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Colourful Warps and Wefts of Playback Singing— By Pt. Shiv Kumar Sharma

In 1992, Santoor maestro Pt. Shiv Kumar Sharma appeared at Vividh Bharati to record a 21-episode series entitled ‘Paarshvagaayan Ke Rangeen Taanebaane’. Produced by Chhaya Ganguly, the noted classical singer, the series was broadcast in the popular ‘Sangeet Sarita’ programme. Pt. Sharma talked about film songs, trivia associated with their making, pointing out technical aspects of the songs, and the Santoor pieces that he played in most of these songs. Broadly speaking, he had broken down the 21 episodes into Pahaadi, Bhairavi, Folk-based and Semi-classical forms of music and their influence on film music.

The series was re-broadcast during the late 2000s decade and I got the opportunity to prepare a transcript of the series. As a tribute to the maestro, I reproduce here the transcript on which a lot of effort was put into.

SANGEET SARITA – PAARSHWA GAAYAN KE RANGEEN TAANE BAANE

Presented By: Pt Shiv Kumar Sharma

Recorded in 1992

PART-1

Pt Shiv Kumar Sharma plays a pahaaDi piece on Santoor. aaj ham logon ki kuchh baaten hongi, ek tarfaa baaten, main boloonga aur aap sunenge. aur hamaari charcha aur kya ho sakti hai, sangeet ke baare mein. jaisa ki aap jaante hain ki shaastriya sangeet bhaarat ka bahut praacheen sangeet hai, aur iske saath saath mein ek aur hamaara sangeet hai jo praacheen hai, hamaara lok sangeet. aur dono ka naataa aapas mein aisa hai ki ek doosre se judaa naheen kiye jaa sakte, kyonki bahut saare raag hamaare aise hain jo lok dhuno se unko raag banaaya gaya hai. unko hamaare shaastroya sangeetkaaron ne ek ‘grammar’, shaastra mein laa karke uska ek Dhang banaa diya ki us raag ko aise gaaya jaaye, lekin swar liye gaye lok sangeet se. aur aajkal ke zamaane mein aap jaante hain ki film sangeet ki bhi baDi ahmeeyat hai bhaarat mein, aur in teeno ka aapas mein kya naataa hai! kaun kaun se aise sangeet nirdeshak huye jinko lok sangeet se kuchh swar mile aur unko unhone kaise sajaaya apne sangeet mein, aur uska taalluKh shaastreeya sangeet mein kya raha, iske baare mein ham charcha karenge.

mera janam Jammu se hai, aur Jammu ke ilaake mein jo lok sangeet hai, usmein sab swar pahaaDi ke hain. aur maine bachpan se in swaron ko sunaa hai. inke saath mein baDaa huya hoon. aur pahaaDi ke swar jo hain, mere baDe priya swar hain. chaliye thoDaa saa aapko pahaaDi ke baare mein bataata hoon. abhi aap dekhiye, pahaaDi mein paanch swar istemaal hote hain. Pt Shiv Kumar Sharma plays a pahaaDi piece on Santoor. ab swar yahi hain, aur dekhiye hamaare shaastriya sangeet mein kya kiya jaataa hai ki ek hi swar ko lekar ke do teen raag ban jaate hain. unke vaadi samvaadi alag hote hain. vaadi samvaadi alag hone se raag alag ban jaataa hai. ab pahaaDi ke swar jo hain, wo yahi swar hote huye bhi alag ho jaate hain kyonki vaadi samvaadi alag hain, saa uska vaadi hai, paa samvaadi hai. neeche ke swaron mein zyaada rehta hai jaise ki (plays a piece), ab ye swar jo hain ye lok geeton mein istemaal hote hain. ab isi pahaaDi sangeet ko jab ham upshaastriya sangeet mein le jaate hain to Thumri ka andaaz ho jaata hai, uske swar thode se alag ho jaate hain. ab inhi swaron ko lekar ke dekhiye ek shaastriya gaayak ne kaise isko badal diya. to yeh alag alag rang hain pahaaDi ke, aur aaj is ‘programme’ mein main aapko kuchh puraane sangeetkaaron ka ‘compose’ kiya huya sangeet sunvaayunga, ki unhone pahaaDi ko kis tarah istemaal kiya.

to aaiye ham apni sangeet ki yaatra shuru karte hain film Bazar ke gaane se jo pahaaDi par aadhaarit hai aur iske sangeet nirdeshak hain Shyam Sundar.

Song: saajan ki galiyaan chhoD chale (Bazar)

sunaa aapne, kitna Khoobsoorat gaanaa tha! aur is gaane mein ek cheez aapne dekhi hogi ki iska jo taal tha, deepchandi taal mein tha. aur hamaare lok sangeet mein bahut saare lok geet aise hain jo isi taal mein hote hain. to Shyam Sundar ji ne jab pahaaDi lee to usi taal ka istemaal kiya, lekin uske saath saath mein jo uska ‘orchestration’ hai, paarshva sangeet hai, usmein alag baat, jo ‘orchestra’ ki laayi hai, saazon ka istemaal, ‘chords’ vagerah ka istemaal usmein kiya hai, jo lok sangeet se alag hai, par uske saath mil gaya hai, aisa Khoobsoorat samaa uska ban gaya hai. abhi main aapko ek aisa hi gaana sunaane jaa raha hoon, aur jab taal ka istemaal huya to is gaane mein bhi deepchandi taal ka istemaal huya, aur yeh ek ‘duet’ hai jise ‘compose’ kiya hai Pt Husnlal Bhagatram ji ne, aur isey gaaya hai Lata Mangeshkar aur Mohd Rafi ne, aur yeh gaana hai film Aansoo ka.

Song: sun mere saajna dekho ji mujhko (Aansoo)

ab dekhiye yeh unka rang tha. yeh wo gaane hain jo sadaabahaar gaane hain, kis Khoobsoorti se nibhaaya hai usko. shuruaat mein aapne sunaa hogaa ki usmein ‘piano’ ka istemaal huya hai, aur us par ek ‘theme music’, jo ‘interlude music’ ham kehte hain, baansuri pe bajaaya gaya, aur saath mein aapne Gaur kiya hoga ki ‘saxophone’ ka istemaal huya hai, jisko ham ‘counter melody’ kehte hain, woh saath mein bajaa huya hai. us zamaane mein poora gaanaa poora ‘orchestra’ bajaaya karta tha. woh bhi chal raha hai, saath mein ‘saxophone’ bhi chal raha hai. lekin pahaaDi ki jo rooh hai, uska jo mahaul hai, usko Khoobsoorti se ‘blend’ kiya gaya hai ‘orchestra’ ke saath mein.

END OF PART-1

PART-2

Sangeet Sarita ke sureele sunnewaalon ko mera pyar bhara namashkaar! aaj chaliye phir apni yaatra shuru karen. sangeet pahaaDi ke saath. aaj sabse pehle main aapko ek gaana sunaana chaahta hoon, mujhe bahut pasand hai, “baDe armaano se rakha hai balam teri qasam”, film ka naam hai Malhar, aur iske sangeetkaar hain Roshan.

Song: baDe armaano se rakha hai balam teri qasam (Malhar)

pahaaDi ka alag rang. ab dekhiye, ismein bhi pahaaDi ko ‘base’ lekar ke Roshan ji ne doosre swaron ka bhi istemaal kiya, jaise ki maine aap se kahaa tha sa re ga pa dha sa, yeh swar hote hain, lekin madhyam bhi istemaal huya hai, komal gandhaar bhi istemaal huya hai, teevra madhyam bhi istemaal huya hai. aur saath mein ek cheez aap ne dekhi hogi ki shuru mein ‘accordion’ bajaa huya hai is gaane mein. aur ‘clarionet’ aur doosre baansuri vagerah saaz hain, unke saath ‘melody’ ke saath mein ‘harmony’ kee gayi hai. to yeh ek nayi baat us zamaane ke ‘music’ mein thi, us zamaane mein sangeetkaar apne sangeet mein ‘orchestra’ ko istemaal karte the. aur taal jo istemaal huya hai, daadraa, hamaare lok sangeet mein kuchh taalen bahut istemaal huyi hain jaise ki deep chandi aur daadraa. aur bahut Khoobsoorat ‘composition’ Roshan ji ki hai. ab main aapko sunaane jaa raha hoon unhi ka ek aur gaana. dekhiye, alag alag waqt jab badal jaataa hai, uske saath mein hamaara sangeet bhi badlaa, mera matlab hai filmi sangeet, us zamaane kgaane mein aur kareeb 10/15 saal ke baad ‘orchestration’ mein kya fark huya, kya alag tareeke ka ‘orchestration’ shuru huya. aap is gaane ko pehle sune, Taj Mahal film ka gaana hai, Roshan ji ka ‘compose’ kiya huya, bahut hi ‘hit’ gaanaa, “jo vaadaa kiya nibhaana paDegaa”, Lata Mangeshkar aur Mohd Rafi ka gaaya huya.

