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Posts Tagged ‘Manna Dey


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Basics of Music- Part II (Taal)
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In part I, we introduced the concepts of “octave” and “notes” and mentioned that they are known as “saptak” and “swar” respectively in Hindustani classical music. We used these concepts to discuss “Aaroh” and “Avroh”. Ab aage…

People will recall that Sur-Taal is a term that is commonly used while discussing music. We know what is “Sur” or “swar”. Let us now see what is “Taal”.

In a musical performance, there are people (singers as well as musicians) who create swars. These swars lead to what is called melody.

The musical team also has someone who is not at all producing swars and therefore makes no contribution in creation of melody.

If a musician is not producing melody then why is he there in the music team ? Throw him out of the team, some people may suggest.

That person in the musical team does not create melody, but he creates something which is just as important for music. He creates Rhythm (Taal) for the music.

Musical rhythm (taal) is a cyclical pattern of musical sounds (called bol) that get created at certain times (called beats). A taal may have say 16 beats (viz in case of a popular taal called teentaal). In each of these beats, certain “bol” get played. After a cycle of 16 beats during which 16 predefined bols get played, the same cycle get played again and again for the whole duration of the music composition.

This “taal” gets created on Duggi-Tabla in Hindustani classical music, or on mridangam in Karnatak classical music, on dholak in North Indian folk music, on dafli in street musical performances etc.

To summarise, while singers and many musical instruments create melody by playing notes (swars), there are certain musical instruments (mostly percussion instruments) that create cyclical musical rhythm (taal). A taal has a predefined number of beats and certain sounds (called bols) gets played during those beat events.

It is the combination of melody line and cyclical rhythm patterns that constitute music. While swars are being created in the melody line, bols are getting played in a sequence in the taal. Melody line and rhythm patterns seek to keep pace with each other in a musical performance.

Long back, taal was created manually (with hands) in the form of clap (taali) and they may have led to the nomenclature of the term Taal for rhythm. Now, duggi tabla is the standard instrument for this purpose in Hindustani classical music. Duggi (also called baayaan, as it is kept on the left hand side of the tabla player) and tabla (daayaan, as it is kept on the right hand side of the tabla player) together create certain “bols” such as

Name of “bol” How created Remarks
Ga by striking mid part (called maidaan) of duggi Resonant sound
Ka By striking rim (Chhat) of duggi Flat slapping sound no resonance
Ti By striking centre (syaahi) of tabla Flat slapping sound no resonance
Tin By striking mid portion of tabla
Ta/Na By striking rim of the tabla
Dhin Ga + Tin By striking mid part of duggi and mid part of tabla simultaneously
Dha Ga + Na By striking mid part of duggi and rim of tabla simultaneously

Let us take the example of teentaal. It is a 16 beat taal, where the 16 beats are subdivided into sections of 4 beats each. The bols are
dhaa dhin dhin dhaa / dhaa dhin dhin dhaa / dhaa tin tin taa/ taa dhin dhin dhaa

Here is a demonstration of teen taal (couresy the site raag-hindustani.com)

I mentioned earlier that a musical composition has surs creating melody and bol creating rhythm and their combination creates a musical composition. Here is an example how melody line and taal keep pace to create a composition (couresy the site raag-hindustani.com):

Lyrics

piya ki najariya jaadu bhari
piya ki najariya jaadu bhari
moh liyo man prem bhari
moh liyo man prem bhari
piya ki najariya
kawan jatan ab kari e aali
kawan jatan ab kari e aali
naahin pare mohe chain ek ghari
naahin pare mohe chain ek ghari
piya ki najariya jaadu bhari
piya ki najariya jaadu bhari
moh liyo man prem bhari
piya ki najariya

The above concept of “taal” is a very basic concept and one that is more dificult to understand than the concept of swar. The fact that sur creates melody and taal creates rhythm will help us understand what people mean when they describe some one as a melody king or a rhythm king.

Here is a song from “Laal Patthar” (1972). This song is a semi classical song which is sung by Manna Dey and Asha Bhonsle. Neeraj is the lyricist. Music is composed by Shankar Jaikishan.

