As we speak's Rag-Based mostly Track: Aaj ki raat Badi shokh Badi natkhat hai ….
Raag Pilu, Tal Dadra
I not often provide the subsequent music of the same raga and converse between songs one music at a time. My latest music in the identical raga and speech was Kaisa jadu Balam Toone Daara. It was written by Majrooh Sultanpuri and composed by OP Nayyar. It appeared quite early in the 1958 movie Pramod Chakravorty, 12 PlayClock, starring Guru Dutt and Waheeda Rehman.
There are two reasons for giving this paragraph. One, I’ve been fairly passive on this collection and the earlier paragraph, 28 january this yr has been a distant memory. The opposite thing is that although Pilu or Peelu have been OP Nayyar's favorite raga, I would like you to match OP Nayyar's and Roshan's types, the latter being the composer of this track.
Earlier than I turned passive, we made 100 days of Rag-based mostly Day Songs on Diwal's Day final yr, November 7, 18. Our first publish in the collection was Might 27, 2017, referred to as Rag-based mostly Day Track # 1 & the track was a track by Mohammad Rafi and Lata Mangeshkar from the 1970s Shakti Samanta film Pagla Kahin Ka: Tum mujhe younger bhula na paoge. It is Raag Jhinjhoti, Tal Kaherava.
Our 100 first publish or last publish right here was titled "Raaga-based Day of the Day" # 101 & # 39; and the small print of the track, which I have already given you above.
] I want to start by remembering the phrases of Neeraj.
The lyrics of the music include the perfect expressions of all time: Saaraa aalam hai giraftaar tere Husn me.n jab
Ho, mujhase hii kaise ye barsaat sahii jaayegii
Aaj t. .n aayegii…
As I see it, the above expression is Neeraj's greatest. Pay attention to how he builds the expression:
In all places, especially within the Indian surroundings, rainfall is intently related to lovers. It's the most effective season for lovers. Raj Kapoor and Nargis with their well-known music beneath the umbrella: Pyar Hua iqraar Hua, for lovers all over the place, the rain has solely two effects on them:
A. They’re utterly immersed in love if they are together.
B. Rainfall is hell if separated. For instance, Sawan ke jhoole padhe hain tum Chale aao.
In the case of Tanuva and Rajeev in the 1966 film Nai Umr Ki Nai Fasal, the B case is about. Let's construct on the expression:
This is the first Stanza:
Now’s your season to return here
. Now you possibly can't eliminate your ideas
See that it's come to the terrace. Decreased to volume
Making sound stand on the door
Lightning shining while staying on a mountain
Take the dream within the sun's eyes the way to explain
The right way to clarify?
How do you clarify this time What is supposed
Dil ki hai Baat
Ho dil ki hai Baat Bah Nahi shark Doesn't you sleep with out …
Did you get how he exhibits his incapability to precise what he feels within the coronary heart by way of his lips? Have you ever heard this expression elsewhere? Yes, in fact several occasions; The most effective is Anand Baksh's 1970 film My Love:
You've seen my eyes thank you, but how
made this outlook on life, how it was seen
Na Nigah calls
when building this
Neeraj takes you to the top of the emotions of separation through the saw within the following stanza, which incorporates this lovely expression:
Sara Alam hai girtear hey hussan me share
How am I going to
how it's raining straight from me
at present So don't sleep with out you …
The lovers of affection have been satisfied that the heavenly parts have been all along with their love. They typically shared their love with Chand, Fizaayen, Sawan, and so forth. Neeraj has carried out the identical right here; apart from one big difference. Based on him, if the entire environment (in the rain) is immersed in the great thing about their love, how is he expected to face all of it by himself. There are solely two other songs that do this better: Mere mehboob tujhe and Tu hello re.
In the next stanza, Neeraj combines the distinction between love and the noticed! You’ll be able to't consider it, but he does it so superbly:
The delicate intoxicating scent of the Queen of the Night time
comes from a thick sieve.
It seems to be coated with bruise.
The game has come out of your carpeted hair
And don't let it, let my painful coronary heart
be so colorful
so colourful Ghazal gained't sing anymore
As we speak, you gained't sleep without .. .
