present the Khyal “eri aali piya bin” sung by her. Energetic performance.

The second one is the same khayal sung by the indomitable Pandit Bhimsen Joshi.

The third one is a Meera Bhajan sung by Smt. Vaani Jayram from the film “Meera’. The Film was not a hit, but the Music by Pandit ravi Shankar and the singing by Smt.Vani Jayram were superb.

50 Subodh Agrawal September 15, 2012 at 9:35 pm
Thank you Mr Venkatraman for these beautiful links. Jo tum todo piya was unknown to me and I am very grateful to you for introducing this gem to me.

E ri aali piya bin is probably the most famous composition in Yaman Kalyan. I have included two versions in the original article. Abida Parveen and Bhimsen Joshi are stalwarts. But let me mention here one of the most talented 40+ musicians Sanjeev Abhyankar. His rich and sonorous voice lends an entirely different quality to this composition:

51 N Venkataraman September 16, 2012 at 10:49 pm
Subodh ji
Thank you for the response.
I have heard Sanjeev Abhyankar after a long long time.
He has come out of the shadow of his Guru Pandit Jasraj ji.
I would be on the lookout for his live programme.

52 N Venkataraman September 16, 2012 at 11:25 pm
Subodh ji
Ustad Vilyat Khan’s Raag Yaman speaks volume of virtuosity of this
great virtuoso.
Ashok Vaishnav ji
Thanks for sharing Ustad Amir Khan’s clippings.
But the clipping of Smt.Annapurna Devi was a welcome surprise.
It was too good.It is a pity that she chose to become a reculse
due to personal reasons.
The Manna Dey piece “Nathli se toota mothi re” brought back memories of an EP(45 EPM) record containing four non film songs written by Madhukar Rajasthani and set to music and sung by Manna Dey. Out of the four I could find “Pal Bar ki pehchan aap se” and “Mere bi ik Mumtaz thi” although they were not from the original recording. But I could not find the other two songs “Bindiya Jane kahan Koyi” and “Birahi naina Jogi Bhaye”. Can you throw some light on these two songs.

53 Ashok Vaishnav September 19, 2012 at 1:44 pm
@N Venkatraman

The level at which your dialogue with Subodhji was going on, was only to be enjoyed by novice like me.
I did use to collect (a handful collection over a period) classical – Indian and Western – music records in the heydays, purely on the basis of discussions, with those who knew the music in our family , that would throw light on the relevance to Hindi Film Music and my own intuitive liking.
I used to get a pat from my “guides” then, too, for my selection of records and am happy that, even now, my liking is also liked by those who know the music. I am grateful for your very kind words and am happy that you could find something that you liked, as well, from among what I liked.
I have that EP of Manna Dey too. And then I have two audio cassettes which contain a few immortal non-filmy gems of Manna Dey.
I would search out those songs on the net and share it, ASAP, with you and AKji.

54 n.venkataraman September 19, 2012 at 10:59 pm
Ashok Vaishnav ji
Thank you for your response.
I am a late comer. I have stumbled across this wonderful site accidentally and got hooked to it. I, too, am not an expert and it is a great privilege to be in the august company like Subodh ji, AK ji and others.
You have uploaded and added substantial number and variety of Yaman compositions. I was listening to those compositions one by one. It took some time to listen and respond. In fact, I liked most of the songs.
I would like to hear the non-filmy gems of Manna Dey later on some appropriate occasion.
I could not find the Lata Mangeshkar version of “Ehasan tere hoga Mujpar”. Can you find and share it.
Thanks once again.

55 Ashok M Vaishnav September 20, 2012 at 10:20 pm
Shri Venkatramanji,
Many thanks for your very kind words.
Here is the link to Lata Mangeshkar version of “Ehasan tere hoga Mujpar”

56 Deepika September 20, 2012 at 11:00 pm
Dear Subodhji,

The most splendid composition of Anand Bhairavi raga is ‘Kamala Sulochana’ geeta in Carnatic music.

And will wait for your/AK’s Darbari Kanad.

And your website is a classic example of classics being classics ! 🙂


57 n.venkataraman September 21, 2012 at 12:44 am
Thank You Ashok Vaishnav ji.

58 Subodh Agrawal September 21, 2012 at 11:30 am
Thank you Deepika. I heard three different versions of Kamala Sulochana on Youtube after your comment. It is a beautiful composition – simple, yet touching. I heard shades of North Indian Kafi and Khamaj in this composition – more of Kafi between ri and pa, and more of Khamaj between pa and ni. Thanks for introducing me to it.

May I venture a suggestion to drop the formality of ‘ji’ on our comments. Our shared interest should allow us this much informality. What do you say, AK?

