Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Man ki baat jab hothon pe aane ko ho

Posted on: May 27, 2015

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Basics of Music- Part III (Raag and Thhaat)

In part I, we introduced swars and mentioned that combination of swars constitutes melody. In part II, we introduced the concept of Rhythm (taal) and mentioned that it is the combination of melody and rhythm that makes music what it is today.

Each of the two parts were quite heavy duty stuff for people not exposed to such stuff earlier. I got some comments on part I, but hardly any for the second part, which may mean that these concepts may have been going above the heads of readers. Nevertheless, these concepts are vital and they needed to be introduced. Here is the third part of the discussion on basics of music.

Here, we will dig deeper into swars. In part I, we mentioned that there were seven basic swars in all and they belonged to one saptak (normally called madhya saptak). The saptak above madhya Saptak is called taar saptak, while the saptak below madhya saptak is called mandra saptak, each containing the same swars. We can have taar taar saptak as well as mandra mandra saptak too, but they are mostly theoretical in nature. In practice, one deals with swars belonging to madhya saptak and its adjacent saptaks, viz taar saptak and mandra saptak at the most.

Notes are combined to form scales of melody. In Hindustani classical music these melodic scales are called Raag. So, we can define a raag as a melodic scale consisting of seven swars. The different combination of these swars in their various permutaions and combination give rise to diffferent raags.

At least five swars are required to be used in a melodic scale in its aaroh as well as avroh before it can qualify to be called as a raag.

Different characteristics of raag

Characteristic of raag Explanation Remarks
Swars Raag must have pre defined swars in it
Thaat Family of Raags Raags using same swars belong to a thhaat
Jaati Classification based on number of swars used in the raag Raag may have five (audhav jaati ), six (shadav jaati ) or seven (sampoorn jaati) swars in it
Swars in Aaroh /Avroh Based on number of swars in aaroh and avroh Sampoorn-sampoorn (if 7 swars in aaroh as well as avroh), audhav-sampurna (if 5 swars in aaroh and seven swars in avroh), etc
Based on significant swars Most sigificant note is called Vaadi swar, second significant note is samvaadi swar
Based on characteristics For instance, based on its characteristic pakad etc.
Based on time of the day Raags are classified based on time of the day

All human beings in the world are divided into various zodiac categories based on their birth dates. Likewise all raags are divided into their own Zodiacs, called Thhaat based on the commonality of swars used in them. A thaat must have seven notes out of the twelve notes [Seven Shuddha, Four komal (Re, Ga, Dha, Ni), one teevra (Ma)], placed in an ascending order. Both the forms of the notes can be used. There are ten thaat in all. A thhaat is named after one of the member raags of that thaat. (courtesy: Thanks to Reshma Hingorani for her brilliant blog)

(Note-m means shudhh madhyam, M means teevra madhyam, small letters for other swars means komal swars)

Name of thhaat Swars in raags of that thhaat Description Member raags
Bilaawal S R G m P D N S’ All seven shudhh swars used Alahiya-Bilawal / Alahiya Bilaval, Asa Bhavani, Bhinn Shadaj / Kaushik Dhawani, Bihag / Bihaag, Bihagda, Bilaval, Chakardhar, Chandrika, Chitmohini, Deepak (Bilaval), Deshkar, Devgiri Bilaval, Durga (Bilaval), Gunkali, Hansdhavani, Hem Kalian, Jairaj, Jaldhar Kaidar, Janranjani, Kakubh, Kamal Ranjani, Lachhasakh, Lajvanti, Mevada, Nat Bihag, Nat Bilaval, Pahadi, Patbihag, Ras-chandar, Ras-ranjani, Sarparda, Shankara, Shukal Bilaval, Yamani Bilaval
Khamaj S R G m P D n S’ Replace N of Bilawal thaat with n Champak, Champakali, Des, Durga (Khamaj), Gara, Gaud Malhar, Gawati, Gorakh Kalyan, Hans Shiri, JaiJaiVanti, Jhinjhoti, Jog, Kalavati, Kamai, Kamboji, Kantal Varali, Karunk Varali, Khamaj / Khamaaj, Khambavati, Khokar, Lankeshiri, Madhuri, Malgunji, Rageshri, Saraswati, Shyam Kedar, Sorath, Tilak Kamod, Tilang
Kaafi S R g m P D n S’ Add g to Khamaj Thaat Abhogi, Abhogi Kanada, Ahiri, Badhans Sarang, Bageshiri / Bageshri, Bahar, Barva, Bhim, BhimPalasi, Brindavani Sarang, ChandraKauns, ChandarNandan, Daulti, Deshkhya, Dhanashri, Dhani, Gara, Gaud Malhar, Gope, Kamboji, Hans Manjari, Hanskankani, Husseini Kanada, Jaikans, Jayant, Jog, Kafi / Kaafi, Kaunsi Kanada, Kohal,
Kohla, Madhukauns, Madhuranjani, Madmaad Sarang, Manavi, Megh Malhar, Megh, Mian Ki Malhar, Nayaki Kanada, Patdeep,
Piloo, Ramdasi Malhar, Shahana, Shahana Kahnda, ShiriRanjani, Shivranjani, Shudh Sarang, Surdasi Malhar, Vijaya
Asawari S R g m P d n S’ Add d to Kafi thaat Anand Bhairavi, Asavari, Darbari Kahnda/ Darbari, Desi, Dev Gandhar, Gandhari, Gopi Basant, Jangla Jheelaf (Asavari), Jaunpuri, Kaunsi Kanada (combination of malkauns and darbari), Khat, Komal Desi
Bhairavi S r g m P d n S’ All komal swaras, r g d n Bhairavi, Bhupali Todi, Bilaskhani Todi, Kaunsi Kanada (combination of malkauns and darbari), Komal Rishabh Asavari, Malkauns
Bhairav S r G m P d N S’ Komal r and d(bhairavi thaat minus komal g & n) Ahir-Bhairav, Bhairav, Gauri, Gunkali, Jogiya, Kalingada, Meghranjani, Nat Bhairav, Ramkali, Vibhas (When rendered with Komal D, falls under Bhairav Thaat)
Kalyan S R G M P D N S’ Teevra Madhyam Bhoopali / Bhopali, Chandarkant, Chandini Kedar, Chhayanat, Durga Kalian, Gaud Sarang, Hameer, Hindol, Jait Kalian, Kamod, Kedar, Lakshami Kalyan, Nand, Shiri Kalyan, Shudh Kalyan, Shyam Kalyan, Vejayanti, Viranchumukhi, Yaman / Yaman, Yaman Kalyan
Marwa S r G M P D N S’ Add r to Kalyan thaat. Bhankar, Bhatiyaar, Bibhas / Vibhas, Lalit When rendered with Shuddha D, falls under Marwa Thaat, Marwa, Puriya Kalyan, Puriya, Sohini
Poorvi S r G M P d N S’ Add d to Marwa thaat.
In lalit, r and d are Komal; M both Teevra and Shuddha. P not used. All other notes are Shuddha. When rendered with Shuddha D, Lalit also falls under Marwa Thaat
Basant, Gauri, Lalit, Paraj, Poorvi, Puriya Dhanashri Shree
Todi S r g M P d N S’ Add g to Purvi thaat – King of all thaats Gujari Todi, Lilavati, Madhuvanti, Miyan Ki Todi, Multani Todi