The place else have you seen it? Many locations for a lot of lyricists; e.g. Sahir Barsaat in Ki Raat and Hasrat in Chori Chori:
M: Deal with the guts on a moist night time
Khoi-Khoi zindagi hardam tera naam le
Sano Pyaar Kar
Life is a journey that knows tomorrow) – 2
Both: Aa And Sanam Madhur…
The place else do Neeraj's comparable expressions appear? I can think of many. Listed here are a few of my favorites:
The primary is from the 1971 film Gambler:
(Ake Zara dekh to teri khatir
how we stay) – 2
with tears Rhe hum
that gave you wounds
At the pageant of love you played with unhappiness,
Kismet ki gambh
You gained the world, however I misplaced the game
You bought the game…
Aansu ke dhage it seete rahe ham already zakhm Toone diye! What an incredible creativeness! The opposite is a 1971 Sharmilee movie:
The lips of the lakes have a melody of clouds.
There’s a chilly hearth in the chest of flowers
In the mirror of the guts, you Sama utar de
Blossoms right here blossom.
Jheelon ke honthon par kimon ka Raag? Simply imagine!
The third and remaining music is from the 1970 movie Prem Pujari:
Sapna ki dori eyelids swings
Pyaar they bandhi already tuner him
Khel ye Kaisa re, Kaisa Re Saathi
I've given you numerous rest,
wherever you go, I cry or cry Re
Nobody can get Re Hiya
Wah Re Pyaar Wah Re Wah
There’s one mistake in the lyrics: Diyan must be jhuume hai Roye hai baati. Now try to visualize this and the prize ke jhoole it!
Transferred to composer Roshan.
He is famous for the Barsaat Ki Raat and the Taj Mahal. He was born on July 14, 1917 in Gujranwala (now Pakistan). He began his music courses at a younger age and later attended Marris School (now Bhatkhande Music Institute) in Lucknow underneath Pt schooling. S N Ratanjankar (Director Common of the Institute). Within the early 1940s, Khawaja Khurshid Anwar, a program producer / musician at AIR Delhi, hired Roshan as a employees artist for the Esraj, an instrument he played.
His first opportunity as a composer was in 1949 the film Neki Aur by Kidar Sharma. BDI. It was a flop. Nevertheless, in an improved time, he showcased the goods he was product of: in 1950, in Kidar Sharma: Bawre Nain. Kidar Sharma drew as much as nine songs, all of them superbly composed by Roshanlal Nagrath or just Roshan. In fact, he coated himself in the glory of Khyalo mein kisi ke is Tarah.
He gave us memorable songs like Zindagi Bhar Nahin bhoolegi wo barsaat ki raat, Ab kya misaal Doon most important, Jo wada kiya woh nibhana padhega, Paanv. chhu Lene do, Jo Baat tujh mein shark, Rahen na rahen hum, Rehte Kabhi jinake dil mein, Chhupa lo Youn dil mein pyar mera, Guzra zamaana bachpan ka and Baharon them mera Chama loot.
More than songs, he was recognized for his Qawwalis and two of them are most memorable: Na karwaan ki talaash sharkle and Nigahen milane ko ji chahta hai.
Let's talk about the music Raaga and Tal.
This blog he has a number of posts on Raaga-based mostly songs in Hindi films, respectively; For instance: Greatest Songs Based mostly on Rags in Hindi Films – Raaga Jhinjhoti – Half II & # 39 ;.
through the past century, someday, once I shared the day Raagapohjaisia songs, I have given you the songs, which are based mostly on Raag Jhinjhotiin, Gara. , Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mandi, Rageshri, , Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Gujri Todi, Kalavati, Hamir, Bhati Gawati, Shyam Kalyan, Gorakh Kalyan, Madhamat Sarang, Manj Khammaj, Darbari Canada, Vibhas, Shankara, Bahar, Nand, Mian Ki Malhar and Yog; which makes it a total of 62 raw. The Rags which were repeated to date are Pahadi, my native Bible within the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti, Bhairavi, Gara, Basant Mukhari, Malkaun, Bhairavi, Mand, Sohani, Madhuvanti, Shivaranjani and Adana. At this time I am supplying you with a music in Raag Pilu for the third time.
Raag Pilu belongs to Kafi-thaat. Its Jati is Audhav – Sampoorna, which signifies that it’s pentatonic (5 notes or loft) in Aaroha (ascending) and heptatonic (all seven notes or sawmill) in Avroha (descending). The flock that’s vrajay (lacking) in Aarohah is Re (Rishab) and Dha (Dhaivat). The dominant observe (Vadi) is Dhaivat, which provides a light-weight and peaceful contact to this raga. Raaga is filled with dedication and piety, and all you must do is take heed to Mohammad Ravi singing to Rajeev, pointing his songs to Tanuja. Raag matches nicely with the third prahar of the day; in other phrases, early within the night and probably just when additionally it is performed in a film.