Song: jo vaadaa kiya nibhaana paDegaa (Taj Mahal)

waah mazaa aa gaya saahab, kya Khoobsoorat gaanaa hai! aur ismein dekhiye sabse achchhi baat mujhe kya lagti hai, antara yahaan se shuru kiya hai Roshan ji ne, (sings the tune). matlab, pahaaDi ke andaaz se nikal kar ke unhone bahut hi Khoobsoorat antaraa banaaya, aur ab is gaane ke saath Roshanji ka pehla gaana suniye, to dono ke andaaz mein kitna fark hai! aur iske saath ‘orchestration’ bhi huya hai. ‘violins’ ka istemaal jo huya hai, jo pehle waale gaano mein naheen tha. yeh ek nayi baad hamaare film sangeet mein baad mein aayi, ‘orchestration’ aur ‘violins’ ka, ‘strings’ ka istemaal, jo is geet mein milta hai. aur Dholak par kaharwaa ka jo Thekaa bajaa huya hai, woh bahut hi Khoobsoorat lagtaa hai. aur yeh pahaaDi ke andaaz ke saath saath kuchh doosre swaron ka istemaal. ab main aapko ek doosra gaana sunaane ja raha hoon, jismein pahaaDi ke jo bilkul lok sangeet ka andaaz hai, woh sunne ko milegaa, aur uske saath mein ‘orchestration’ jo hai, usmein ‘violins’ vagerah koi saaz naheen hai, aur usmein aapko sunne ko milegaa santoor aur baansuri. aur yeh santoor mera hi bajaaya huya hai. yeh geet hai “yeh dil aur unki nigaahon ke saaye”. film ka naam hai Prem Parbat, aur sangeetkaar hain Jaidev aur gaayika hain Lata Mangeshkar. ismein aap suniyegaa pehla antara jahaan se shuru hota hai wahaan swarmanDal ke baad santoor aata hai aur baad mein baansuri shuru hoti hai, mulaahiza farmaaiye.

Song: yeh dil aur unki nigaahon ke saaye (Prem Parbat)

END OF PART-2

PART-3

Sangeet Sarita ke sabhi shrotaaon ko Shiv Kumar Sharma ka namashkaar! (plays a pahaaDi piece on Santoor) ‘Paarshvagaayan ke Rangeen Taanebaane’, is shringkhalaa mein main aapke saath raag pahaaDi ke baare mein baaten kar raha hoon, aur filmi geeton mein kis tarah se pahaaDi ka prayog huya hai samay samay par, gaane bhi sunvaata chaloonga. pahaaDi ke suron ne sabhi sangeetkaaron ko lubhaaya hai. aur har sangeetkaar ne apne apne andaaz se in swaron ko apne apne ‘compositions’ mein sajaaya hai. aaj ham jis sangeetkaar ke geeton mein pahaaDi ki jhalak dekhenge, wo hain Naushad saahab. unak jo pehla gaana maine chunaa hai wo hai “suhaani raat Dhal chukee, na jaane tum kab aayoge”. film Dulari ka gaana hai. gaayak hain Mohd Rafi saahab. ismein dekhiye ki pahaaDi kaa istemaal kis tarah se judaai ke bhaav ko ujaagar karne ke liye kiya gaya hai. bahut Khoobsoorat gaana hai, suniye.

Song: suhaani raat Dhal chukee (Dulari)

is gaane ko sunaa aapne. aapne Gaur kiya hogaa ki ek taraf ismein pahaaDi ke swar the, lekin iska ‘orchestration western’ tha. Guitar, Oboe ka istemaal huya hai, aur Trumpets ko bhi ek ‘muted form’ mein bajaaya gaya hai, aur bahut hi Khoobsoorat rang aaya hai gaane ke ‘mood’ mein. ab doosra gaana Naushad saahab ka main jo sunvaana chaahoonga aapko, woh hai film Shabab ka. gaana hai “marna teri gali mein jeena teri gali mein”. yeh bhi pahaaDi ka ek roop hai, is gaane mein Gaur keejiyegaa ki sitaar ka bahut Khoobsoorat istemaal huya hai. gaayikaa hain Lata Mangeshkar.

Song: marna teri gali mein jeena teri gali mein (Shabab)

us zamaane mein, 40 ke dashak mein, kuchh sangeetkaar Punjab ke lok sangeet ka istemaal kar rahe the, kuchh sangeetkaar bangaal ke lok sangeet ka istemaal kar rahe the. aise mein Naushad saahab jab ‘industry’ mein aaye to unhone Uttar Pradesh ke lok sangeet ko apnaaya apne ‘compositions’ mein. aur UP ke ‘folk’ ko kaafi ‘explore’ kiya. Khair, ab jo geet main Naushad saahab ka aapko sunvaayunga woh hai Anmol Ghadi film ka. “aawaaz de kahaan hai, duniya meri jawaan hai”. bahut puraana geet hai, ‘orchestration’ bahut ‘simple’ hai, ‘rhythm’ mein keval table kaa istemaal huya hai. suniye yeh geet, gaayak hain Surendra aur Noorjehan.

Song: aawaaz de kahaan hai (Anmol Ghadi)

END OF PART-3

PART-4

sabhi ko mera namashkaar! main abhi soch raha tha ek gaana, bahut puraanaa, Barsat film ka, Shankar Jaikishan ki pehli yaa doosri film thi, itna Khyaal naheen. to pahaaDi ke suron mein, aur uske saath hi ek doosra gaana bhi hai. dekhiye, pehla gaana suniye aap, (plays on Santoor the tune of “meri aankhon mein bas gaya koi hai”). aap ne pehchaanaa hogaa kaun saa gaana hai, “meri aankhon mein bas gaya koi re”, Barsat ka gaanaa. aur abhi kuchh der pehle main soch raha tha ki ek aur gaana tha Shankar Jaikishan ka hi, woh kuchh aise hai (plays on Santoor the tune of “panchhi banoo uDti phiroon mast gagan mein”). thoDe se swar alag ho gaye. isliye hamaare Jammu mein ek gaaon hai , wahaan is kism ki dhune jo hain lok geeton mein hain. bajaai jaati hai, gaaye jaate hain, ek Khaas kism ka ‘dance’ hai jise kuT kehte hain wahaan par. to usmein is kism ki dhune hoti hain. usi ke aadhaar par yeh dhune bani hongi mere Khayaal mein. to dekhiye kaise sur jo hain kahaan se jaakar kahaan mil jaati hai aur kuchh nayi baat ban jaati hai. aisa hi ek aur gaana hai C Ramchandra ka Parchhain mein. aur yahi taal bhi hai (plays on Santoor the tune of “chandaa ki chhaaon mein ThanDi ThanDi hawaaon mein koi gaa rahaa”). ab in teeno mein pahaaDi hai aur teeno mein taal jo hai daadraa hai. to dekhiyegaa, aap Khud samjhiye kya fark hai ismein. main shuru kar raha hoon pehla gaana Shankar Jaikishan ka, film hai Chori Chori, aur gaayika hain Lata Mangeshkar aur Chorus.

Song: panchhi banoo uDti phiroon mast gagan mein (Chori Chori)

sunaa aapne yeh gaana. ismein dekhiye ‘rhythm’ ka bahut achchha istemaal hai. tablaa, Dholak kaa. aur ab main aapko peechhe le jaataa hoon, puraanaa gaana Shankar Jaikishan ka. film Barsat ka, jo main soch raha tha aap se baat karne se pehle, “meri aankhon mein bas gaya koi re”. ismein dekhiye aapko fark mehsoos hogaa, bahut ‘simplicity’ hai, ‘rhythm’ bhi hai, ek Dholak baj rahi hai. baansuri hai, aur udhar ka hi maahaul hai aur zyaada ‘orchestration’ naheen hai. iski gaayika hain Lata Mangeshkar.

Song: meri aankhon mein bas gaya koi re (Barsat)

har sangeet nirdeshak ka apna ek rang hota hai. dekhiye swar wohi hote hain, raag wohi hote hain, sangeet nirdeshak ki shaKhseeyat se rang badal jaate hain. main aapko ek geet sunaayunga “chandaa ki chhaaon mein ThanDi ThanDi hawaaon mein koi gaa rahaa”. C Ramchandra ki ‘composition’ hai, gaayika hain Lata Mangeshkar.