59 Subodh Agrawal September 24, 2012 at 7:36 am
I had never heard Ahmad and Muhammad Hussain before. Discovered this thanks to a facebook post by my brother Vikas. Illustrates what Yaman Kalyan can do in a ghazal:

60 AK September 24, 2012 at 12:32 pm
I have been enjoying the Yaman discussion from the sidelines. I have been looking for Mogubai Kurdikar’s tarana in Yaman, which I had with me long back. YouTube shows that it was uploaded once which has been removed now, which makes me believe it would show up some day. While searching I came across several taranas in Yaman. One I particularly liked was Ustad Rashid Khan’s, who is my favourite among new singers (of course, relatively speaking compared to Pt Jasraj etc).

61 n.venkataraman September 24, 2012 at 11:14 pm
AK ji,
Hope this is this the tarana you are looking for.

62 n.venkataraman September 25, 2012 at 12:04 am
Here I am presenting a Tarana and later a Tillana by Smt. Kaushiki Chakravarty(Desikan), one of the popular singers of the current generation.
Although in the Tillana part she goes off tune, the Tarana part in Raag Yaman is good.
In fact when I heard her live last year, both the Tarana and Tillana were equally good.
She had learnt the Tillana from Dr. Balamurali Krishna

63 n.venkataraman September 25, 2012 at 12:21 am
The Tarana part is based mainly on Raag Yaman. But we can hear strains of Raag Aanandi Kalyan in certain places. The Tillana is on Raagmala.

64 AK September 25, 2012 at 11:22 am
Mr Venkatraman
You are absolutely right. That was the Mogubai Kurdikar tarana I was looking for. Thanks a lot. Meanwhile Subodh also mailed me its mp3 version. This 78rpm disc had her Bageshree tarana on the other side. I am sure it would be available on the net somewhere.

Kaushiki’s rendering was excellent.

65 Subodh Agrawal September 25, 2012 at 2:31 pm
Thank you Mr Venkataraman for Kaushiki Desikan’s piece. It is something very interesting. The tarana is a conventional rendition and done quite well. I would have preferred, however, is she had stuck to Yaman proper, instead of Yaman Kalyan. I found the shudh madhyam rather jarring. In the thillana she has done something I had heard about but never heard in a performance – shadj chaalan, which is changing the base not from the original sa to another one which makes the same notes of Yaman Kalyan sound like another raga. The key to do that effectively is to establish the new ‘sa’ very well, where she lacks a little. That’s why we get the impressing that she has gone off key. She announces what she is going to do, although in Bengali.

66 n.venkataraman September 25, 2012 at 11:46 pm
Ak ji
The Yaman Tarana was beautifully rendered by Mogubai Kurdikar. The current generation of performers should take a leaf out of the stalwart’s book. They should learn how to keep a presentation simple and at the same time beautiful. Thank a lot.
Subodh ji,
Thank you for your valuable observations.
The Shadj chaalan or the Kharaj parivartan in the Thillana Ang of the Carnatic music was referred to as Thayam thillana in the ancient texts.
In modern times it is known as Graha Bedam.
I heard it for the first time roughly 25-30 years ago. Dr.Balamurali Krishna sang the Kalyani (Graha Beda) Thillana then. He also explained the shift of the Shadjam.
But the questions that used to bother me was- “How doe one recognize the right Raag during a Graha Bedam? As long as the Taanpoora is set to the original SA , our brains refuse to recognize the shifted Raag(s). The original Raag stayed put in the brain cells. That was my experience. Others may not feel the same !
I tried to get the original Thillana sung by Dr.Balamurali Krishna, but could not find it.
It was an excellent Thillana sung by the maestro.

67 n.venkataraman October 3, 2012 at 9:01 pm
We have heard a variety of composition in Raag Yaman/Yaman Kalyan and Raagam Kalyani :- Hindi Film songs, Non filmi songs, Hindusthani Sangeet, Dhrupad, Khayal, Thumris, Taranas, Ghazals, Bhajans, Carnatic Sangeet, Thillanas, Tamil popular song, Sanskrit Shlokams, Instrumental music- Shehnai, Flute, Sitar, Violin, Rudra Veena, and even a composition in Military Band!
I failed to find Yaman/ Yaman Kalyan played on the Sarod by Ustad Ali Akbar Khan in the you tube. But here is an interesting piece from Ustad Amjad Ali Khan.

There is also another interesting composition from the Bengali film Kshudita Pashan (Hungry stones), based on the story written by Gurudev Rabindranath Thakur. It is a Tarana composed by Ustad Ali Akbar Khan and rendered by Ustad Amir Khan.