The vocalists in this song create melody by singing swars in accordance to the grammer of Raag Kalyan, whereas rhythm of this song is kaharwa. Kaharwa is an 8 beat taal, where the eight beats are broken into two parts of four beats each. The bol of this taal are
dha ga na ti | na ka dhin na |

The song, while being sung in the same raag could have been accompanied by a different taal and then the song would have sounded differently.

Note: If you have followed the above discussion carefully and you have understood the concept of taal, then you would be able to catch an error in the lyrics of this song. The lyrics mentions
Sur hai raaja
lay hai raani

The lyrics should have been

Sur hai raaja
taal hai raani

“lay” is another concept that has not been explained so far and we will explain this term in a future article. For the time being try and understand the concept of “taal” as mentioned above and try to visualise how “Sur” and “taal” combine to create music.

As mentioned in the first part of this series, we are trying to go as gently as possible in the series, because the concepts being involved are very important and our understanding of future concepts will depend on our understanding of the terms that have been introduced so far.

Keep offering your suggestions, observations, words of encouragements etc to this series. We want to make this series a collaboration of contributors. I have received one article from a knowledgeable contributor on this subject which I will post after I have introduced some more basic concepts, so that the concepts mentioned in that article can be understood in a knowledgeable manner by readers.

The lyrics of this song were sent to me by Khyati Bhatt long long ago. I do not know how I failed to discuss this song at the time when this lyrics were sent to me long ago. Perhaps it was destined that this semi classical song be discussed while discussing the principle of music in the blog.


Song-Re man sur mein gaa (Laal Patthar)(1972) Singers-Manna Dey, Asha Bhonsle, Lyrics-Neeraj, MD- Shankar Jaikishan
Both

Lyrics (Provided by Khyati Bhatt)

re ae ae ae
aa aa aa aa
aa aa aa

aa aa aa aa
aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

re man sur mein ga aa aa
re man sur mein ga aa aa
re man sur mein ga
ga ga
re man sur mein ga aa aa

koi taar besur na boley
na boley
koi taar besur na boley
na boley

re man sur mein ga ga
ga
re man sur mein ga aa aa aa

jeevan hai sukh dukh ka sangam
jeevan hai sukh dukh ka sangam
madhyam ke sang jaise pancham
madhyam ke sang jaise pancham
donon ko ek bana
bana
bana
bana aa aa
re man sur mein ga ga ga
re man sur mein ga aa aa aa

dil jo dhadke
taal baje re ae
dil jo dhadke
taal baje re ae

taal taal mein samay chale re
taal taal mein samay chale re
samay ke sang ho ja aa aa
aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa aa aa
re man sur mein ga ga ga
re man sur mein ga aa aa aa

jag hai geeton ki rajdhani
jag hai geeton ki rajdhaani
sur hai raaja
lay hai raani
aa aa aa
sur hai raaja
lay hai raani
saaz roop ban ja
ban ja
ban ja
ban ja ban ja aa aa
re man sur mein ga ga ga
re man sur mein

ga aa aa aa
re man sur mein
re man sur mein
re man sur mein
ga aa aa aa aa


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Entertaining Sales Pitch Songs – 7
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I remember such sellers from my travels in childhood.  It was a time when intercity travel of half a day or less would be a journey by bus, and a longer journey would be by train.  Both my maternal and paternal families are spread out over the Punjab and Himachal areas north of Delhi – Chandigarh, Simla, Ludhiana, Jalandhar and Amritsar.  All these cities being less than a day’s journey, our travels were generally by the intercity state transport buses. Any other travels, like visiting other metropolitan cities which are all south of Delhi, would generally be by train.  During my school years, travel to visit family was quite a regular affair, once or twice a year during vacation breaks.  Other travels, to places like Bombay, Calcutta, Madras and Bangalore were less frequent.
Read more on this topic…


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This is his 400th article in the blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

MISSING GEMS FROM THE GOLDEN 50s…Song No. 18….LAST SONG OF THIS SERIES
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Today’s song is from film Bewaqoof-60. This is the last song of this series. This series has been very interesting and it gave a pleasure of discussing songs from the 50’s decade. Some of the songs were well known and popular in those times and the most others were good enough to provide nostalgic feelings.