Song: chandaa ki chhaaon mein ThanDi ThanDi hawaaon mein (Parchhain)

END OF PART-4

PART-5

sangeet saritaa ke shrotaaon ko Shiv Kumar Sharma ka namashkaar. ek baar phir main aap se baat karne aaya hoon. aur aap jaane hain hamaari charcha pahaaDi aur film sangeet ke baare mein ho rahi hai. jaisa maine aap se pichhli baar bhi kahaa tha pahaaDi ke anek roop mein, aur hamaare bhaarat mein jo uttar bhaaratiya ilaaka hai, himaalay ke jitne ilaake hain wahaan pahaaDi sab jagah milti hai lekin badalti jaati hai. jaise suniyegaa Jammu Kashmir ki taraf yeh andaaz hai (plays a piece on santoor). abhi ham thoDaa us taraf chale jaayen Darjeeling, wahi suron ka andaz thodaa badal jaata hai. main thoDi si iski misaal deta hoon aapko, (plays a piece on santoor). swar kitna asar karte hain. jis pradesh ke geet abhi aapne sune, wahaan ke logon ki jhaanki aapki aankhon ke saamne aa jaate hain. ye aapne dekhaa hogaa. abhi jo swar main milaa raha tha inhi se nikla huya ek gaana main aapko sunaane jaa raha hoon, sangeetkaar hain S D Burman. film ka naam hai Guide. gaane ke bol hain “gaata rahe meraa dil”, gaayak hain Kishore Kumar aur Lata Mangeshkar. is gaane mein dada ne swar wahaan ke diye hain lekin jo ‘rhythm’ istemaal kiya hai woh ‘western rhythm’ hai, usmein bongo vagerah hai, mulaahiza farmaaiye.

Song: gaata rahe mera dil (Guide)

main aapko ek gaana sunaane jaa raha hoon, film hai Aradhana. gaane ke bol hain “kora kaagaz tha ye man mera”. ismein aap dekhiyegaa ki R D Burman unhi andaaz ke swaron ko lekar kaise nikle hain, unhone jo ‘rhythm’ rakha hai Dholak aur table ka, aur jo beech mein ‘interlude music’ hai, usmein taar shehnaai baji hai aur ‘banjo type’ ke ‘instruments’ baje hain jismein lok sangeet ka hi maahaul banaa huyaa hai. aur usi ko unhone ‘maintain’ kiya hai.

Song: kora kaagaz tha ye man mera (Aradhana)

kya Khoobsoorat gaana tha, “kora kaagaz tha ye man mera”. dekhiye yahee andaaz ke swar rahenge, ‘music director’ badal jaayenge, haalaanki unka aapas mein rishtaa hai, S D Burman – R D Burman. aur gaane ka ‘mood’ badal jaayegaa. agla gaana R D Burman ka ‘compose’ kiya huya hai. poore gaane mein ‘orchestration’ ko poore gaane ke saath kaise ‘blend’ kiya huya hai, shuruaat jab hoti hai to ‘orchestra strings violins’ ke saath shuru hota hai, aur ‘interlude music’ mein ‘violins’ hai aur ‘string instruments’ bhi hain. aur ‘rhythm’ mein bhi ‘combine’ kiya gaya hai Indian rhythm aur western rhythm ke saath mein. aur usse ek alag rang, ek alag shakl pahaaDi andaaz ka banaa hai. aur mulaahizaa farmaaiye gaana, film hai Aap Ki Kasam, bol hain “karwaTen badalte rahen saari raat ham”, aur gaayak hain Kishore Kumar aur Lata Mangeshkar!

Song: karwaTen badalte rahen saari raat ham (Aap Ki Kasam)

END OF PART-5

PART-6

main Shiv Kumar Sharma, sabhi sangeet Sarita ke shrotaaon ko namashkaar karta hoon, aapke liye kuchh aur naye gaane leke aaya hoon aaj. har ‘music director’ ka apna ek ThaaT, ‘scale’ hota hai, aur wo unko itna bhaa gaya hota hai ki unke bahut saare gaane aksar ham sunte hain jo usi ThaaT mein, usi ‘scale’ mein hote hain. hamaare bahut jaane maane ‘music director’ Khayyam saahab hain, jinka main samajhtaa hoon pahaaDi bahut priya raag hai. ek pahaaDi ka unka ek bahut hi Khoobsoorat gaana main aapko sunaane jaa raha hoon, film ka naam hai Aakhri Khat. gaane ke bol hain “bahaaron mera jeevan bhi sanvaaro”. gaayika hain Lata Mangeshkar. gaana sunne se pehle ek cheez aap Gaur keejiyegaa, jab aap yeh gaana sune, shuruaat jo huyi hai, antoor ke saath, ‘introduction music’ jo hai, pehla swar santoor ke saath shuru hota hai, uske baad usmein sitaar ka istemaal huya hai, aur baad mein baansuri. to ‘main’ jo ‘intstruments’ hai, in teen saaz ko leke is gaane ko sajaaya gaya hai, aur pehle antara ke ‘music’ mein bhi sitaar se shuruaat hoti hai, baad mein ‘violin’ ka istemaal huya hai jo ek Khaas tareeke se usi ‘mood’ mein kiya gaya hai. to mulaahiza farmaaiye gaana “bahaaron mera jeevan bhi sanvaaro”.

Song: bahaaron mera jeevan bhi sanvaaro (Aakhri Khat)

sunaa aapne, kitna Khoobsoorat gaana tha! abhi ek aur Khoobsoorat gaana main aapko sunaayunga, jiske bol hain “parbaton ke peDon par shaam ka baseraa hai”. jab is kism ke Khoobsoorat bol hon aur parvaton ka zikr ho raha ho, to unki dhun pahaaDi mein hi honi chaahiye. aur baDi Khoobsoorti se yeh gaana banaaya gaya hai. par pehle gaane se ismein fark dekhiyega ki ismein jo saazon ka istemaal huya hai, jo ‘orchestration’ huya hai, wo ‘main strings’ ke upar hai, ‘violins’ ka zyaada istemaal huya hai, aur taal ka andaaz jo hai, tablaa Dholak ka hi hai. to yeh gaana suniyegaa, Shagun film ka gaana hai, ‘composer’ Khayyam hi hain, aur gaayak hain Mohd Rafi aur Suman Kalyanpur.

Song: parbaton ke peDon par shaam ka baseraa hai (Shagun)

haaare ek aur bahut umdaa sureele ‘music director’ huye hain Madan Mohan, jinke ‘compositions’ mein ham dekhte hain ki ‘classical music’ yaa kahiye ki ‘light classical music’ ka bahut asar tha. unhone ek bahut Khoobsoorat pahaaDi banaai hai aur unki Khaaseeyat ki uski saadgi ko rakhte huye jo ‘classical based’ gaane hote the, saath mein jo ‘orchestra’ ki ‘blending’ hoti thi, is pahaaDi mein bhi aap wohi dekhenge. gaane ki shuruaat ‘atrings’ ke saath, ‘violins’ ke saath hoti hai, aur saath mein ‘synthesizers’ ka bhi istemaal huya hai, ‘vibrophone’ bhi huya hai, aur Dholak mein kaharwaa, baDi Khoobsoorti se Thekaa bajaaya gaya hai. aur gaana hai film Manmauji ka, aur gaayika hain Lata Mangeshkar. bahut hi Khoobsoorat gaana hai, mulaahiza farmaaiye.

Song: main to tum sang nain milaake (Manmauji)

END OF PART-6

PART-7

Sangeet Sarita ke shrotaa mera namashkaar sweekaar karen! dekhiye aaj main kuchh soch ke naheen aaya ki aapko kya sunaayun. soch raha hoon, (plays a piece on Santoor). arey, yeh to santoor ki aawaaz thi! shaayad mera hi bajaaya huya hai. chaliye isse yaad aa gaya, ek gaana yaad aa gaya mujhe. yeh kaun sa gaana tha…. “aaj koi pyaar se dil ki baaten keh gaya”. dekhiye kitna achchha yaad aa gaya, kitna achchha gaana gaana hai, aap jaante hain kisne ‘compose’ kiya hai? O P Nayyar. aur film ka naam hai…. kaun si film thi….. haan, Saawan Ki Ghataa. Nayyar saahab ka ek bahut Khoobsoorat andaaz apna raha. aur unhone lok sangeet, Punjab ke lok sangeet ko lekar ke aur ek Khaas kism ki ‘beat’ ko milaaya aapas mein itni Khoobsoorti se ki ek alag sangeet banaaya apne andaaz ka. aur ismein dekhiyegaa pahaaDi jo unhone istemaal kee hai, swaron ka jo istemaal kiya hai, woh main ekdam pahaaDi ke lok geet jo main aapko sunaa raha tha, usse alag hai, ismein thoDaa Punjab ki pahaaDi ka rang hai. to suniegaa yeh gaana “aaj koi pyaar se”, gaayika hain Asha Bhosle.