Why not include a Rabindra sangeet?
Here is one from “Geetanjali”. Most probably this song was written and composed by Gurudev in the year 1906. The singer is Dwijen Mukherjee.

Hope you will enjoy.

68 AK October 6, 2012 at 6:06 pm
Mr Venkataraman
Each of these is great. Especially delightful is Amjad Ali Khan’s ‘singing’. Finally every instrumentalist must in his heart be feeling that the ultimate is ‘vocal’. In concerts it was always delightful to hear Ustad Bismillah Khan and Ustad Vilayat Khan ‘sing’ when they wanted to demonstrate some nuance. The latter’s son Shujat Khan seems to be seriously graduating into singing. While you can make out that his primary forte is the sitar, he has sung some amazingly pleasant light pieces, earlier made popular by Shobha Gurtu.

Somehow I feel Yaman is the soul of Rabindrasangeet, with its softness and romance. I do not know how much Yaman is in this, but I could not help posting one my greatest favourites, Mono mor megher sangee by Hemant Kumar:

Mono mor megher sangee by Hemant Kumar

69 n.venkataraman October 6, 2012 at 9:40 pm
AK ji
Thank you for your reply and comments.
The Rabindra Sangeet
‘Mono Moro Meghero Shangee ,
Urhe Chale Dig Digantero Paane…
is a Malhar Ang composition, more tilted toward Mia ki Malhar.
The variety and diversity in his poetry compelled Gurudev to break away from the norms. In his songs devoted to rainy season, he used various types of Malhars, namely, Desh-Malhar, Nat-Malhar, Sur-Malhar, Mian-Malhar, Megh-Malhar, Gaud-Malhar, Surdasi Malhar etc. He also created different variations of Malhar alone. Each one of these is unique and distinct in its mood and expression. This song was written and composed in August 1938 at Shantiniketan when the poet was 77 years old.

Hemanta Mukherjee’s rendition was very energetic and good.
By now I am aware that you are an admirer of Hemant Kumar. I could not find a good clipping of Rabindra Sangeet in Raag Yaman by Hemant Kumar in you-tube. By the way, Debabrata Biswas and Subinoy Roy are my favourite Rabindra Sangeet singers.

Here is the English translation of the song
(not my translation)
Companion to the clouds, my heart,
Soars beyond all horizons
Towards the wide open void
With bright, lyrical pulse of the Sraabon* out pour;
My mind glides on swan-wings,
Amid slight, startling spurts of lightning;
How the storm flashes her ankle-bells,
Resonating with fierce delight!
Mountain springs call out for a tempest
Gurgling with deep resonance;
Blowing in from the Eastern sea
The wind gushes over
Boisterous, bubbly waves of the river;
My heart darts — stirred by a savage current
Surging in tune with
Clamorous branches of the forest groves.

Sraabon* – the second month of the Rains, in Bengal.

70 Subodh Agrawal October 7, 2012 at 11:52 am
This discussion – although most enlightening and fascinating – is getting a little too serious. Let’s have something in a lighter vein:

71 n.venkataraman October 7, 2012 at 4:30 pm
Subodh ji
Welcome back. The clipping of Obama and Romney debating over Indian classical music was amusing and at the same time indicative. I enjoyed it and fully appreciate you sense of humour. Your message is taken in the right spirit.

Thank you

72 Subodh Agrawal October 14, 2012 at 7:44 pm
My friend Pankaj Sharan posted this Natya Sangeet piece from Kumar Gandharva on his Facebook page. It is too beautiful not to be shared here:

73 AK October 15, 2012 at 9:47 pm
This is superb. Pt Kumar Gandharva is my great favourite. But I could not resist linking the same composition by the legendary Bal Gandharva, which is out of this world.

74 n.venkataraman October 15, 2012 at 10:40 pm
Both the compositions are melodious and superb.

75 Subodh Agrawal October 15, 2012 at 11:53 pm
AK, the Bal Gandharva piece is indeed out of this world.

76 N Venkataraman October 19, 2012 at 3:09 pm
AK ji, Subodh Ji and all readers of this blog:
Wishing you all ‘A HAPPY DURGA PUJA’. May the blessings of Divine Mother and Divine Melody be with us for ever.

77 AK October 28, 2012 at 9:25 pm
We have heard Ae ri ali piya bin in many voices. Here is Ustad Rashid Khan, in a groovy avtaar singing it.

78 Subodh Agrawal November 1, 2012 at 8:31 pm
Thank you Mr Venkataraman and AK for the Durga Stuti and the Coke Studio pieces. The Durga Stuti pieces do a wonderful job of establishing the serene mood typical of Yaman. The Coke Studio piece takes a lot of liberties with the raga, yet it is interesting. It feels like homecoming when it does come back to yaman after each foray outside it. Coke Studio India had been way behind its Pakistani counterpart till last year, but now it seems to be catching up.