Raag Pilu was the favorite horn of Omkar Prasad Nayyar or OP Nayyar. Some of his songs (mediated by the environment) Pilu are: Jayiye aap Kahan jayenge, Kabhi aar Kabhi paaga teere Nazar, Primary soya akhiyan Meche and Piya Piya Piya na Laage Mora Jiya. However I gained't offer you any of these.
Nor do I offer you Naushad jhule se Pawan mein aayi bahaar (literally spring time) or SD Barman Ab ke Baras bhej bhaiya ko babul or the gorgeous Sujata quantity Kali ghata chhaye. Mora Jiya tarsaaye.
I'm supplying you with a music from 1966 (launched Jan. 1) by R Chandra, Nai Umr Ki Nai Fasal, starring Rajeev and Tanuja, and a plot with
" This is the story of a student who, in the early stages of his career, becomes wrinkled, impulsive, and prone to university discipline. He is misled by an outside agency for personal reasons and is opposed by the hero's own fiancé – including a university girl from the same university but before the insights overturned the students, the community's reputation and family were harmed. Ultimately, it is realized that patriotism is not politics and that students can be patriotic and help the motherland in a thousand ways without being politicians themselves. their lives are before them. If students and their parents appreciate this film from a real perspective, it has served its purpose. (Extract from statement of Shri Lal Bahadur Shastri, Prime Minister of India, edited in Allahabd and published in The Times of India, dated 18 December 1965). "
The songs in this movie are:
- " Aaj Ki Raat Badi Shokh Badi Natkhat Hai "- Mohd Rafi (Solo)
- " Aaj Ki Raat Badi Shokh Badi Natkhat Hai "- Mohd Rafi & Asha Bhosle (duet)
- "Dekhati Hi Raho Aaj Darpan Na Tum" – Mukesh
- "Isko Bhi Apnaata Chal" – Mohd Rafi
- "Curving Guzar Gayaa" – Mohd Rafi
- "Meri Saiyyaan Gulbiya Ka Phool" – Suman & Minoo Purushottam
- "Nai Umar Ki Naye Sitaron Sing" – Bhupinh. 19659048] "Thi Shubh Suhaag Ki Raat" – Manna Dey
Women and Gentlemen, Take pleasure in Rail's Pilu in Tal Dadra, Mohammad Rafi sings Roshan's composition for Neeraj lyrics in 1966 in R Chandra's movie Nai Umr Ki Nai Fasev : Aaj ki raat badi shokh badi natkhat hai… ..  aaj kii raat ba.Dii shokh ba.Dii naTakhaT hai
aaj to hiya binaa nii.nd na aayegii
ab hey hii yahaa.N aane kaa te mausam hai
ab tabiiyat na kaya se bahal paayegii
dekh vo chhat pe utar aayii hai get kii ghaTaa
de rahii dvaar pe aavatz kha.Dii puravaaii
bijlii rah rah ke pahaa. uThatii suiu] [1945nmenkoiiKvaablejyonangaDaaii
kaise samajhaa_uu.N ki is empty kaa matalab kyaa hai
dil kii hai Baat
dil hai Baat na ho.nTho.n se kahii jaayegii
aaj to good day binaa nii.nd nahii.n aayegii …
te bhaTakate hue jugunuu te diye aavaaraa
bhiigate pe.Do.n pe bujh chamak uThate hai.n
hello aa.Nchal me.n Take salame.n sita jaise
mujh se milh binaa baat damak uThate hai.n
Saaraa aalam hai girantaar .n jab
mujhase hii kaise [1,9459003] ho, mujhase hii kaise te barasaat sahii jaayegii
raat raanii kii te bhiinii sii nashiilii khushabuu
aa chi kei kei .n se
aisaa dill hai Kisii DhiiTh jhakhore se lipaT
Khel aayii hhe
aura bezaar na kar, just ta.Dapate dil ko ra.ngiin
ho, aisii ra.ngiin Gazal raat na phir gaayegii
aaj to tere binaa nii.nd nahii.n aayegii…
As you read by means of the description above, you have to have appeared just like the lyrics are actually beautiful and Neeraj have to be congratulated on the identical. Roshan completes the dedication and piety with nice composition in Raag Pilu, Tal Dadra and conveys the environment of the wet night time, not solely by means of lyrics but in addition via notes that draw your feelings. Certainly, the composition and the notes improve the depth of the lyrics.
I hope you loved the track.
Please keep tuned for extra songs from the collection.