Hindi film
Jahan Ara (1964)
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
- ChayanatBaad Muddat Ki Yeh Ghadi Ayi · 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: “Composer Madan Mohan had few peers in the art of wrapping tune around verse as witness this beautiful creation from JAHAN ARA (1964) rendered by Mohammad Rafi and Suman Kalyanpur. The mukhda is textbook Chhayanat: baad muddat ke yeh ghadi aayi.”.
- Mian Ki MalharHaal-E-Dil Yun Unhe · 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: “लता के स्वर में मियाँ की मल्हार आधारित ‘हालो दिल यूँ उन्हें सुनाया गया’ की भंगिमा अगर अलग थी तो ‘वो चुप रहें तो मेरे दिल के दाग़ जलते हैं’ तो मुगलिया वैभव के अनुरूप उतनी ही शानदार प्रस्तुति रही।”.
- GaraJab Jab Tumhe Bhulaya, Tum Aur Yaad 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: “राग गारा में ‘जब जब तुम्हें भुलाया तुम और याद आए‘ लता और आशा के सर्वश्रेष्ठ युगल गीतों में स्थान रखता ही है-स्वरों के उतार-चढ़ाव की बहुत अच्छी कम्पोज़ीशन के रूप में भी यह यादगार ही रहेगा।”.
- BageshriPhir Wohi Sham · 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: “9 दादरा ताल में राग बागेश्वरी में निबद्ध ‘फिर वही शाम वही ग़म वही तन्हाई है’ के साथ तलत के स्वर में एक धँुधली शाम के अकेलोपन को जो छू जाने वाली तस्वीर मदन मोहन ने खींची वह तो बेमिसाल ही है।”.
- Basant BaharWoh Chup Rahe To · 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: “सितार का अविस्मरणीय प्रयोग, बसंत बहार के सुरों की छाया, अद्भुत कम्पोज़िशन और अद्वितीय गायकी ‘वो चुप रहें’ को मदन मोहन की सर्वश्रेष्ठ ग़ज़लों में से एक बनाते हैं।”.
- Mian Ki MalharWoh Chup Rahe To · 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: “इस ग़ज़ल में राग मियाँ मल्हार के प्रभाव से तो मदनमोहन के शास्त्रीय संगीत की गहराई का कुछ अंदाज़ा लगाया जा सकता है।”.