79 Ambrish Pandey January 17, 2013 at 5:09 pm
Dear Subodh, You did not mention about great song “Jab Deep Jale Aana” from the movie “Chitchor”. It is very nice and soothing song composed by Ravindra Jain.

80 Ambrish Pandey January 17, 2013 at 5:12 pm
I forgot to thank you for your nice article and citations.

81 Subodh Agrawal January 17, 2013 at 7:10 pm
Thank you Ambrish. ‘Jab deep jale ana’ is a lovely song and a personal favourite of mine. However Songs of Yore – as the name suggests – is focused on old songs, mostly 30’s to 60’s. Some later songs have figured in the comments – particularly the comprehensive ones of Mr Vaishnav.

82 viji ganesh February 15, 2013 at 9:22 am
Is pukharo mujhe naam lekar tumhe by mukesh based on Yaman ..Lovely blog ..Thanks for sharing such rare gems

83 Subodh Agrawal February 15, 2013 at 11:20 am
You are right Viji Ganesh. The composer Daan Singh has been covered in an earlier post by AK.

84 Subodh Agrawal February 19, 2013 at 7:30 pm
I stumbled upon this incomplete recording of Yaman by Kishori Amonkar and Balamurali Krishna. Unlike the recording of BMK with Bhimsen Joshi, this one is more evenly balanced between the two artists. I wish someone could upload the complete recording.

85 N Venkataraman February 19, 2013 at 8:16 pm
It gives nice feeling to get back to the post, where I was baptized into SoY. Nice 5 minutes JugalBandhi. Thanks for the same. Till somebody uploads the complete version, at least we can listen to this short version.

86 Ramesh Phadke March 13, 2013 at 11:22 am
Oh, this is simply awesome, just imagine if all of these commentators could meet in person somewhere, what a treat it would be!! Well Subodh you certainly do carry your scholarship lightly, wish there were more music lovers like you. An old song from Raj Hat, “Yeh wada karo chand ke samane’ is another unforgettable one in Rag Yaman; what lilt!!

87 Subodh Agrawal March 13, 2013 at 1:30 pm
Thanks Ramesh for your generous comment. ‘Yeh wada karo chand ke samne’ is a lovely song. The list of film songs based on Yaman, Darbari, Pahadi, Pilu and – above all – Bhairavi is practically inexhaustible.

88 AK March 14, 2013 at 9:20 pm
Dear friends,
I have earlier mentioned about Ustad Rahim Fahimuddin Dagar’s rendering of Saraswati-stuti written by Kalidas – Manikyaveena mupalalayantim. I could not locate his recording on YT. But here is the complete verse:

ओङ्कार पञ्जर. राग-मालिका. आदि ताल।

(रागा: मध्यमावति)
१: ओङ्कार पन्जर शुकीम्-उपनिषद्-उद्यान केलि कलकण्ठीम्
आगम विपिन मयूरी-मार्यामन्तर्-विभावये गौरीम्

(रागा: आनन्दभैरवि)
२: दयमान दीर्घ नयनाम् देशिक रूपेण दर्शिताभ्युदयाम्
वामकुच निहित वीणाम् वरदाम् संगीत मातृकाम् वन्दे।

(रागा: काम्भोजि)
३: श्याम तनु सौकुमार्याम् सौन्दर्यानन्द सम्पदुन्मेषाम्
तरुणिम करुणापुराम् मदजल कल्लोल लॊचनाम् वन्दे।

(रागा: कल्याणि)
४: नख मुख मुखरित वीणानाद रसास्वाद नव नवोल्लासम्
मुखमम्ब मोदयतु माम् मुक्ता ताटङ्क मुग्ध हसितम् ते।

(रागा: मायामाळवगौळ)
५: सरिगम पद निरताम् ताम् वीणा सन्क्रान्त कान्त हस्ताम् ताम्
शान्ताम् मृदुल स्वान्ताम् कुचभारनतान्ताम् नमामि शिवकान्ताम्।

(रागा: मोहन)
६: अवटुतट घटितचूली ताडित ताली पलाश ताटङ्काम्
वीणा वादन वेला कम्पित शिरसम् नमामि मातङ्गीम्।

(रागा: भैरवि)
७: वीणा रवानुषङ्गम् विकच मदामोद माधुरी भृङ्गम्
करुणा पूरतरङ्गम् कलये मातङ्ग कन्यकापाङ्गम्।