Song: aaj koi pyaar se dil ki baaten keh gaya (Saawan Ki Ghata)

aapko yeh gaana pasand aaya hogaa aur ismein santoor ka bhi jis tarah se istemaal huya hai, ab ek aur gaana O P Nayyar ka main aapko sunaana chaahta hoon, us gaane mein aur jo gaana abhi aapne sunaa, ek baat milti hai ki pahaaDi mein hai dono gaane, aur jo taal hai, deepchandi, jiska pehle bhi maine ek baar zikr kiya tha, hamaare bahut saare lok geet jo hain, is taal mein hai. to ismein Nayyar saahab ne deepchandi, 14 maatre kaa hota hai, uska istemaal kiya hai, aur Punjab ang ki pahaaDi, jo main aap se keh raha tha, usi tarah ki yeh bhi tarz hai, film ka naam hai Kashmir Ki Kali, gaane ke bol hain “ishaaron ishaaron mein dil lene waale”, gaayak hain Mohd Rafi aur Asha Bhosle. is gaane mein ek cheez mujhe bahut pasand hai, ‘second’ antaraa ‘music’, aap Gaur se suniegaa, sitaar ka bahut Khoobsoorat ek ‘piece’ hai, Ustad Rais Khan ne bajaaya hai.

Song: ishaaron ishaaron mein dil lene waale (Kashmir Ki Kali)

pahaaDi ke suron ne sabhi sangeetkaaron ko lubhaaya hai. aur har sangeetkaar ne apne apne andaaz se in swaron ko apne apne ‘compositions’ mein sajaaya hai. ek aur baDaa Khoobsoorat gaana aapko sunaayunga, film ka naam hai Chaudhveen Ka Chaand. ‘music director’ hain Ravi. is gaane ki shaayari, ‘poetry’ baDi Khoobsoorat hai, “chadhaveen ka chaand ho yaa aaftaab ho”, aur ismein aap dekhenge ‘orchetsration’ mein tablaa yaa Dholak, ‘normally’ jis tareeke se hotaa hai waise naheen hai, bahut ‘soft rhythm’ hai, sirf Dagge ka istemaal huya hai, aur ‘orchestration’ mein bhi ‘mandolins’ ka bahut achchha istemaal huya hai, aur ‘violins’ ka.

Song: chadhaveen ka chaand ho yaa aaftaab ho (Title Song)

END OF PART-7

PART-8

kal ki hamaari baatchit chaudhaveen ke chaand pe aake ruk gayi thi. aur aaiye aaj phir kuchh fizaaon ke baare mein, patton ke baare mein, mausam ke baare mein baat kee jaaye. lekin pahaaDi ko saath mein rakhte huye. aur ek bahut Khoobsoorat gaana Gazal ke andaaz ka, pahaaDi mein itne rang hain ki aap chaahen to lok geet mein le len, Gazal mein le leejiye, Thumri mein le leejiye, har jagah pahaaDi Khoob jamti hai. ek baDi Khoobsoorat ‘composition’ Laxmikant Pyarelal ne kee hai, bol hain “patta patta booTa booTa haal hamaara jaane hai”, ismein ek cheez main aapko Gaur karne ke liye kahoonga, ‘first’ antaraa ‘music’ mein santoor ka istemaal huya hai. lekin bhaaratiya santoor naheen. hamaare bhaarat mein jo santoor hai, usse milte julte santoor bahut deshon mein milte hain. Iran mein bhi santoor bajta hai, yeh santoor jo maine ismein bajaaya hai Iranian santoor hai. aur ‘first’ antara ‘music’ jo hai usi ke upar hai. aur gaana bahut Khoobsoorat banaa hai, iska mazaa leejiye, gaayak hain Mohd Rafi aur Lata Mangeshkar.

Song: patta patta booTa booTa haal hamaara jaane hai (Ek Nazar)

jaisa ki hamne kahaa thaa ki aj mausam ka, patton ka, fizaaon ka zikr ho raha hai, aglaa gaana bhi kuchh aisa hai, aur uske sangeetkaar hain Laxmikant Pyarelal, film hai Lofar. gaayak hain Mohd Rafi, aur gaane ke bol hain “aaj mausam baDaa beimaan hai”. is gaane mein ek Khaaseeyat hai, abhi tak bahut saare gaane aapne pahaaDi ke sune hain, jinmein bahut saare swaron ka istemaal huya. is gaane ki Khoobi hai ki sirf teen swar, sa re ga, inhi mein poori asthaai hai. unko ko hi ghoomaya gaya hai Khoobsoorti se aur in teen swaron ke saath khelaa gaya hai. aur baDi Khoobsoorat ‘composition’ bani hai.

Song: aaj mausam baDaa beimaan hai (Lofar)

abhi agle gaane mein main waapas aapko lok dhuno ki taraf le jaayunga, yeh gaana Khaas lok sangeet ke andaaz mein hai, aur iska jo Thekaa hai, jo ‘rhythm’ hai, wahi deepchandi ki taal hai lekin jald andaaz mein, aur gaane ke jo swaron ka jo tareeka hai lagaane ka, jo Khaas wahaan ke lok geeton ka jaise hota hai, Kullu Manali mein, Jammu mein, usi andaaz ke swar hain. film hai Ram Teri Ganga Maili, sangeetkaar hain Ravindra Jain, bol hain “husn pahaaDon ka”, gaayak hain Lata Mangeshkar aur Suresh Wadkar. bahut Khoobsoorat ‘composition’ hai, suniyegaa…

Song: husn pahaaDon ka (Ram Teri Ganga Maili)

END OF PART-8

PART-9

aaj maine sochaa kuchh apne baare mein zikr kiya jaaye aapse. meri paidaaish Jammu ki hai, aur bachpan se main, jab se maine hosh sambhaalaa, main pahaaDi ke swaron ko sunta raha, raat ko jab chhat pe sone jaate the, door pahaaDon se gaddi logon ke, jo bheD bakri paalte hain, uske gaano ki aawaaz aati thi, pahaaDi ke sur kaano mein aate the, (plays a piece of pahaaDi on santoor), aur jab main bajaane lagaa to mera bhi pahaaDi priya raag ban gaya, aur baad mein sangeet nirdeshak bane Shiv Hari ke naam se. aapko ek baat bataayun, kai logon ko yeh Galatfehmi hai ki Shiv Hari ek hi aadmi ka naam hai. darasal Shiv Hari Shiv Kumar Sharma aur Hari Prasad Chaurasia hain. hamne apna naam, chhoTa naam rakh liya Shiv Hari. hamaari pehli film thi Silsila. jab usmein ek aisi ‘situation’ aayi ki vaadiyaan, phool, aur ‘outdoor’ ka gaana tha, to meri pasand ka raag yaa dhun kahiye, geet pahaaDi mujhe dhyaan mein aaya. to yeh gaane ka janm huya, “dekha ek Khwaab to ye silsile huye”. Silsila film ka gaana hai aur ismein ek Khaas cheez aap Gaur keejiyegaa ki jo dhun hai gaane ki, asthaai jo uski hai, woh Khaas lok dhun, lok geet ke andaaz ki hai, lekin jo ‘orchestra’ ka ‘blending’ huya hai, kyonki yeh gaane ki ‘picturization’ hindustaan ke baahar bhi huyi, aur usko dekhte hamne huye ‘orchestration’ ko, ‘violins’ vagerah ko hamne us tareeke se ‘blend’ kiya hai taaki baahar ka maahaul bhi rahe aur dhun ke saath jaaye bhi. aur saath mein santoor ka bhi usmein istemaal huya hai, rabaab ek saaz hota hai jo Kashmir mein bajta hai, uska bhi istemaal huya hai, to gaana suniyegaa, sangeet nirdeshak Shiv Hari.

Song: dekha ek Khwaab to ye silsile huye (Silsila)

pahaaDi mein har kism ke ‘mood’ ko, ‘expressions’ ko ‘express’ karne ka ‘chance’ bahut achchha milta hai. abhi jo aapne gaana sunaa woh ek ‘romantic’ gaana tha, Khushi ka gaana tha. ab main isi swaron mein, pahaaDi ke hi andaaz mein doosra gaana sunaayunga “neela aasmaan so gaya”. ismein aap dekhiye ki dard ka bhaav usmein aapko milta hai. aur usmein ‘orchestration’ ka jo istemaal huya hai, ‘cellos’, ‘violins’ ka is tareeke se istemaal huya hai ki usi ‘mood’ ko, usi bhaav ko wo bhi ‘express’ kar rahe hain. yeh bhi Silsila film ka gaana hai, gaayika hain Lata Mangeshkar.

