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Indian Music is mainly based on raagas. It is the oldest of all music. It gives you mental peace

Wednesday, January 18, 2017


Jhinjhoti is a Hindustani classical music raga.
A famous rendition of this raga is Abdul Karim Khan's Thumri "Piya Bin Nahi Aavat Chain" which Bhimsen Joshi had heard as a child and which inspired him to become a musician. The famous ghazal by Mehdi Hasan Khan " Gulon main rang bhare" was also composed in Raga Jhinjhoti. This Raga has a close resemblance to Raga Bagheshri however both hail from different thaats and listeners are often mistaken.

Raag Jhinjhoti

Swar Notations

Swaras Nishad Varjya in Aaroh, Nishad Komal in Avroh. Rest all Shuddha Swaras.
Jati Shadhav - Sampurna Vakra
Thaat Khamaj
Vadi/Samvadi Gandhar/Nishad
Time (9PM - 12 AM) : 2nd Prahar of the night : Ratri ka Dwitiya Prahar
Vishranti Sthan S; P; D; - S'; P; G;

,D S R m G ; R G S R ,n ,D ,P ,D S ; ,P ,D S R G m G ; m G R S ; R ,n ,D S ;

S R m P D S' - S' n D P m G R G S;             


Saturday, February 6, 2016

The song is from the film Night in London released in 1967 (Anand Baxi, Laxmikant-Pyarelal, Rafi) and the song is picturised on Vishwjeet and Mala Sinha. 
Along with Shammi Kapoor, Rajendra Kumar, Pradip Kumar and Bharat Bhushan; Rafisaab made life of Vishwjeet and hence instead of video link I am attaching audio link only of this song.
Rafisaab starts this song in a nashila undertone and the words are -
बा-होशो-हवास मैं दीवाना ये आज वसीयत करता हूँ
ये दिल ये जाँ मिले तुमको मैं तुमसे मुहब्बत करता हूँ
Normally a person, particularly a rich person, prepares a Will of all his assets for the purpose that these are appropriately distributed and proper person gets proper assets so that resources are not wasted and more particularly the descendants appropriate assets amicably without any bitter court proceedings and family image is not dented or marred. It is specifically mentioned in a Will that it is prepared in full senses, without having been in inebriated/intoxicated position and out of natural love & affection and with a free will (without any coercion). Here lyricist has imagined a Diwaana who has deeply fallen in love who in full senses (बा-होशो-हवास) makes a Will and bequeaths his only two assets – Dil and Jaan to his lover because he immensely love her. Normally a rich person has many movable and immovable assets which are appended in a Will by way of Annexure and this Diwaana has only two assets! Moreover juxtaposition of बा-होशो-हवास and दीवाना creates an amazing oxymoron effect!
मेरे जीते जी यार तुम्हे, मेरी सारी जागीर मिले
वो ख़्वाब जो मैं ने देखे हैं, उन ख़्वाबों की ताबीर मिले
हर एक तमन्ना के बदले में आज ये हसरत करता हूँ
ये दिल ये जाँ मिले तुमको ...
Normally the possession of assets which have been bequeathed is given after demise of that person who has prepared a Will but here he wishes that while he is still living his lover get possession of his assets. Also he wishes that whatever dreams he has seen are materialised ( ताबीर = interpretation, translation of dreams). [In Urdu there are different words for Wish like ख्वाहिश, अरमान, आरज़ू, तमन्ना, हसरत etc. Desire or wish is the common meaning of all these words but each word has a somewhat different connotation like Khwahish – simple wish, Armaan – unfulfilled desire, Aarzoo - longing which is something more than wish, Tamanna – wish which have been made known, expressed and Hasrat -intense longing, yearning] For all his wishes this Diwaana makes only abovementioned yearning.
मेरी आँखों में नींद नहीं, मेरे होंठों पर प्यास नहीं
हर चीज़ तुम्हारे नाम हुई, अब कुछ भी मेरे पास नहीं
तुमने तो लूट लिया मुझको, मैं तुमसे शिक़ायत करता हूँ
ये दिल ये जाँ मिले तुमको ...
In second stanza he describes his present position and tells that I have given to you all that I possessed and now I don’t have anything. Here the lyricist dwells in to dualism. In whole songs he tells that I have given my both assets – Dil and Jaan but in fact he has LOST these assets to his lover or in a sense she has taken all these from him and that’s why he complains to her (because he has no one else to complain for!).
In both the stanza while completing second line Rafisaab brings the sur down and creates a platform for the third line which he starts in high undertone and creates an amazing crooning effect.
Hope you will enjoy this song as much as I do...
Rafisaab's Interview.
It is amazing to know how soft spoken he was. What a down to earth person. Salaam...


Friday, February 5, 2016

Compositions on Shivranjani Raag

                                          Baharo Phool Barsao

                                         Lage na Mora jiya

                                         Mere Naina Sawan Bhado

                                         O mere Sanam

                                          Tere Mere bich me

                                         Banake kyun bigada re

                                          Dil ke jharoho me tuj ko bithakar...

                                          Jane kaha gaye wo din...

