Hindi film
Anuradha (1960)
4 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
- JanasamohaniHaye Re Wo Din Kyun Naa aaye · 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: “गीत के बोल : हाय रे वो दिन क्यों ना आये; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : जनसम्मोहिनी, रूपक ताल।”.
- KalavatiHaye Re Wo Din Kyun Naa aaye · 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: “2. गीत–हाय रे वो दिन क्यूं ना आये फिल्म–अनुराधा (1960) संगीत निर्देशक–पंडित रवि शंकर”.
- Mishra KalavatiHaye Re Wo Din Kyun Naa aaye · 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: “इस कारण इसे मिश्र कलावती कहें तो अतिशयोक्ति नहीं होगी।”.
- Tilak ShyamJaane Kaise Sapanon Main Kho Gayi Ankhiyan · 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: “तिलक श्याम एवं खमाज राग पर आधारित ‘जाने कैसे सपनों में’ 3- माँझ खमाज राग पर आधारित ‘कैसे दिन बीते’ 4- जनसम्मोहिनी राग पर आधारित ‘हाय रे वो दिन’।”.
- KhamajJaane Kaise Sapanon Main Kho Gayi Ankhiyan · 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: “तिलक श्याम एवं खमाज राग पर आधारित ‘जाने कैसे सपनों में’ 3- माँझ खमाज राग पर आधारित ‘कैसे दिन बीते’ 4- जनसम्मोहिनी राग पर आधारित ‘हाय रे वो दिन’।”.
- Manj KhammajKaise Dina Bite Kaise Biti Ratiyan Piya Jane Na · 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: “गीत के बोल : कैसे दिन बीते, कैसे बीती रतियाँ; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : खमाज+माँझ खमाज, दादरा+कहरवा।”.
- KhamajKaise Dina Bite Kaise Biti Ratiyan Piya Jane Na · 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: “गीत के बोल : कैसे दिन बीते, कैसे बीती रतियाँ; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : खमाज+माँझ खमाज, दादरा+कहरवा।”.
- JhinjhotiKaise Dina Bite Kaise Biti Ratiyan Piya Jane Na · 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 (influence); not a note-by-note check unless reviewed. Label: “यदि इस गीत की धुन की ओर ध्यान करें तो यह गीत ‘राग खमाज’ पर आधारित एक सुन्दर रचना है। कहीं कहीं राग झिंझोटी की छाया भी देखने को मिलती है।”.
- BhairaviSanvare Sanvare · 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: “Ravi Shankar‘s classic from ANURADHA (1960): sanware sanware.”.
- Sindhu BhairaviSanvare Sanvare · 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: “फ़िल्म का नाम : अनुराधा (1960); गीेत के बोल : साँवरें-साँवरें; गायक कलाकार : लता मंगेशकर; संगीत निर्देशक : पंडित रवि शंकर; प्रयुक्त राग एवं ताल : सिंधु भैरवी, तीनताल।”.