(रागा: सिंहेन्द्रमध्यम्)
८: मणि भङ्ग मेचकाङ्गीम् मातङ्गीम् नौमि सिद्ध मातङ्गीम्
यौवन वन सारङ्गीम् संगीताम्-भोरुहानुभव भृङ्गीम्।

(रागा: सुरटि)
९: मेचकमासेचनकम् मिथ्या दृष्टान्त मध्य भागम् ते
मातस्तव स्वरूपम् मङ्गल सङ्गीत सौरभम् वन्दे।

89 AK April 15, 2013 at 11:45 pm
Venkataramanji pointed out to me through e-mail a mix-up I have committed. The above verse Omkar panjarshukim is written by Adi Shankarachrya and is known as Shyamala Navratna Stotram. I had also inadvertently missed to include the last two stanzas, which has now been inserted above.

Manikyveenam upalalayantim is the one which was under discussion here and is composed by Kavi Kalidas. It is known as Shyamala Dandakam Stotram. An unique aspect of this poem is that unlike the classical Sanskrit poetry, which was in meter, this one is in free verse. It is a long poem and can be seen here:


Thank you Venkataramanji.

90 gajanan February 26, 2014 at 1:59 pm
https://www.youtube.com/watch?v=uPDMsSE5-jI Here you can listen to Shrikrishna Govind Hare Murare based on raga Yaman sung by Pt Ajay Pohonkar.

91 Subodh Agrawal February 26, 2014 at 8:26 pm
Thank you Gajanan for the link. It brings out the devotional mood of Yaman very well.

92 SB September 1, 2014 at 8:54 pm
One absolutely must-listen-to YAMAN is a long play record by BUDDHADITYA MUKHERJEE.
Raag KALYAN (same as Raag YAMAN) by Pt Kumar Gandharva is outstanding as always.

93 SSW September 2, 2014 at 5:26 am
This was the first song of Pathanay Khan that I heard, it is not classical nor is it a film song but the rendition is one that I can never forget.

This link has the song in two parts and the translation..


94 N Venkataraman September 2, 2014 at 5:28 pm
SSW ji ,
Thanks for this wonderful link.

95 Subodh Agrawal September 3, 2014 at 7:32 am
Thank you SSW, this particular recording is very good, and so is the weblink to the blog.

96 harish suvarna October 2, 2014 at 5:15 am
Your blogs are tremendous and invoke nostalgia of yester years. You have a great piece on yaman, can we have the samke kind of piece on Bageshwari. You have covered Bageshwari a little in other blogs. There is a wonderful piece by Sri Rajan Parrikar on this raag. But would like to see your flavour too.


97 Subodh Agrawal October 4, 2014 at 6:45 pm
Thank you Harish Suvarna. I do have a vague intention of doing a post on Bageshri along with Rageshri and Malgunji. Can’t say when. Both Bageshri and Rageshri are among my favourite ragas and Malgunji combines the two.

98 Ishwarbhai Parekh December 22, 2014 at 6:38 am
shree Subodhji namskar
kuhu kuhu Bole koyaliya song in 4 ragas sohini,Bahar ,ashavari and yamankalyan ,

99 Subodh Agrawal December 22, 2014 at 7:57 pm
Thank you Ishwarbhai Parekh. This song has been discussed elsewhere on Songs of Yore. You are absolutely right on the ragas.

100 Sanjay Mohan Bhatnagar January 1, 2015 at 1:43 pm
Wonderful blog. जितनी भी तारीफ़ की जाये, कम है, राग यमन पर लाजवाब खज़ाना. मेरा प्रश्‍न है – क्‍या रफी साहब का फिल्‍म आखरी दॉव में गाया गया गाना ”तुझे क्‍या सुनाउं मैं दिलरूबा, तेरे सामने मेरा हाल है” राग यमन में है?

101 Subodh Agrawal January 3, 2015 at 11:03 am
बहुत धन्यवाद संजय भटनागर जी. ‘तुझे क्या सुनाऊँ मैं दिलरुबा’ का अंदाज़ यमन जैसा ज़रूर है लेकिन ध्यान से सुनने पर इसमें कहीं यमन की पकड़ सुनायी नहीं देती. खास तौर पर ‘..दिलरुबा’ जिस अंदाज़ से गया गया है वह यमन जैसा नहीं लगता. यमन नहीं तो कौन सा राग है, इसका जवाब मैं नहीं ढूंढ पाया हूँ.

102 yogesh February 13, 2015 at 9:10 am
what an absolutely profound description…the samaveda was the first to create the meter and the swaras…the sa re ga ma pa dha ni were created in samaveda…essentially to break the silence into perfect amplitudes…that was done to soothe, calm and detoxify the human body since it was the svaras that originated from the larynx that was held responsible for the health of the human being…and thus the mantras and the uchcharan…indeed we are all energies and frequencies and the most natural ones that consume us are the (7) sargams..