                                          Kai sadiyo se, Kai janmo se

                                          Sansaar hai ek nadiya

                                          Rang aur noor ki baarat kise pesh karu (based on Shivranjani)

                                         Bahot din bite

                                         Aawaz deke hame tum bulao

                                        Kahi deep jale kahi din

                                          Rimzim ke geet sawn gaye haye

                                         Na kisi ki aankh ka noor hu

Hare Krishna Dhun- Raag Shivranjani- by Tofail Ahmed

It is nicely composed DHUN

Raag Shivranjani

Shivaranjani or Sivaranjani is a musical scale used in Indian classical music. There exixts two scales. One in  Hindustani music and another in Carnatic music. The Hindustani rāga is a pentatonic scale, while the Carnatic scale is a sampoorna scale (has all seven notes)

Hindustani scale 

The Hindustani rāga Shivaranjani belongs to the Kaafi thaat in terms of classification of the scale. 
  Its structure is as follows.
  • ārohaṇa : S R g P D S
  • avarohaṇa : S D P g R S
The komal gandhar(g) in place of shuddh gandhar (G) is the difference between this rāga and the global musical scale of Bhoop.

Popular compositions

Shivaranjani rāgam brings out karuna rasa (pathos) and lends itself for elaboration and exploration. It has many compositions in classical music and in film songs.
The popular Hindi film song Jaane kahan gaye woh din ("Where have those days gone") is based on this scale. Shivaranjani was a favourite of the legendary composers Shankar-Jaikishan (in fact, to be more precise, that of both Shankar and Jaikishan), in addition to the aforementioned song from Mera Naam Joker they also used it for
 O mere sanam O mere sanam in Sangam 
Awaz de ke hame tum bulao from Film Professor. 
Baharo phool barsao from Film Suraj
Dil ke jharokho me tuj ko bitha kar from Brahmchari
Another nice composition based on this raga is Bahot din bite composed by Laxmikant Pyarelala.
Tere mere bich me from film Ek duje ke liye is also on this Raag, composed by Laxmikant pyarelala.
Mere naina Saon Bhado from Mahebooba is also nicely composed by R. D. Burman on this Raag.
Sansar Hai Ek Nadiya Dukh Sukhdo kinate hai from film Raftaar, composed by Sonic omi is also based on Raag Shivranjani.
Yaad teri aayegi, composed by Anu Malik,  from film Ek Jaan Hai Hum is also in Shivranjani Raag.

Monday, January 19, 2015

R. D. Burman

Rahul Dev Burman (Bengali pronunciation: Rahu Deb Bôrmon; 27 June 1939 – 4 January 1994) was an Indian film score composer, who is considered one of the seminal music directors of the Indian film industry.

From the 1960s to the 1990s, RD Burman composed musical scores for 331 movies. He was mainly active in the Hindi film industry as a composer, and also provided vocals for a few of compositions. RD Burman did major work with Asha Bhosle (his wife) and Kishore Kumar, and scored many of the songs that made these singers famous. In addition, he scored many timeless songs sung by Lata Mangeshkar. He served as an influence to the next generation of Indian music directors and his songs continue to be popular in India even after his death.

Burman's first hit movie as a film music director was Teesri Manzil (1966). Burman gave credit to lyricist Majrooh Sultanpuri for recommending him to Nasir Hussain, the producer and writer of the film. Vijay Anand also said that he had arranged a music session for Burman before Nasir Hussain. Teesri Manzil had six songs, all of which were written by Majrooh Sultanpuri, and sung by Mohammed Rafi. Four of these were duets with Asha Bhosle, whom Burman later married. Nasir Hussain went on to sign RD Burman and lyricist Majrooh Sultanpuri for six of his films including Baharon Ke Sapne (1967), Pyar Ka Mausam (1969) and Yaadon Ki Baaraat (1973). Burman's score forzsos Padosan (1968) was well received. Meanwhile, he continued to work as his father's assistant for movies like Jewel Thief (1967) and Prem Pujari (1970).
The superhit Kishore Kumar song Roop tera mastana from Aradhana (1969), though credited to his father, is rumoured to have been RD Burman's composition. Kora Kagaz tha Yeh Man Mera from the same film was also his tune. It is believed that when SD Burman fell ill during the recording of the film's music, RD Burman took over and completed the music. He was credited as an associate composer for the film.

