Hindi film
Dastak (1970)
5 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
- CharukesiBainya Na Dharo · 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: “Charukeshi”.
- CharukesiBaiyan N Dharo O Balama · 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: “सन् 1970 में बनी फ़िल्म ‘दस्तक’ का सबसे प्रशंसित गीत है-राग चारूकेशी पर आधारित ‘बैयां न धरो ओ बलमा’।”.
- KhamajBaiyan N Dharo O Balama · 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: “पर आधारित ‘बैयां न धरो ओ बलमा’। इस गीत में मदन मोहन जी ने खमाज, श्याम कल्याण एवं शुद्ध सारंग रागों का भी प्रयोग किया है।”.
- Shyam KalyanBaiyan N Dharo O Balama · 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: “पर आधारित ‘बैयां न धरो ओ बलमा’। इस गीत में मदन मोहन जी ने खमाज, श्याम कल्याण एवं शुद्ध सारंग रागों का भी प्रयोग किया है।”.
- Shuddha SarangBaiyan N Dharo O Balama · 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: “पर आधारित ‘बैयां न धरो ओ बलमा’। इस गीत में मदन मोहन जी ने खमाज, श्याम कल्याण एवं शुद्ध सारंग रागों का भी प्रयोग किया है।”.
- BhairaviHum haĩ matā-e-kūcā-o-bāzār kī tarah · 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: “Here, Madan Mohan deploys rāga Bhairavī to create a unique melody without disturbing its grammatical borders.”.
- KhamajMaee Ri Main Kase Kahun Pir · 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: “और एक लोकप्रिय गीत है-‘माई री मैं कासे कहूँ पीर’ इस गीत में उन्होंने अनेक रागों का प्रयोग किया है-खमाज, पूरिया कल्याण, पूरिया धनाश्री, मारू बिहाग, पहाड़ी।”.
- Puriya KalyanMaee Ri Main Kase Kahun Pir · 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: “और एक लोकप्रिय गीत है-‘माई री मैं कासे कहूँ पीर’ इस गीत में उन्होंने अनेक रागों का प्रयोग किया है-खमाज, पूरिया कल्याण, पूरिया धनाश्री, मारू बिहाग, पहाड़ी।”.
- Puria DhanashriMaee Ri Main Kase Kahun Pir · 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: “और एक लोकप्रिय गीत है-‘माई री मैं कासे कहूँ पीर’ इस गीत में उन्होंने अनेक रागों का प्रयोग किया है-खमाज, पूरिया कल्याण, पूरिया धनाश्री, मारू बिहाग, पहाड़ी।”.
- Maru BihagMaee Ri Main Kase Kahun Pir · 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: “और एक लोकप्रिय गीत है-‘माई री मैं कासे कहूँ पीर’ इस गीत में उन्होंने अनेक रागों का प्रयोग किया है-खमाज, पूरिया कल्याण, पूरिया धनाश्री, मारू बिहाग, पहाड़ी।”.
- PahadiMaee Ri Main Kase Kahun Pir · 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: “और एक लोकप्रिय गीत है-‘माई री मैं कासे कहूँ पीर’ इस गीत में उन्होंने अनेक रागों का प्रयोग किया है-खमाज, पूरिया कल्याण, पूरिया धनाश्री, मारू बिहाग, पहाड़ी।”.
- BageshriMaee Ri Main Kase Kahun Pir · 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: “37 बागेश्वरी पर आधारित ‘माई री मैं कासे कहूंूँ पीर अपने पिया की’ की पीर तो अद्भुत है, और लता से भी अधिक यह मदन मोहन के गाए इस गीत के टमतेपवद में उभरी है।”.
- BhinashadajMaee Ri Main Kase Kahun Pir · 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: “मूलतः यह गीत बागेश्री, भिन्नषड्ज, पूर्वी तथा मारवा को मिश्रित कर बनाया गया है।”.
- PurviMaee Ri Main Kase Kahun Pir · 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: “मूलतः यह गीत बागेश्री, भिन्नषड्ज, पूर्वी तथा मारवा को मिश्रित कर बनाया गया है।”.
- MarwaMaee Ri Main Kase Kahun Pir · 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: “मूलतः यह गीत बागेश्री, भिन्नषड्ज, पूर्वी तथा मारवा को मिश्रित कर बनाया गया है।”.