Today’s article happens to be my 400 th article on this Blog. I started writing consistently on this Blog from 1-10-2012. Thanks to ATUL ji’s encouragement and active substantial help in writing Lyrics for me,I was able to reach the figure of 400 articles on songs in 30 months. This is an average of about 13-14 songs every month. During these months,our readers from all over the music loving world gave comments of appreciation,which worked as a motivation for me. In this period,I did 21 series of songs on different Themes. My endeavour has always been to present forgotten pearls from Hindi films and side by side,provide useful,unique information on films, songs, singers, composers, actors, directors, production houses, mythology and behind the scene stories.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Shreemaan Satyawaadi”(1960) was produced by Mahipatrai Shah and directed by S M Abbas for Roopkala Pictures, Bombay. The movie had Raj Kapoor, Shakeela, Mehmood, Nazir Hussain, Radhakishan, Kumud Tripathi, Raja Nene, Moni Chatterji, Arun, B N Madhur, Sushil Kumar, Haaroon, Nasreen, Brahm Bhardwaj, Poonam Kapoor, Indira Bansal, Ravi Khanna, Parshuram, Khursheed Khan, D G Dawli, Gopal Sahgal, Kishore Sharma etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Pati Patni”(1966) was directed by S A Akbar for Mumtaz Films, Bombay. In other words, this movie was Mehmood’s home production. The movie had Sanjeev Kumar, Nanda, Sujit Kumar, Mehmood, Mumtaz, Shashikala, Johny Walker, Om Prakash, Leela Mishra, S N Bannerji, Keshav, Jankidas, Moolchand, Fazlu, Ahmad Balsara etc in it.
Read more on this topic…


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

MISSING GEMS FROM THE GOLDEN 50s….Song No. 10
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Today’s song is from a 1957 film-AGRA ROAD.

When I first thought of this series, I had planned to discuss one song from each year of the 50’s decade and wind up after 10 songs. But when I actually started the spade work,I came across so many songs from so many films that I had to curtail songs from the long list. Still, the number stood at 20 songs. A series with more than 10 to 15 songs really becomes monotonous for me to write the articles. My articles contain information about at least 2 to 3 persons,matters or happenings and it requires research,references and collection of data etc. Since I insist on writing only that which I can defend,should a controversy arise,i can not stretch my imagination alone to write the articles.
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This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.This is the 100th Sahir Ludhianvi lyrics contribution by Avinash Scrapwala in the blog.

(Thanks to our beloved Shri.Raja ji for his kind support and guidance to me in completion and presentation of this article)

We know Sahir Ludhianvi as a poet of the highest quality, a romantic at heart, and a rebel.

But for me, he was much more than this.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The best thing about Holi songs is that in most cases, the message of colors is immediately apparent in the coloring of the lyrics. The songs get created in the spirit of Holi itself. It is a social and group celebrations, and the songs of this festival are sung by multiple singers, and performed by a multitude of players on the screen. And as we sit down to color code the lyrics, the resulting view is as colorful as the festival itself.
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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Aamne Saamne”(1967) was produced and directed by Suraj Prakash. The movie had Shashi Kapoor, Sharmila Tagore, Prem Chopra, Madan Puri, Karan Dewan, Rajendranath, Shammi, Kamal Kapoor etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Jaane Anjaane”(1971) was produced and directed by Shakti Samanta. The movie had Shammi Kapoor, Leena Chandavarkar, Helen, Vinod Khanna, Sulochana Latkar, Jayant, Sandhya Roy, Lalita Pawar, K.N.Singh, Dhumal, Sajjan, Gulshan Bawra, Birbal, Murad, Kanu Roy, Sadhna Patel, Rukmini Bakshi, Kundan, Harbans Darshan, M.Arora, A.K.Tiwari, Hindustani, Master Sachin, Master Shahid, Satyen Kappu, Sujata, Satyendra Kumar etc in it.
Read more on this topic…


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has over 11100 song posts by now.

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