Hindi film
Abhimaan (1973)
6 songs from this film are in Ragapedia's catalogue. Credits come from catalogue metadata; a raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary is shown only where a checked source names it.
Songs
Reported raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary
- PiluNadiya Kinare Harayee Aayee Kangna · not yet reviewed by a musician
Source states the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary (whole song); not a note-by-note check unless reviewed. Label: “गाया राग पीलू पर आधारित ‘नदिया किनारे हेराय आई कंगना’ गीत को सुनने से एक स्वर्ग की अनुभूति होती है।”.
- Miśr PīlūNadiya Kinare Harayee Aayee Kangna · not yet reviewed by a musician
Source states the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary (whole song); not a note-by-note check unless reviewed. Label: “यह गीत मुख्य रूप से राग मिश्र पीलू पर आधारित है तथा दादरा ताल में निबद्ध है।”.
- KhamajTere Mere Milan Ki Ye Raina · not yet reviewed by a musician
Source states the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary (whole song); not a note-by-note check unless reviewed. Label: “प्रस्तुत गीत : खमाज राग एवं रूपक ताल पर आधारित इस गीत का भावपक्ष काफी सुंदर है।”.
- Mishra KhamajTere Mere Milan Ki Ye Raina · not yet reviewed by a musician
Source states the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary (whole song); not a note-by-note check unless reviewed. Label: “राग मिश्र खमाज पर आधारित गीत ‘तेरे मेरे मिलन की ये रैना’, लता एवं किशोर द्वारा गाया काफी लोकप्रिय युगल गीत है।”.
- BhairaviLoote Koi Man Ka Nagar · not yet reviewed by a musician
Source states the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary (whole song); not a note-by-note check unless reviewed. Label: “भैरवी राग पर आधारित गीत ‘लूटे कोई मन का नगर’ (लता) गीत भी लोकप्रिय रहा।”.
- PahadiPiya Bina Piya Bina · not yet reviewed by a musician
Source states the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary (whole song); not a note-by-note check unless reviewed. Label: “पहाड़ी के स्वरों में बना गीत ‘पिया बिना पिया बिना’ (लता) की धुन भी श्रोताओं को काफी अभिभूत करती है।”.
- GaraTeri Bindiya Re (with Dialogues) · not yet reviewed by a musician
Source states the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary (mixed); not a note-by-note check unless reviewed. Label: “रफ़ी द्वारा गाया गीत ‘तेरी बिंदिया रे आय हाय’ में गारा, जयजयवंती, मध्यमाद सारंग एवं पीलू रागों का प्रयोग संवेदना से मिश्रित भावों का संचार करता है।”.
- JaijaivantiTeri Bindiya Re (with Dialogues) · not yet reviewed by a musician
Source states the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary (mixed); not a note-by-note check unless reviewed. Label: “रफ़ी द्वारा गाया गीत ‘तेरी बिंदिया रे आय हाय’ में गारा, जयजयवंती, मध्यमाद सारंग एवं पीलू रागों का प्रयोग संवेदना से मिश्रित भावों का संचार करता है।”.
- Madhmad SarangTeri Bindiya Re (with Dialogues) · not yet reviewed by a musician
Source states the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary (mixed); not a note-by-note check unless reviewed. Label: “रफ़ी द्वारा गाया गीत ‘तेरी बिंदिया रे आय हाय’ में गारा, जयजयवंती, मध्यमाद सारंग एवं पीलू रागों का प्रयोग संवेदना से मिश्रित भावों का संचार करता है।”.
- PiluTeri Bindiya Re (with Dialogues) · not yet reviewed by a musician
Source states the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary (mixed); not a note-by-note check unless reviewed. Label: “रफ़ी द्वारा गाया गीत ‘तेरी बिंदिया रे आय हाय’ में गारा, जयजयवंती, मध्यमाद सारंग एवं पीलू रागों का प्रयोग संवेदना से मिश्रित भावों का संचार करता है।”.