Song: neela aasmaan so gaya (Silsila)

abhi yeh kahoon ki pahaaDi ek hai, roop anek hain, do roop to aapne dekhe ek hi film mein, isi mein ek teesra roop bhi dekhiye pahaaDi ka, aur phir woh lok sangeet ki taraf jaata hai, lekin ismein ‘chorus’ ka istemaal hai, mil kar ke log jab gaate hain, to pahaaDon mein bhi aisa hota hai ki kabhi kabhi ek akelaa bhi gaata hai, pahaaDon mein bahut saare log mil karke nritya karte hain, gaate hain, to us waqt pahaaDi mein ek alag umang paida hoti hai, isi ‘picture’ ka ek gaana hai, ‘Silsila’ picture ka, “sar se sarke sar ki chunariya”, iske gaayak hain Kishore Kumar, Lata Mangeshkar aur Chorus.

Song: sar se sarke sar ki chunariya (Silsila)

END OF PART-9

PART-10

kal hamaari baatchit apne baare mein ho rahi thi, chaliye usi ke baare mein kuchh aur baatchit kee jaaye, kuchh aur jaankaari main aapko detaa hoon apne ‘compositions’ ke baare mein. kal jo aap ne gaane sune the wo ek Khaas lok geet ke andaaz ke the. maine aapko bahut pehle hi bataaya tha ki pahaaDi mein paanch hi swar lagte hain. aur jab ham us daayre se nikal jate hain, lok sangeet ke yaa shaastreeya sangeet ke shuddh raag ke baad, doosre swaron ka bhi istemaal hota hai. jaise komal gandhaar ka baDi Khoobsoorti se istemaal hota hai. kabhi dono gandhaar ka istemaal hota hai, kabhi kabhi teevra madhyam ka istemaal hota hai. ek aisi hi ‘composition’ hai film Faasle se. isko gaaya hai Asha Bhosle ne, gaane ke bol hain “ye kaafile yaadon ke kahin kho gaye hote, agar bhool se ham so gaye hote”. Gazal ke andaaz ka gaana hai.

Song: ye kaafile yaadon ke kahin kho gaye hote (Faasle)

abhi ek aur gaana suniyegaa usi andaaz ka jaise, kaun sa gaana tha, “dekha ek Khwaab to ye silsile huye”. dhun jo hai gaane ki woh Khaas lokgeet ki andaaz ka hai, lekin ‘orchestration’ usmein ‘modern’ hai. jab hamne yeh shuru kiya tha silsilaa pahaaDi ke raagon ka, to pehlaa gaana jo maine sunaaya tha, dekhiyegaa fark us zamaane se, itna zyaada ‘orchestration’ naheen tha. abhi ‘orchestration’ mein bahut nayi nayi ijaad huyi hain, ‘experiments’ huye hain. yeh gaana bhi jo filmaaya gaya hai, Switzerland mein hai, aur wahaan ke maahaul ko dekhte huye hamne ‘blending’ kiya hai ‘modern orchestration’ ka. lekin gaane ki dhun ko naheen chheDaa hai, uski wahi maasoomeeyat, unhi swaron ko bakaraar rakha hai. aur ek aur baat dekhiyegaa is gaane mein, shuruaat jo hoti hai gaane ki, baansuri ke saath, Khaas pahaaDi lok geeton ki baansuri ka bajaana, aur Pt Hari Prasad Chaurasia ne bahut Khoobi se ise bajaaya hai, uske saath yeh gaana shuru hota hai, gaana hai film Chaandni ka, bol hain “tere mere honThon pe meeThe meeThe geet mitwaa”. gaayak hain Lata Mangeshkar aur Babla.

Song: tere mere honThon pe (Chaandni)

aaj hamaari yeh yaatra pahaaDi ke saath jo hamne shuru kee thi, poorN hone jaa rahi hai, aur iska antim gaana main aapko sunaayunga. phir aapko waapas liye chalta hoon usi maahaul mein, pahaaDiyon ke, vaadiyon ke maahaul mein. hamaari ek aanewaali ‘picture’ ka gaana hai, ‘picture’ ka naam hai Sahebaan. aur gaane ke bol hain “kaise jeeyunga main”. is gaane mein aap dekhiyegaa phir wohi maahaul hai Kullu Manali ka, aur ‘typical’ andaaz lok geeton waala, aur taal bhi hai deepchandi, teen maatre ka taal jo lok geeton mein istemaal hota hai, gaayak hain Anuradha Paudwal aur Jolly Mukherjee.

Song: kaise jeeyunga main agar tu na bani (Saahebaan)

END OF PART-10

PART-11

Sangeet Sarita sunnewaalon ko Shiv Kumar Sharma ka namaskaar! ab tak main aapko pahaaDi par aadhaarit gaane sunaata raha. hamaare desh mein dekhiye kitne alag alag prakaar ke lok sangeet hain, usmein ek hai Rajasthan ka lok sangeet. aur iske swar bhi shuddha swar hote hain. abhi jaise main chheD raha swaron ko, aap sunen, (plays a piece on Santoor), sur wahi hain pahaaDi ke andaaz ke. isi ko jab pahaaDi banaana ho, (plays a piece on Santoor), maamooli sa fark hai, main aapko ek gaana sunaane jaa raha hoon jo isi lok dhun par aadhaarit hai, Rajasthan ki lok dhun, aur hamaari hi sangeet nirdeshan hai, Shiv Hari ka, film ka naam hai Lamhe, aur gaana gaaya hai Lata Mangeshkar, Ila Arun aur sakhiyon ne. gaane ke bol hain “megha re megha, tera man tarsa re, paani tu barsa re”, mulaahizaa farmaayen.

Song: meghaa re meghaa (Lamhe)

abhi dekhiye Rajasthan ka bahut hi mashahoor jo lok geet yaa lok dhun hai, usko maanD kehte hain. maanD hamaare shaastreeya sangeet mein, yun kahiye ki up-shaastreeya sangeet mein raag ke tareeke se bhi istemaal hota hai. uske swar is tareeke se hai, (plays a piece of maanD on Santoor), sabhi shuddh swar lagte hain, aur yeh maanD ka ek prachalit prakaar hai. bahut Khoobsoorat tareeke se iska istemaal kiye hain sangeet nirdeshak Hridaynath Mangeshkar ne. film Lekin mein. gaane ke bol hain “kesariya baalma”, suniyegaa yeh Khoobsoorat gaana film Lekin ka, gaayika hain Lata Mangeshkar.

Song: kesariyaa baalmaa (Lekin)

abhi ek aur andaaz Rajasthani lok geeton ka. hamaari film Lamhe mein ek aisi ‘situation’ thi jahaan pe ham ne Ramgarh, jo wahaan ka lok geet hai unhi bolon se gaana shuru kiya hai, aur kuchh is tarah ke swar hain, aap suniye, (plays a piece on Santoor), abhi in bolon ko lekar ke, in lok dhuno ko lekar ke filmi gaana kaise banaa, uska ek udaaharaN aap dekhen, gaane ki shuruaat jo hoti hai lok geet se hoti hai, aur baad mein usmein Hindi ke bol aa jaate hain. aur ismein jo ‘orchestration’ huya hai, usmein bhi maanD ka hi andaaz rakha gaya hai, aur baansuri aur algozaa, jo do baansuri, ek swar rakhte hain, ek bajaate hain, is tarah se uska istemaal kiya gaya hai. aur yeh gaana, gaayika hain ismein Lata Mangeshkar, Ila Arun aur sakhiyaan. aur gaane ke bol hain “morni baagaa ma bole aadhi raat maa”.

Song: morni baagaa ma bole aadhi raat maa (Lamhe)

END OF PART-11

PART-12

Sangeet Sarita sunnewaalon ko ek baar phir se Shiv Kumar Sharma ka namaskaar! aaj main aapko naye andaaz ke gaane sunaayunga jo lok sangeet par aadhaarit naheen hain. ek alag andaz, up-shaastriya sangeet jise ham kehte hain, ‘semi classical music’, us andaaz ke kuchh gaane hain. hamaare sangeet mein inko Thumri yaa daadra kehte hain, ek aisa hi raag hai gaaraa, jiske bahut Khoobsoorat ‘compositions’ puraane hain. inko filmon mein bahut achchhi tarah se istemaal kiya gaya hai. (plays a piece on Santoor). ab yeh jo swar hai, ismein dono gandhaar, dono nishaad lagte hain, aur ismein dekhiye itni Khoobsoorat bandish hai, film ka naam hai Hum Dono, aur isko sangeet nirdeshak Jaidev ne baDi Khoobsoorti se istemaal kiya hai. gaane ke bol hain “kabhi Khud pe kabhi haalaat pe ronaa aaya”, gaayak hain Mohd Rafi.

