Hindi film
Bawarchi (1972)
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
- Alhaiya BilawalBhor Ayi, Gaya Andhiyara · 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 : भोर आई गया अँधियारा; गायक कलाकार : मन्ना डे, लक्ष्मी शंकर एवं निर्मला देवी; संगीत निर्देशक : मदन मोहन; प्रयुक्त राग एवं ताल : अल्हैया बिलावल, तीनताल+अद्धा।”.
- BilawalBhor Ayi, Gaya Andhiyara · 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: “Full-length compositions in the ‘light’ genres with complete fidelity to Bilawal are uncommon. We inaugurate the proceedings with Madan Mohan‘s composition from BAWARCHI (1972), rendered by Manna Dey, Lakshmi Shankar and Nirmala Devi: bhor aayi gaya andhiyara.”.
- KhamajBhor Ayi, Gaya Andhiyara · 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 : धरती भी झूमे; प्रयुक्त राग एवं ताल : खमाज, तीनताल।”.
- Maru BihagBhor Ayi, Gaya Andhiyara · 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 : देखो कहता है तुमसे सवेरा; गायक कलाकार : मन्ना डे, लक्ष्मी शंकर एवं निर्मला देवी; प्रयुक्त राग एवं ताल :मारू बिहाग, कहरवा।”.
- Nat BhairaviBhor Ayi, Gaya Andhiyara · 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 : हे गुड मार्निंग; गायक कलाकार : किशोर कुमार; प्रयुक्त राग एवं ताल : नट भैरवी, कहरवा।”.
- HamsadhwaniBhor Ayi, Gaya Andhiyara · 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 : आई पनियाँ भरन की बेला; गायक कलाकार : लक्ष्मी शंकर एवं निर्मला देवी; प्रयुक्त राग एवं ताल : हंसध्वनि, तीनताल।”.
- DhaniBhor Ayi, Gaya Andhiyara · 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 : भोर आई गया अंधियारा (रागमालिका); गायक कलाकार : मन्ना डे, लक्ष्मी शंकर, निर्मला देवी, किशोर कुमार, हरेन्द्र नाथ चट्टोपाध्याय; प्रयुक्त राग एवं ताल : अल्हैया बिलावल + खमाज + मारूबिहाग+नटभैरवी+धानी+हंसध्वनि, तीनताल+अद्धा तीनताल+कहरवा।”.
- BhinashadajTum Bin Jeevan Kaise Jeevan, Phul Khile to Dil Murajhaaye · 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 (section); not a note-by-note check unless reviewed. Label: “Movie: BAWARCHI (1972), Composer: Madan Mohan, Voice: Manna Dey. The asthai is of interest to us, the antara strays elsewhere: tuma bina jeevana kaisa jeevana.”.
- Kaushik DhwaniTum Bin Jeevan Kaise Jeevan, Phul Khile to Dil Murajhaaye · 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 : तुम बिन जीवन कैसा जीवन; गायक कलाकार : मन्ना डे; प्रयुक्त राग एवं ताल : कौशिक ध्वनि+चारूकेशी+नटभैरव अद्धा तीनताल।”.
- CharukesiTum Bin Jeevan Kaise Jeevan, Phul Khile to Dil Murajhaaye · 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 : तुम बिन जीवन कैसा जीवन; गायक कलाकार : मन्ना डे; प्रयुक्त राग एवं ताल : कौशिक ध्वनि+चारूकेशी+नटभैरव अद्धा तीनताल।”.
- Nat BhairaviTum Bin Jeevan Kaise Jeevan, Phul Khile to Dil Murajhaaye · 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 : तुम बिन जीवन कैसा जीवन; गायक कलाकार : मन्ना डे; प्रयुक्त राग एवं ताल : कौशिक ध्वनि+चारूकेशी+नटभैरव अद्धा तीनताल।”.
- Mishra ShadjaTum Bin Jeevan Kaise Jeevan, Phul Khile to Dil Murajhaaye · 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: “रिषभ का अवरोह में प्रयोग होने के कारण हम इसे मिश्र षड्ज कह सकते हैं, परन्तु इस गीत का आधार राग हम भिन्न षड्ज को कह सकते हैं।”.
- RageshriTum Bin Jeevan Kaise Jeevan, Phul Khile to Dil Murajhaaye · 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: “14 भिन्न षड्ज और कौशिक तथा रागेश्री की छाया लिए ‘तुम बिन जीवन कैसा जीवन’ (मन्ना डे) का कविता जैसा सांैदर्य, लावणी की शैली की छाया लिए ‘पहलो चोरी फिर सीना जोरी’ (कुमारी फैयाज़), ठुमरी शैली में ‘काहे कान्हा करत बरजोरी’ (लक्ष्मीशंकर), लक्ष्मीशंकर, निर्मला देवी जैसी”.
- Manj KhammajKahe Kanha Karat Barjori · 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 : काहे कान्हा करत बरजोरी; गायक कलाकार : लक्ष्मी शंकर; प्रयुक्त राग एवं ताल : माँझ खमाज+वृन्दावनी सारंग, तीनताल+कहरवा।”.
- Brindavani SarangKahe Kanha Karat Barjori · 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 : काहे कान्हा करत बरजोरी; गायक कलाकार : लक्ष्मी शंकर; प्रयुक्त राग एवं ताल : माँझ खमाज+वृन्दावनी सारंग, तीनताल+कहरवा।”.
- KhamajKahe Kanha Karat Barjori · 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: “5. | काहे कान्हा करत बरजोरी...... | बावर्ची | 1972 | लक्ष्मीशंकर | मदन मोहन | गुलज़ार”.
- Des MalharMore Naina Bahayen Neer · 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 : मोरे नैना बहाए नीर; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : देश मल्हार+पीलू+गौड़ मल्हार, दादरा।”.
- PiluMore Naina Bahayen Neer · 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 : मोरे नैना बहाए नीर; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : देश मल्हार+पीलू+गौड़ मल्हार, दादरा।”.
- Gaur MalharMore Naina Bahayen Neer · 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 : मोरे नैना बहाए नीर; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : देश मल्हार+पीलू+गौड़ मल्हार, दादरा।”.
- Nat BhairaviMore Naina Bahayen Neer · 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: “न्द्रनाथ, साथी), और गौड़ मल्हार तथा नट भैरवी जैसे सुरों को लोकर सृजित लाजवाब शास्त्रीय रचना ‘मोहे नैन बहाएँ नीर’ (लता) ‘बावर्ची’ के कम चर्चित साउंडट्रैक को मदन मोहन विधिक कलात्मक पहलू के रूप में बखूबी प्रस्तुत करते हैं।”.