Hindi film
Devdas (2002)
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
- BhinashadajBairi Piya · 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: “बैरी पिया | देवदास | 2002 | इस्माइल दरबार | भिन्न षडज+ हेमंत+ चारुकेशी+ माँझ खमाज”.
- HemantBairi Piya · 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: “बैरी पिया | देवदास | 2002 | इस्माइल दरबार | भिन्न षडज+ हेमंत+ चारुकेशी+ माँझ खमाज”.
- CharukesiBairi Piya · 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: “बैरी पिया | देवदास | 2002 | इस्माइल दरबार | भिन्न षडज+ हेमंत+ चारुकेशी+ माँझ खमाज”.
- Manj KhammajBairi Piya · 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: “बैरी पिया | देवदास | 2002 | इस्माइल दरबार | भिन्न षडज+ हेमंत+ चारुकेशी+ माँझ खमाज”.
- ChandrakaunsDola Re Dola · 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: “7.5.2 Ḍolā re Devdas (2002) Ismail Darbar Caṅdrakauns śṛṅgāra”.
- Madhmad SarangDola Re Dola · 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: “डोला रे डोला | देवदास | 2002 | इस्माइल दरबार | मधमाद सारंग+ मेघ”.
- MeghDola Re Dola · 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: “डोला रे डोला | देवदास | 2002 | इस्माइल दरबार | मधमाद सारंग+ मेघ”.
- HamsadhwaniHamesha Tumko Chaha · 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: “Bearing in mind the mood of the sequence, it is surprising to note that Darbar composed the song, based essentially on a rather sprightly and cheerful rāga Haṁsadhwanī, with shades of another rāga Śankarā.”.
- ShankaraHamesha Tumko Chaha · 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: “Bearing in mind the mood of the sequence, it is surprising to note that Darbar composed the song, based essentially on a rather sprightly and cheerful rāga Haṁsadhwanī, with shades of another rāga Śankarā.”.
- YamanHamesha Tumko Chaha · 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: “This tīvra madhyam, which gives an impression of rāga Yaman for a momentary phase, enhances the flavour of sadness and subtle devotion depicted in the eyes of Paro and Devdas.”.
- Maru BihagHamesha Tumko Chaha · 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: “हमेशा तुमको चाहा | देवदास | 2002 | इस्माइल दरबार | मारुबिहाग+ पूरिया धनाश्री+ पूरिया कल्याण+ यमन+ पहाड़ी+ चारुकेशी”.
- Puria DhanashriHamesha Tumko Chaha · 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: “हमेशा तुमको चाहा | देवदास | 2002 | इस्माइल दरबार | मारुबिहाग+ पूरिया धनाश्री+ पूरिया कल्याण+ यमन+ पहाड़ी+ चारुकेशी”.
- Puriya KalyanHamesha Tumko Chaha · 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: “हमेशा तुमको चाहा | देवदास | 2002 | इस्माइल दरबार | मारुबिहाग+ पूरिया धनाश्री+ पूरिया कल्याण+ यमन+ पहाड़ी+ चारुकेशी”.
- PahadiHamesha Tumko Chaha · 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: “हमेशा तुमको चाहा | देवदास | 2002 | इस्माइल दरबार | मारुबिहाग+ पूरिया धनाश्री+ पूरिया कल्याण+ यमन+ पहाड़ी+ चारुकेशी”.
- CharukesiHamesha Tumko Chaha · 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: “हमेशा तुमको चाहा | देवदास | 2002 | इस्माइल दरबार | मारुबिहाग+ पूरिया धनाश्री+ पूरिया कल्याण+ यमन+ पहाड़ी+ चारुकेशी”.
- ParajKaahe Chhed · 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: “He explained that he chose the rāga Paraj because the sequence was set in the backdrop of the spring season.”.
- BasantKaahe Chhed · 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. | देवदास | 2003 | इस्माइल दरबार | काहे छेड़–छेड़....”.
- Puria DhanashriKaahe Chhed · 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: “काहे छेड़ छेड़ मोहे | देवदास | 2002 | इस्माइल दरबार | पूरिया धनाश्री+ बसंत+ परज”.
- KirwaniMaar Daala · 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: “मार डाला | देवदास | 2002 | इस्माइल दरबार | किरवानी+ नट भैरवी+ जौनपुरी”.
- Nat BhairaviMaar Daala · 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: “मार डाला | देवदास | 2002 | इस्माइल दरबार | किरवानी+ नट भैरवी+ जौनपुरी”.
- JaunpuriMaar Daala · 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: “मार डाला | देवदास | 2002 | इस्माइल दरबार | किरवानी+ नट भैरवी+ जौनपुरी”.
- KirwaniSilsila Ye Chahat Ka · 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: “The song is composed in rāga Kirwānī.”.
- Miśr PīlūSilsila Ye Chahat Ka · 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: “However, from 00:11:46 to 00:13:00, the focus of the melody shifts completely from Kirwānī to a combination of notes close to rāga Miśr Pīlū.”.
- PiluSilsila Ye Chahat Ka · 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: “7.5.2 Silsilā ye cāhat kā Devdas (2002) Ismail Darbar Kirwanī, Pīlū śṛṅgāra, karuṇa, adbhuta bhayānaka”.
- Darbari KanadaSilsila Ye Chahat Ka · 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: “सिलसिला ये | देवदास | 2002 | इस्माइल दरबार | दरबारी+ मधुवंती+ पूरिया धनाश्री+ किरवानी+ नट भैरवी”.
- MadhuvantiSilsila Ye Chahat Ka · 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: “सिलसिला ये | देवदास | 2002 | इस्माइल दरबार | दरबारी+ मधुवंती+ पूरिया धनाश्री+ किरवानी+ नट भैरवी”.
- Puria DhanashriSilsila Ye Chahat Ka · 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: “सिलसिला ये | देवदास | 2002 | इस्माइल दरबार | दरबारी+ मधुवंती+ पूरिया धनाश्री+ किरवानी+ नट भैरवी”.
- Nat BhairaviSilsila Ye Chahat Ka · 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: “सिलसिला ये | देवदास | 2002 | इस्माइल दरबार | दरबारी+ मधुवंती+ पूरिया धनाश्री+ किरवानी+ नट भैरवी”.