Song: kabhi Khud pe kabhi haalaat pe ronaa aaya (Hum Dono)

ab main aapko ek aur bahut Khoobsoorat gaana sunaane jaa raha hoon. isi andaaz ka gaana magar dekhiye uski Khaas baat kya hai, ki uska ‘orchestration’, jaisa ‘blending’ uska huya hai, is Thumri ke andaaz ke saath mein. aur ismein ‘rhythm’ mein koi tablaa, koi ‘instrument’ ka istemaal naheen kiya gaya, ‘bass’, ‘piano’, aur ‘guitars’ hain. aur jo ‘interlude music’ hai iska, antare ke darmeeyaan jo ‘music’ aata hai, usmein ‘cellos’, ‘violins’ ka istemaal huya hai, aur is Khoobsoorti se sangeet nirdeshak Madan Mohan ne isko nibhaaye hain, gaane ke bol hain “hamsafar saath apna chhoD chale”, film Aakhri Dao, aur gaayak hain Mohd Rafi, Asha Bhosle.

Song: hamsafar saath apna chhoD chale (Aakhri Dao)

kitna Khoobsoorat gaana tha “hamsafar saath apna chhoD chale”! ab ek aaj ke ‘programme’ ka aaKhiri gaana main aapko film Teen Deviyaan ka sunaane jaa raha hoon. dekhiye teen alag alag sangeet nirdeshak jo unhone gaane banaaye hain, unka ‘inspiration’ ek hi hai, lekin uske alag alag rang ho gaye. teeno ne apna rang usko diya. aur yeh gaana jo hai ismein tablaa istemaal huya hai, lekin saath mein ‘guitars’ bhi hain, ‘interlude music’ mein baansuri hai lekin ‘metal flute’, yeh ek ‘western flute’ hai, aur usmein Santoor ka bhi istemaal huya hai, aur gaane ka, swaron ka andaaz wahi hote huye bhi ek alag rang hai. gaane ke bol hain “aise to na dekho” aur gaayak hain Mohd Rafi. sangeet nirdeshak S D Burman.

Song: aise to na dekho ke hamko nashaa (Teen Deviyan)

END OF PART-12

PART-13

shrotaaon, ham aap se baat kar rahe the aise gaano ke baare mein jo upshaastriya sangeet se liye gaye hain. aaj usi kaDee mein kuchh gaane aur sunaayunga. kai baar hamaare kuchh sangeet nirdeshak shaaastriya sangeet ya upshaastriya sangeet se prabhaavit hokar ke aise Khoobsoorat gaane banaaye hain jinmen kuchh apna alag andaaz ka rang paida huya. dadra, kajri, Thumri, chaiti andaaz ke swaron ko lekar ke, aisa hi bahut Khoobsoorat gaana hai, jismein shuruaat saarangi se huyi hai, aur gaane ki jo rooprekha hai, dono nishaad dono gandhaar istemaal huya hai, aur teen taal mein gaana hai, hai Thumri ke andaaz ka. film ka naam hai Ragini, sangeet nirdeshak hain O P Nayyar, aur gaayika hain Asha Bhosle.

Song: chhoTaa saa baalmaa (Ragini)

daadraa yaa Thumri ke kai andaaz hain. main aapko thoDaa bajaake sunaata hoon, (plays on Santoor), yeh jo swar hai, yeh jo ThaaT hai, bahut jagah istemaal huya hai. ek aisa hi gaana jo is kism ke swar pe banaa hai, woh hai film Bahurani se, sangeet nirdeshak hain C Ramchandra, aur gaayika hain Lata Mangeshkar. is gaane ke baad main aapko Thumri andaaz ka ‘composition’ main aapko sunvaayunga.

Song: balmaa anaaDi man bhaaye (Bahurani)

abhi aap sunen Ustad Bade Ghulam Ali Khan Sahab ki gaayi huyi yeh Thumri, jisse pehle waala gaana ‘inspire’ hoke banaaya gaya hai. yeh unki bahut mashashoor Thumri thi, koi bhi ‘programme’ hota tha, log unse farmaaish karte the ki Khan saahab, yeh Thumri zaroor sunaaiyega. “yaad piya ki aaye”, Ustad Bade Ghulam Ali Khan.

Song: yaad piya ki aaye (Thumri by Ustad Bade Ghulam Ali Khan)

END OF PART-13

PART-14

Pt Shiv Kumar Sharma plays a piece on Santoor. aapne pehchaana yeh kaun sa raag tha? yeh swar hai raag bhairavi ke. yehj aisa raag hai jisko sadaa suhaagan kahaa gaya hai. kyon bhalaa? kyonki ismein itne rang hain, aur waise to komal swaron ka raag hai, saare komal swar hain ismein, dekhiye, (plays on Santoor), lekin jan usko upshaastriya sangeet ke andaaz mein gaate hain, to baaki ke swar bhi istemaal ho jaate hain, jaise (plays on Santoor). kabhi kabhi baarah swaron ka istemaal ho jaata hai, aur iski bandishen jo hamaari shaastriya sangeet mein hai, Khayaal ke andaaz ke bhi hain, puraane bhi hain, aur Thumri, daadraa andaaz ke hain. aur is raag ka istemaal filmon mein bahut huya hai. aur bahut saare sangeet nirdeshakon ne apne apne andaaz se bhairavi ko sajaaya hai filmi gaano mein. main shuruaat karne jaa raha hoon, ek filmi gaana hai Basant Bahaar ka. bilkul shaastriya sangeet ke andaaz mein, usmein shuruaat bhi sitaar ke saath hoti hai, uski jhalak aapko milegi, aur gaane ke bol hain Thumri ke andaaz ke, “jaa jaa re jaa baalamwa”. aur teen taal mein shuruaat hoti hai, gaayika hain Lata Mangeshkar, aur sangeetkaar hain Shankar Jaikishan.

Song: jaa jaa re jaa baalamwa (Basant Bahaar)

is gaane ke baad main aapko sunaane jaa raha hoon ek aur Khoobsoorat bandish bhairavi ki. is bandish ki Khaaseeyat hi hai ki tantrakaari, jo ham ‘instrument’ bajaate hain, gad bajaate hain, yaa puraana hota hai, us andaaz ki bandish hai, aur Khaas shaastriya sangeet ki paddhati mein hai. aur bandish teen taal mein hi hai, aur usi andaaz mein usko jaise shaastriya sangeet mein ‘instrument’ ke upar, saaz ke upar gad bajaayi jaati hai, taraana gaaya jaata hai, waisa istemaal kiya gaya hai. sangeet nirdeshak hain Pt Ravishankar, film ka naam hai Anuradha, aur gaayika hain Lata Mangeshkar.

Song: saanvare saanvare (Anuradha)

ab ek aur aisa hi gaana suniye, yeh phir Thumri ke andaaz ka hai, aur bol bhi waise hi hain, hamaari Thumri ke jo andaaz hote hain, usmein braj bhaashaa ka istemaal hota hai, aur usi andaaz se swaron ko aur bolon ko liya gaya hai. sangeet nirdeshak hain C Ramchandra, gaayika Lata Mangeshkar aur film ka naam hai Devta.

Song: kaise aayun jamuna ke teer (Devta)

END OF PART-14

PART-15

Pt Shiv Kumar Sharma plays the tunes of “miTTi se khelte ho baar baar kisliye” and “kisi ne apna banaake mujhko” on Santoor. dekhiye bhairavi mein kitne rang hain, Khushi ka rang bhi ho sakta hai aur dard ka rang bhi ho sakta hai. aaj main phir aapko bhairavi se parichit karwaane jaa raha hoon. bhairavi jis tareeke se filmon mein istemaal huyi hai, aur jab bhairavi ka zikr hota hai to aksar Shankar Jaikishan ka zikr bhi hota hai. aaj main aapko do aise gaane sunaane jaa raha hoon, dono Shankar Jaikishan ke hain, aur inmein Khaas baat yeh hai ki pehla gaana dard ka gaana hai, aur doosra gaana Khushi ka gaana hai. lekin dono rangon ko bhairavi kis tarah se apna rang de rahi hai, wo aap mulaahiza farmaayen. pehla gaana film Patita se hai, “miTTi se khelte ho baar baar kisliye”, gaayika hain Lata Mangeshkar.

Song: miTTi se khelte ho baar baar kisliye (Patita)

dekhaa aapne kitna dard hai is gaane mein? aur iska antara kitna Khoobsoorat banaa hai! abhi isi film ka ek doosra gaana sunen jo Khushi ka ‘mood’ liye huye hai, lekin swar bhairavi ke hi hain. “kisi ne apna banaake mujhko”. gaayika hain Lata Mangeshkar aur ismein taal badal gaya hai. taal pehle gaane mein daadraa tha, ismein kaharwa hai, aur thoDaa uThaa huya lay mein kaharwa hai, aur Dholak ka bahut achchha istemaal huya hai.

Song: kisi ne apna banaake mujhko (Patita)

Shankar Jaikishan ke ye do andaaz ke gaano ke baad ant mein aaj aap sunenge ek gaana S D Burman ka. ismein bhi swar wahi hain, lekin ismein dekhiye andaaz unka alag ho gaya hai. aur ‘orchestration’ bhi alag Dhang ka hai. gaayak hain Talat Mahmood, film ka naam hai Taxi Driver.