In the din of the recent fm stations that just talk of ‘bajaate raho’, we seem to have lost that fine granular discerning abilities…the pineal gland activation is perfectly possible in the children today while an impossibility for the adults and one of the reasons is the fluoride in the toothpaste…

jeevan chalte ka naam….and many more such… http://giitaayan.com/satish/art-318.htm

best wishes,

absolutely joyous!!

103 yogesh February 13, 2015 at 9:12 am
Is paar priye madhu hai tum ho us paar na jane kya hoga..

104 yogesh February 13, 2015 at 9:24 am

105 Subodh Agrawal February 13, 2015 at 4:16 pm
Thank you Yogesh.

106 Ashwin Bhandarkar March 22, 2015 at 1:25 am
I apologize in case this song has already been cited in one of the comments above – I haven’t had the time to go through all of them. The song I am referring to is an all-time favourite of mine in Yaman Kalyan – the incredibly sweet ‘Aa mohabbat ki basti basaayenge hum’ from Fareb, tuned by Anil Biswas and sung by Lata and Kishore:

I haven’t come across another song that so brilliantly creates two contrasting moods, in keeping with the sentiments expressed by the lyrics – dreamily romantic in the portion sung by Kishoreda and poignantly realistic in the portion sung by Lataji – and using the same raga to boot! Sheer genius!!

I remember listening to an interview of Anilda and Meena Kapoor on ‘Sangeet Sarita’ in which he revealed that he had been advised by many that Kishoreda would not be able to do justice to this song, but that he had been adamant about his choice, and that the ‘advisors’ had been forced to eat crow after they listened to the recording 🙂

Other interesting points about this composition:

1. It is one of the few (comparatively) film songs set to jhaptaal (Zamaane ka dastur is another gem from the Anilda oeuvre in jhaptaal)

2. The composition begins with Hindol till 0.08 before Yaman sets in. Later, in the segment between 1.22 and 1.27, there is an interlude in Bhinna Shadaj/Kaushikdhwani, and finally the songs ends with a flute section in Sohini from 3.04 to 3.08.

107 Subodh Agrawal March 22, 2015 at 8:29 am
Thanks a lot Ashwin Bhandarkar. ‘Aa mohabbat ki basti’ is one of my favourites. I had never listened carefully for the other ragas in it. Your comment prompted me to do this and I agree entirely with you.

Hoping to see your comments a lot more often and learn from them. It will be good if you contribute an article on a theme of your choice. I am sure AK would be receptive to the idea.

108 Ashwin Bhandarkar March 22, 2015 at 10:52 am
Subodhji: Thanks for the validation of my observations and for your kind words. It will certainly be an honour to contribute an article to this blog but I am afraid I may not be able to bring enough in terms of new insights to take up an entire article…

109 Anant Desai April 12, 2015 at 7:47 pm
This is a very erudite post on Yaman. I would agree with you on attempts to teach this as the first raga. Tivra Ma is a very sharp secluded space. Pt. Suman Ghosh said in our class that if Yaman sounds flat and unimpressive, it is because tivra Ma is not correctly placed.
My best reference for Yaman is last verse of Kuhu Kuhu bole Koyaliyan.
The opening aalap by Rafi exemplifies the serene yet elegant beauty of this deceptively simple raga. The ending sargam helps to keep it pure.
Ni re ga ma dha ni sa, Sa ni sa ga re ga sa re ni sa dh ni ma dha ni sa, Ni re ni re dha ni dha ni ma dha ma dha ga ma ga ma, ga ma dha ni sa, dha ni sa.

Now I want to comment on the four note composition of Anushtup Chhanda in Bhagvad Gita. Mostly it is ni re ga re ni re sa. Having played Vishnu Sahsranama many times, the import of this structure became apparent. The main Sa is hidden and prominently absent in the aroha of Yaman. The Lord is just as illusive when we search for him. The sargam above avoids it completely! One could argue that four notes without tivra ma cannot make Yaman. However, there is no other raga I know where the main Sa is so “Gupta”! When finding the key of Yaman, many will think it is ni, which is not correct.

Rasheed Khan gives the best pakad in the beginning of his superb Yaman. His “ridanuuu uu re naaa” clarifies the structure so well that I use it before attempting any song in Yaman. His drut khayal words are also most appropriate: Din beeta bhayee saanz, hovan lagi rain, nahin chain!
Now the best at last: Bhimsenji’s Yaman from Siddhi LP set. Drut teen taal followed by an encore tarana in ek taal! Even the words are profound and appropriate!
Jogi, jangal Jati, Sati, aur Guni Muni,
Sab Nara-Nari ke moha liyo hai man rang kar ke;
Shyam bajayee Aaj muraliya, le apano adharana, Sun tu!