RD Burman has been credited with revolutionizing the Bollywood music. He incorporated a wide range of influences from several genres in his scores. Burman's career coincided with the rise of Rajesh Khanna-starrer youth love stories. He made electronic rock popular in these popular love stories. He often mixed disco and rock elements with Bengali folk music He also used jazz elements, which had been introduced to him by the studio pianist Kersi Lord.
According to Douglas Wolk, RD Burman "wrapped sugary string swoops around as many ideas as he could squeeze in at once". Biswarup Sen describes his popular music as one featuring multicultural influences, and characterized by "frenetic pacing, youthful exuberance and upbeat rhythms".
RD Burman was influenced by Western, Latin, Oriental and Arabic music, and incorporated elements from these in his own music. He also experimented with different musical sounds produced from methods such as rubbing sand paper and knocking bamboo sticks together. He blew into beer bottles to produce the opening beats of Mehbooba, Mehbooba. Similarly, he used cups and saucers to create the tinkling sound for the song Churaliya Hai from the film Yaadon Ki Baaraat (1973) For Satte Pe Satta (1982), he made the singer Annette Pinto gargle to produce a background sound.
On multiple occasions, RD Burman experimented with recording the same song with different singers. For Kudrat (1981), he recorded the light version of the song Hume tumse pyar kitna in the voice of Kishore Kumar, while the classical version was recorded in the voice of Parveen Sultana. In Pyar Ka Mausam (1969), he recorded the song Tum bin jaun kahan in the voices of Kishore Kumar and Mohammed Rafi separately.

RD Burman sometimes used the Western dance music as a source of inspiration for his compositions. As was common in Bollywood, some of his songs featured the tunes of popular foreign songs. Often, the filmmakers forced him to copy these tunes for the soundtracks, resulting in allegations of plagiarism. For example, Ramesh Sippy insisted that the tune of the traditional Cyprus song Say You Love Me (arranged and sung by Demis Roussos) be used for Mehbooba Mehbooba (Sholay, 1975), and Nasir Hussain wanted to use ABBA's Mamma Mia for Mil gaya hum ko sathi. Other examples of RD Burman songs inspired by foreign numbers include Aao twist karein from Bhoot Bangla (Chubby Checker's "Let's Twist"), Tumse milke (Leo Sayer's When I Need You), and Zindagi milke bitaayenge (Paul Anka's The Longest Day) and Jahan teri yeh nazar hai (Persian artist Zia Atabi's Heleh maali) and Dilbar mere (Alexandra's Zigeunerjunge).

Several Hindi movies made after RD Burman's death contain his original songs or their remixed versions. Dil Vil Pyar Vyar (2002), which contains several re-arranged hit songs of Burman, was made as a tribute to him. Jhankaar Beats (2003), which catapulted the music director duo Vishal-Shekhar into the limelight, is also a tribute to him. In Khwahish (2003), Mallika Sherawat's character is an RD Burman fan; the movie features repeated references to RD Burman. In 2010, Brahmanand Singh released a 113-minute documentary titled Pancham Unmixed: Mujhe Chalte Jaana Hai, which received critical acclaim. The music of Lootera (2013) is a tribute to RD Burman. Other films which credit RD Burman include Gang (2000) and Monsoon Wedding (2001, for Chura liya hai).
A number of Indian remix albums feature RD Burman's songs, which are also popular in the country's pubs and discos. Several of his compositions were re-mixed by the South Asian DJs in the United Kingdom and North America, and feature in popular albums such as Bally Sagoo's Bollywood Flashback. Kronos Quartet's You've Stolen My Heart (2005) contains RD Burman's compositions sung by his wife Asha Bhosle. In the 2012 film Khiladi 786, the Himesh Reshammiya-composed song Balma is also a tribute to R.D. Burman.

Monday, September 22, 2014


Khamaj  is one of the ten Thaats (parent scales) of Hindustani music. It is also a specific raga within the Khamaj thaat.
Many ghazals and thumris are based on Khamaj. It utilizes the shuddha (pure) form of Ni on the ascent, and the komala (flat) form of Ni on the descent, creating a key asymmetry in compositional and improvisational performance.

 Aroha (ascending structure)-S G M P D N S' Avroha-S'n D P M G R S

Hindi Film Songs based on Raga Khamaj :
  • Bada natkhat hai...ka kare yashoda maiya – Amar Prem
  • Ayo kahanse ghanashyam – Buddha Mil Gaya
  • Vo na aenge palatkar – Devdaas
  • A dilse dil mila le – Navrang
  • Dhal chuki shame Gam – Kohinoor
  • Khat likha de savariyake nam babu
  • Mere to giridharagopala – Meera
  • Tere bina sajna lage na jiya hamar – Aarti
  • Tere mere milan ki raina - Abhimaan.

Wednesday, July 23, 2014

Begum Akhtar

Akhtari Bai Faizabadi, also known as Begum Akhtar (October 7, 1914 – October 30, 1974), was a well known Indian singer of Ghazal, Dadra, and Thumri.
She received the Sangeet Natak Akademi Award for vocal music, and was awarded Padma Shri and Padma Bhushan (posthumously) by Govt. of India. She was given the title of Mallika-e-Ghazal (Queen of Ghazals

She gave her first performance at the age of 15.

Begum Akhtar's good looks and sensitive voice made her an ideal candidate for a film career in her early years. When she heard great musicians like Gauhar Jan and Malak Jan, however, she decided to forsake the glamour of the film world for a career in Indian classical music.

During her last concert in Ahmedabad she raised the pitch of her voice as she felt that her singing had not been as good as she had wanted it to be and she felt unwell. The additional demand and stress that she put herself under resulted in her falling ill and was rushed to the hospital.
She died on October 30, 1974 in the arms of Nilam Gamadia, her friend, who invited her to Ahmedabad, which has become her final performance.