Song: jaayen to jaayen kahaan (Taxi Driver)

END OF PART-15

PART-16

Pt Sharma plays a piece on Santoor. ab to aap pehchaan gaye honge ki ye bhairavi ke swar hain. lekin alag andaaz ke. ab tak ham aapko jo bhairavi sunaa rahe the, wo shaastriya sangeet ya upshaastriya sangeet ki thi, ye jo andaaz ke swar bhairavi ke hain, ye hamaare Arabian music mein, Persian music mein bhi istemaal hote hain yeh ThaaT, aur isi andaaz ka ek gaana Shankar Jaikishan ke andaaz ka banaa huya. film ka naam hai Awara, gaayika hain Lata Mangeshkar aur Chorus.

Song: ghar aaya mera pardesi (Awara)

sangeet nirdeshak Shankar Jaikishan ke gaano mein bhairavi ka bahut hi asar tha. unke bahut saare gaane isi raag par aadhaarit the, inhi swaron par, lekin alag alag andaaz mein. jo main agla gaana aapko sunaane jaa raha hoon, woh usi andaaz ka, filmi andaaz ka jismein bhairavi istemaal huyi hai, aur is gaane ki Khaaseeyat yahi hai ki gaana ‘sad song’ hai, dard hai usmein, lekin lay thoDi chaDhee huyi hai, aur Dholak baji huyi hai, lekin swar bhairavi ke hain. to dard usmein waise hi paida huya hai. gaane ke bol hain “tera jaana dil ke armaano ka luT jaana” film Anadi, gaayika hain Lata Mangeshkar.

Song: tera jaana dil ke armaano ka luT jaana (Anadi)

phir se suniyegaa bhairavi ka andaaz kuchh shaastriya sangeet ka rang liye huye. aur ismein Khaas baat gaane ki yeh hai ki ismein sarod ka bahut achchha istemaal huya hai, aur sarod vadak hain Ustad Ali Akbar Khan. gaana daadraa taal mein hai aur gaayika hain Lata Mangeshkar. ek alag andaaz ki bhairavi. aur sangeet nirdeshak Shankar Jaikishan.

Song: suno chhoTi si guDiya ki lambi kahaani (Seema)

END OF PART-16

PART-17

Pt Sharma plays a piece on Santoor. mujhe poora yakeen hai aap pehchaan gaye honge yeh kaun sa gaana hai! bahut puraani film ka gaana hai, Barsat. aur sangeetkaar hain Shankar Jaikishan. hamaari bhairavi ki jo yaatra, sangeetmay yaatra jo chal rahi hai, usi ke dauraan main aapko yeh gaana sunaane jaa raha hoon. dekhiye ismein, kaafi puraani film hai, ismein aap dekhenge ‘orchestration’ bahut hi ‘simple’ hai, aur jo taal ka istemaal huya hai, usmein bhi bahut ‘simplicity’ hai. daadraa taal hai, gaayika hain Lata Mangeshkar. gaane ke bol hain “barsaat mein hamse mile tum”.

Song: barsaat mein hamse mile tum (Barsat)

is gaane ke baad abhi ek doosra gaana aap sunenge, ismein andaaz daadraa ka hai, chhoTi chhoTi muDkiyen, harkaten usmein istemaal kee gayi hain jo sangeet nirdeshak Madan Mohan ka Khaas andaaz tha. aur ismein asthaai jo hai, dono gandhaar, ek ke saath ek ikaTThe istemaal huye hain. bahut Khoobsoorat lagte hain. gaane ke bol hain “qadar jaane naa mora baalam”. film ka ka naam hai Bhai Bhai.

Song: qadar jaane naa mora baalam (Bhai Bhai)

aaj ke ank ke antim mein ek aur bhairavi par aadhaarit gaana, sangeetkaar Shankar Jaikishan hain. bhairavi ThaaT mein se bhi kai raag nikle hain jinmein se ek raag hai bhopaal toDi. is gaane ki asthaai mein jo ‘crossline’ aati hai, usmein kuchh chhaaya bhopaal toDi raag ki hai. bahut hi Khoobsoorat gaana hai. is gaane mein jo taal vaadya ka istemaal huya hai, usmein naal ek taal vaadya hai jo bahut hi ‘prominently’ bajaa hai, taal kaharwa hai, film ka naam hai Basant Bahaar, gaayika hain Lata Mangeshkar, aur gaane ke bol hain “main piyaa teri”.

Song: main piyaa teri (Basant Bahaar)

END OF PART-17

PART-18

to aaiye phir se bhairavi ka zikr ho. bhairavi ke andaaz ham ab tak sun chuke hain, upshaastriya sangeet, shaastriya sangeet, filmi andaaz. bhairavi ka istemaal lok sangeet mein bhi huya hai aur Punjab mein in swaron ka kaafi istemaal huya. wahaan ke lok sangeet mein. swar wahi hote hain, lehja badal jaata hai aur uska rang badal jaata hai. thoDe se us kism ke swar sunen (plays piece on Santoor). yeh swar jo hai, jaise aap ne heer suni hogi, ya aur bhi kai lok geet Punjab mein hai jinmein in swaron ka istemaal hota hai. main aapko isi prakaar ke swaron par aadhaarit gaana sunaane jaa raha hoon. gaane ke bol hain “jeet hi lenge baazi ham tum”, film ka naam hai Shola Aur Shabnam, sangeetkaar hain Khayyam. dekhiye, gaane ki jo shuruaat hoti hai, usmein ‘piano’ bajaaya huya hai. aur ‘piano’ ke saath mein jab gaana shuru hota hai, kis tareeke se gaana ‘piano’ mein mil jaata hai, aur baad mein ‘interlude music’ mein ‘piano’ bhi hai aur ‘strings’ bhi hai. taal daadraa hai aur Dholak ka istemaal huya hai. mulaahiza farmaayen.

Song: jeet hi lenge baazi ham tum (Shola Aur Shabnam)

filmi sangeet mein samay ke saath saath bahut tabdiliyaan huyeen, aur unmein Khaas tabdili hai ‘orchestration’ ka istemaal. pehle gaano mein, puraane gaano mein jab ham sunte hain, to ‘simple rhythm’ aur gaana, aur saath mein jo saaz hote hain woh gaana hi bajaate hain. par baad mein jo tabdili aayi, ismein ‘arrangement orchestra’ ka, obligatoes, aur gaana jab chal raha hai, uske saath mein ‘chords’ ka istemaal ho raha hai. is kism ka ek gaana suniye, bhairavi par hi adhaarit hai. iski shuriaat poore ‘orchestra’ ke saath hoti hai, aur iska ‘rhythm’ jo hai, ‘waltz’ ke andaaz ka ‘rhythm’ hai, jo hamaare bhaaratiya sangeet mein usko daadraa kehte hain. aur paarshwa sangeet mein, ‘interlude music’ mein ‘saxophone’ ka, jo ki ek videshi saaz hai, uska istemaal huya hai, aur bahut achchhe Dhang se huya hai. aur gaane ke bol hain “mujhko is raat ki tanhaai mein aawaaz na do”, sangeetkaar Kalyanji Anandji, aur gaayak Mukesh.

Song: mujhko is raat ki tanhaai mein (DBTHBT)

bhairavi mein 12 hi swar sitemaal ho jaate hain aur doosri baat ki bhairavi hamaare bhaarat ke alaawa aur deshon mein bhi istemaal hoti hai jaise Arabian countries mein. uska ek namoona dekhiye, bahut hi laajawaab ‘composition’ hai, jismein shuruaat jo hai woh Arabian music ki andaaz ka hai, ‘bongo’ ka istemaal huya hai, kuchh ‘dance’ ke tarah ka ‘rhythm’ hai, aur usmein se gaana nikalta hai, aur gaane mein bhi komal, teevra, bahut saare swar lage hain, bhairavi ke andaaz se aur Arabian ‘music’ ke andaaz se bhi. lekin usmein jo Thekaa baj raha hai, woh tablaa hi hai, lekin usko bahut jald, ‘fast’ tareeke se bajaaya gaya hai. aur gaane mein jo ‘orchestration’ hai usmein bhi asar hai ARabian music ka. bahut Khoobsoorat bandish hai, ‘composer’ hain Khayyam, film ka naam hai Lala Rukh, aur gaayak Mohd Rafi.

Song: hai kali kali ke lab pe (Lala Rukh)

END OF PART-18

PART-19

Pt Sharma plays a piece on Santoor. pataa hai aapko yeh kaun sa gaana hai? bahut achchha gaana hai yeh. bahut hi puraani film ka aur baDaa hi dard bhara gaana hai. film ka naam hai Deedar, gaane ke bol hain “dekh liya maine saajan tera naata dekh liya”. aur wahi swar bhairavi ke, aur andaaz Naushad. is gaane ke gaayak hain Mohd Rafi aur Lata Mangeshkar. mulaahiza farmaayen.