Tarana surprises us when we feel that there can be no more in Yaman!

110 Subodh Agrawal April 14, 2015 at 8:00 pm
Welcome and thanks Anant Desai. You have enriched this post with your perceptive and learned comments.

Given your appreciation for tarana, I hope you are familiar with the short but brilliant one by Moghubai Kurdikar. You will find a link to it in comment no. 61 above.

111 Ashwin Bhandarkar May 3, 2015 at 10:53 pm
Had a new insight of of sorts last night, and thought that this would be the best place to share the joy of my discovery, so here goes…

Listen to the sitar interlude between 0.15 and 0.21 in ‘Phaili hui hain sapnon ki baahen’ (https://www.youtube.com/watch?v=RT7Cpa5cYxc) and notice how it is more or less the same as the sitar interlude between 1.06 and 1.15 in ‘Jiya le gayo ji mora saanwariya’ (https://www.youtube.com/watch?v=QaL6tP3injc). Anyone knows whether the sitariya was the same? Was it Abdul Halim Jaffer Khan?

112 Subodh Agrawal May 4, 2015 at 5:18 pm
Very interesting discovery Mr Bhandarkar. I have no idea who the sitar player is, but it would be interesting if it were Ustad Abdul Halim Jafar Khan. I have had the pleasure of spending some time with Ustad ji before and after a concert and heard him play privately. Yaman and Pahadi were two of his favourite ragas. ‘Jiya le gayo’ is standard Yaman while ‘Phaili hui hain’ is primarily Shudh Kalyan.

113 Ashwin Bhandarkar May 5, 2015 at 7:34 pm
Here’s another similar discovery that I had made a couple of years ago and posted to a Google group that I am a member of:

Check out the interlude between 0.48s and 0.53s in ‘Tere nainon ne chori kiya’ from ‘Pyaar ki Jeet’:

and compare it with the bars between 0.06s and 0.11s from ‘Jiyaa beqaraar hai’ from ‘Barsaat’:

Is the resemblance a coincidence or considering that PKJ was released in 1948,a year earlier than ‘Barsaat’, was it that ‘SJ’ drew inspiration from the older song?

114 Ashwin Bhandarkar May 5, 2015 at 11:08 pm
Sorry, the link for the ‘Pyaar ki Jeet’ song in my comment above does not work. Use this one instead:

115 ksbhatia May 5, 2015 at 11:41 pm
Ashwin Bhandarkar ji;

The similarity of the interludes of the two songs mentioned by your goodself is probably due to the fact that Shankar [ and Jaikishan ? ] were asstt to Husanlal Bhagatram duo prior to they becoming full fledged MDs in Barsaat . I think I will wait for some confirmation from fellow colleagues .

116 Subodh Agrawal May 6, 2015 at 7:45 am
Mr Bhandarkar, these two are not just similar but almost identical. I think Mr Bhatia has a good explanation. Great discovery!

117 SSW May 6, 2015 at 6:50 pm
From Mr.Bhatia’s post I would venture to think that the interlude melody belonged to SJ. From my little knowledge of HFM it seems that the music directors were mostly responsible for composing the main melody and important accompanying pieces. Usually the interludes and background music were done by the assistants and arrangers. Therefore it is quite possible that the interlude was an SJ idea in the first place and they merely re-used it in Barsaat.

118 Ashwin Bhandarkar May 6, 2015 at 9:54 pm
Bhatiaji, Subodhji and SSWji,

Thanks for your comments. Very enlightening!

…And please feel free to address me as ‘Ashwin’.

119 ksbhatia May 6, 2015 at 11:25 pm
Ashwin ji; The sequence of melody making is very well explained by SSW ji # 117. Actually there are quite a number of instances where one can easily note a small part of interlude appearing elsewhere also . Like ‘ Har dil jo pyar karega ‘ @ 0.09 to 0.14 song from Sangam is quite similar to SJ’s older film Hamrahi song ‘ Woh chale jhatak ke daaman ‘ @ 0.05 to 0.09 .

There is one more song of Paying Guest ‘ Maana janaab ne pukara nahin’ where interlude @ 2.59 to 3.08 appears to be quite similar to Teen devian song ‘ Aare yaar mere tum bhi ho gazab ‘ @ 2.19 to 2.25.

Likewise there are many songs which are similar songs altogether. SOY had a good excercise on this topic which can be traced in ” Open House” and other related blogs .