I realise that this part contains quite heavy duty stuff. But these are useful reference material that I have tried to bring together at one place for ready refrerence. After this heavy dose, the subsequent doses would be milder in comparison.

Having discussed a great deal about “Raag” in this writeup, let us listen to a Hindi movie song based on Raag Bageshwari. If one looks at the table of “Thhaat” above, one can make out that this raag belongs to Kaafi thhaat. So it uses the swars S R g m P D n S’

Details of this raag are

Aaroha : n S,g m,D n S
Avaroh : S n D ,m P D, g R S

Vadi : Madhyam (Ma)
Samavadi: Shadaj (Sa)

Jaati :Audhav Sampoorna

Varjit Swara – R P in Aaroh

Time for this raag-Madhya Raatri (Middle of night)

This song based on Raag Bageshwari is from “Raadha Aur Seeta”(1979). This song is in two parts. Part I is sung by Hemlata. Part II is sung by Hemlata and Suresh Wadkar. Ravindra Jain is the lyricist as well as the music director.

The song is picturised on Abha Dhuliya and Arun Govil.

Part I

Part II

Song-Man ki baat jab honthon pe aane ko ho (Raadha Aur Seeta)(1979) Singers-Hemlata, Suresh Wadkar,Lyrics-Ravindra Jain, MD-Ravindra Jain


Part I (Female solo)

hmm hmm hmm
ho o ho

man ki baat jab honthon pe aane ko ho
aur jee koi geet gaane ko ho
kya ho
man aise mein jo keh de
abhi nahin
abhi nahin
phir kabhi ee
Man ki baat jab honthon pe aane ko ho

aisa sanyam bhi kya
jo sapnon ke bhi paaon rok de
aaye koi pathhik
?? nainon ke ??
tok de
laalsa jo kuchh
laalsa jo kuchh
khone paane ko ho
tinke chun chun ke
ghar banaane ko ho
kya ho
man aise mein jo keh de
abhi nahin
abhi nahin
phir kabhi ee
man ki baat jab honthon pe aane ko ho

bandhanon se pare
an-dekhe bandhan prem preet ke
jin mein bandh ke hriday
kabhi prashan kare ??
haar jeet ke
jab koi khushi
jab koi khushi
paas aane ko ho
koi apna sab kuchh lutaane ko ho
kya ho
man aise mein jo keh de
abhi nahin
abhi nahin
phir kabhi ee
Man ki baat jab honthon pe aane ko ho

Part II (Duet)

an-suni ee
baaton ko madhu antar mein dhaal ke
sukh ka anubhav karo o
yoon hi sukh sapno ke deep daal ke
kuchh bataane ko
kuchh bataane ko
kuchh chhupaane ko ho
bela kehne ki
phir na aane ko ho
kya ho
man aise mein jo keh de
abhi nahin
abhi nahin
phir kabhi ee
man ki baat jab honthon pe aane ko ho

kalpana kya kare
yadi kehne waala
maun saadh le

srishti dekhe kise
do nainon ko jab laaj baandh le
dhairya ka baandh
dhairya ka baandh
toot jaane ko ho

aur phir bhi na man bataane ko ho
kab tak
yoon hi kehti rahogi
abhi nahin
abhi nahin
phir kabhi ee

man ki baat jab honthon pe aane ko ho


10 Responses to "Man ki baat jab hothon pe aane ko ho"

Bravo.. excellent one that. And this is where the stuff gets more and more interesting. Keep up the good work.


Ye, the stuff gets interesting provided people are still following the series.


I am following it..


Me too !


Atul ji

I am following it, eventhough “mere palle mein kuchch zyadaa nahin pad rahaa… “,repeatedly I am reading it…….





Now it is getting bit complex but interesting. I am warming up to it. Thanks


Dear Atul ji,
I have no hesitation in confessing that I am totally ignorant about the basics of music. However, I am also, like Prakash ji, trying hard to comprehend the essence being conveyed by you through the series. Obviously, I am in no position to offer any comments except that I am closely following it on a regula basis.
Once again thanks and regards,
Avadh Lal


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