Song: dekh liya maine saajan tera naata (Deedar)

bhairavi par aadhaarit alag alag gaano aap suniye, jo kuchh ‘gap’ ke baad ‘compose’ kiye gaye hon to usmein aapko ek alag kism ka mazaa aata hai ki raag ya swar wahi hain, lekin ‘situations’ alag hain aur samay ka bhi ismein ‘gap’ hai. to alag andaaz ke gaane ban jaate hain. bhairavi ka hi gaana hai, Naushad ne hi ‘compose’ kiya huya hai. bhaivari ka hi ek ang, daadraa mein ‘compose’ kiya huya, film ka naam hai Ganga Jamuna aur gaayika hain Lata Mangeshkar. bahut ‘hit song’ tha, “do hanson ka joDaa bichhaD gayo re”. is gaane mein Khoobi yeh hai ki ismein saarangi ka bahut Khoobsoorat istemaal huya hai, aur Pt Ram Narayan ji ne bahut hi Khoobsoorat andaaz mein saarangi bajaaye hain.

Song: do hanson ka joDaa (Ganga Jamuna)

bhairavi ThaaT se bahut saare raag paida huye hain. unmein se ek rag hai malkons. ab main aapko ek aisa gaana sunaane jaa raha hoon, jiski shuruaat aalaap ke saath hoti hai, aur aalaap ke jo swar hain woh raag malkons ke swaron se shuru hoti hai, baad mein aalaap Khatam hota hai pancham swar ke upar aakar ke jo malkons mein naheen lagtaa. aur wahaan se bhairavi ban jaati hai. aur phir aage poora gaana bhairavi mein chalta hai. yeh bahut hi sundar gaana hai, sangeetkaar hain Shankar Jaikishan, film ka nam hai Aah, aur gaayika hain Lata Mangeshkar.

Song: raja ki aayegi baaraat (Aah)

END OF PART-19

PART-20

bhairavi raag ke swaron ne bahut saare sanget nirdeshakon ko aakarshit kiya hai. mere Khayaal se koi bhi aisa sangeet nirdeshak naheen hogaa jisne bhairavi mein gaana na banaaya ho. aur kai baar aisa hota hai ki ek hi andaaz ke swar do alag alag ‘composers’ ko achchhe lagte hain, aur wo apne andaaz se unko banaate hain. aisi ek misaal main aapko dene jaa raha hoon. do gaane, unke swaron ka andaaz bhi wahi hai, aur taal bhi wahi hai, aap sunen, pehla gaana hai film Sangdil ka, sangeet nirdeshak hain Sajjad Hussain, aur gaane ke bol ke bol hain “yeh hawaa yeh raat yeh chaandni”, gaayak hain Talat Mahmood.

Song: yeh hawaa yeh raat yeh chaandni (Sangdil)

ab doosre geet mein bhi sangeetkaar Madan Mohan ne isi andaaz ka bahut Khoob ‘composition’ kiya hai aur taal bhi wahi hai pehle gaane ka jo aapne sunaa, deepchandi, yaa rupak keh len usko jab Dholak bajtaa hai to. aur is gaane mein bhi wahi taal hai aur sur bhi usi andaaz ke hain, lekin rang alag hai. film ka naam hai Akhiri Dao, aur gaane ke bol hain “tujhe kya sunaayun ae dilrubaa”, aur gaayak hain Mohd Rafi.

Song: tujhe kya sunaayun ae dilrubaa (Akhiri Dao)

ab ant mein suniye film Mere Mehboob ka gaana. raag bhairavi par aadhaarit. sangeet nirdeshak hain Naushad, aur gaane ke bol hain “yaad mein teri jaag jaag ke ham”.

Song: yaad mein teri jaag jaag ke ham (Mere Mehboob)

END OF PART-20

PART-21

Pt Shiv Kumar Sharma plays ‘heer’ on Santoor. kya asar hai bhairavi ke swaron mein! agar aap mere se yeh poochhen ki mera priya raag pahaaDi hai yaa bhairavi hai, bataana bahut mushkil hoga. meri paidaaish Jammu ki hai, aur bachpan se, jab se maine hosh sambhaala hai, main in swaron ko sunte aaya hoon. Jammu ka sab lok sangeet pahaaDi ke swaron mein hai, aur saath saath wahaan ke lok sangeet mein bhairavi bhi hai. shaadi byaah mein bahut se aise gaane aate hain jismein bhairavi ke swaron ka istemaal hota hai. main bachpan mein ghar mein baiTh ke apne sangeet ka riyaaz karta tha, shaastriya sangeet ka, aur jab waqt milta tha to woh kuch bhi gaata tha jo maa gaati thi shaadi byaah ke gaane. usi prakaar ke gaane. unmein bhairavi istemaal hota tha. aur Punjab mein heer bahut gaayi gayi. jaan hai wahaan ke lok sangeet ki. usko bhi bahut sunaa. to ye sab, jisko kehte hain jaise jaise baDe hote chale gaye, poori shaKhseeyat pe wo sur baiThte chale gaye. aur jab bhi ye swar sunne ko milte hain, yaa bajaane baiThte hain, to sab kuchh bhool jaate hain. abhi in swaron ka istemaal ham apne kaaryakram mein bhi karte rahe hain, beech mein aisa waqt aaya ki film ke liye sangeet nirdeshan shuru kiya, aur usmein bhi maine koshish ye kee ki apne lok sangeet ki jo bhi dhaara mere andar pravaahit ho rahi hai, uska istemaal kiya jaaye aur uska mauka bhi milaa. ab dekhiye bhairavi mein itne andaaz hain, abhi aap sun rahe the yeh swar, yeh swar heer kehte hain. ismein soz hai, ismein dard hai. lekin bhairavi mein aise bhi andaaz hain jismein Khushi, chheD-chhaaD, aur alhaDpan, wo bhi aata hai. dekhiye ek aisa hi andaaz jo lok sangeet mein hamaare wahaan par hai, (Pt Sharma plays “mere haathon mein nau nau chooDiyaan hai” on Santoor). yeh bhi bhairavi ke swar hain, lekin aap dekhenge ki ‘mood’ badal gaya. ‘mood’ kaise badal gayaa? uska taal badal gaya aur saath mein lay badal gayi. ‘mood’ ko badalne ke liye taal aur lay ka bahut baDaa haath hota hai. wahi swaron ko jab ham dheere bajaate hain, vilambit lay mein kar dete hain to alag ho jaata hai. ek aisa mauka aaya, ek hamaari film thi Chaandni, usmein ek aisi ‘situation’ thi, shaadi ki ‘situation’ thi, jismein hone waali dulhan ko sangeet ki rasm mein uski sakhiyaan chheD rahi hain. to ismein Khushi ka rang hai, gaana ‘fast’ hai, ‘mood’ hi badal gaya hai. Lata Mangeshkar aur saathiyon ki aawaazon mein yeh hai “mere haathon mein nau nau chooDiyaan hai”. aaiye sunte hain is geet ko.

Song: mere haathon mein nau nau chooDiyaan hai (Chaandni)

abhi aapne sunaa bhairavi mein lok sangeet mein chheD chhaaD ka andaaz. abhi is kaaryakram ka antim gaanaa, main aapko heer sunaane jaa raha hoon. heer bahut hi prachalit lok geet hai, jiska bahut istemaal huya hai, aur jab jis cheez ka bahut istemaal ho chuka hota hai, usko film mein laana aur usko ek naya roop denaa bahut baDaa ‘challenge’ hota hai. aur sangeet nirdeshak Madan Mohan ne is ‘challenge’ ko baDi Khoobi se nibhaaya hai film Heer Ranjha mein is heer ke saath. ismein unhone isko taal mein baandhaa hai, saat maatraa ke taal mein, aur Lata Mangeshkar ki aawaaz ne ismein jaan Daal dee hai. mulaahiza farmaayen Heer Ranjha film ki unki gaayi huyi heer, bol hain “Doli chaDhte hi heer ne bain kiye”.

Song: Doli chaDhte hi heer ne bain kiye (Heer Ranjha)

yeh sunkar dil bhaari ho jaataa hai kyonki ek aise dil ki pukaar hai jo sab kuchh chhoD ke chali gayi. aaj itne din se aap se yeh mulaakaat hamaari bhi chal rahi thi, aur aaj alvidaa kehne ka waqt aa gaya hai, lekin yeh alvidaa thoDe din ke liye hai, phir kisi din aap se mulaakaat hogi aur isi Sangeet Sarita ke maadhyam se, sab ko meri alvidaa, namaskaar!

END OF PART-21

END OF SERIES

PRODUCED BY: CHHAYA GANGULY

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