120 Ashwin Bhandarkar May 12, 2015 at 12:33 am
Thanks for the two examples and for the pointers, Bhatiaji.

121 kusam sharma February 22, 2016 at 10:15 am
please let me know the rag of lata’s song of movie house no. 44-phaili hui n hain sapnon ki bahen, aaja chal den kahin door

122 AK February 24, 2016 at 7:39 am
Our in-house expert Subodh says it is Shuddh Kalyan.

123 Uma Maheswar June 27, 2016 at 11:39 am
Thanks for a valuable education on our great Indian classical music

124 AK June 27, 2016 at 2:45 pm
Uma Maheshwar,
Welcome to SoY. I am happy you found the site useful.

125 Sivaram J August 1, 2016 at 10:55 am
So beautifully written and i feel am lucky to read and listen to the great Tracks. Simply marvellous.

126 AK August 1, 2016 at 2:06 pm
Mr Sivaram,
Welcome to SoY and thanks a lot for your appreciation. The author of this article Subodh Agrawal would hopefully see it.

127 Subodh Agrawal September 23, 2016 at 4:58 pm
Thanks Uma Maheshwar and Sivaram J. Sorry for the delay in my response. There was a problem with email alerts on new comments which has now been resolved.

Let me make up for this delay with this amazing rendering of ‘Sri Ramachandra kriplau bhajanam’ by the enormously talented Sooryagayathri. I recall my words at the beginning of this article:

“Creating beauty in Yaman requires a high level of skill and sensitivity. It sounds bland and pedestrian in the hands of a novice or an artist of average capability. There is, however, no limit to the heights it can attain in the hands of a master.”

Despite her young age Sooryagayathri is not a novice and well on way to being a master. One shudders to think what she will do a few years from now if this is the level she has already attained:

128 Uma Maheswar October 6, 2016 at 7:51 pm
Good Evening to all,
It is indeed she is a Gift of Almighty to the Classic Music World.
Her display of bhavam through her vocal chords and facial expressions is amazing.
Her accent and pronunciation of every letter of every word of every sentence is extraordinary.
One can see the octaves dancing with Divine delicacy and rhythm in her rendition.
No doubt she is the blessed child of God to take us to a Divine world of Music with a cool breeze and a celestial nectar.
What else can be written, any amount one can write about her proficiency will still be less.
God bless her and my blessings to her for more and more prosperity.
Now it is me to submit my apologies for my delay in in responding to you.
I saw and heard many classic singers Vocal and Instrumental, through TV, Youtube, attending concerts and other sources.
To my experience I found many singers silencing some words or even blanking them off, leaving to the audience guess, in their renditions. May be they want to prove their proficiency in that way.
But this Angel child of Classic Music is a Divine design.
Any amount I write about her talent, it would be still less than the actual. But still these are my comments as posted on youtube, please read.
*****************My comments in youtube****************
Good Evening to all,
It is indeed she is a Gift of Almighty to the Classic Music World.
Her display of bhavam through her vocal chords and facial expressions is amazing.
Her accent and pronunciation of every letter of every word of every sentence is extraordinary and crystal clear, it is a Divine gift to her.
One can see the octaves dancing with Divine delicacy and rhythm in her rendition.
No doubt she is the blessed child of God to take us to a Divine world of Music with a cool breeze and a celestial nectar.
What else can be written, any amount one can write about her proficiency will still be less.
God bless her and my blessings to her for more and more prosperity.
Last but not least
You have shared a treasure, such a treasure, which can neither be counted, weighed nor even be estimated.

Blessings Almighty shower on you and your family for a happy prosperous and peaceful long life..
My blessings and regards to you and your family.

129 Subodh Agrawal October 7, 2016 at 5:32 am
Thanks Uma Maheshwar for your wonderful comment. I see a gift for writing here, and look forward to a guest post on SoY from you one of these days.

Sooryagayathri is already being hailed as the next Subbulakshmi. Let’s wish she fully justifies the hopes of all her admirers in the time to come.

130 Uma Maheswar October 7, 2016 at 10:40 am
Good Morning dear Subodh ji

Thank you very much for your pleasant response.
Yes, we do pray and wish her a bright future hoping to get entertained and enlightened with her music.
I am still just an average student with English literature, added to that very lazy, but do try my best for submitting a Guest post covering some true events of interest occurred in the life of some great musicians.
( informed and learned through various sources).
God bless you and your family and also with my blessings .
Uma Maheswar

131 Vivek Bhat July 25, 2017 at 6:19 am
I am compiling all the movie & non-movie songs from all Indian languages. So far, I have 200+ songs based on Yaman (in Hindusthani music) or Kalyani (in Carnatic music) Raga. Here is the playlist!

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