Hindi film
Lekin (1991)
9 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
- GurjariJaa-Jaa Re Ai Pathikwa · 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: “Lata and Hridaynath Mangeshkar divert the well-known Todi bandish of “Sadarang” towards Gurjari in LEKIN (1991): ja re ja pathikava.”.
- Gurjari TodiJaa-Jaa Re Ai Pathikwa · 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: “जा जा रे पथिकवा (ख़्याल) | लेकिन | 1991 | हृदयनाथ मंगेशकर | गुर्जरी तोड़ी”.
- Bilaskhani TodiJhoothe Naina Bole Sanchi Bateeyan · 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: “This clip from LEKIN begins with Satyasheel Deshpande‘s recitation of the definitive khayal, neeke ghungariya, attributed to “Sadarang.” Asha Bhonsle then assumes charge and sings jhoothe naina, a composition inspired by S.N. Ratanjankar (see the next item).”.
- PahadiMain Ek Sadi Se · 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: “मैं एक सदी से बैठी हूँ | लेकिन | 1991 | हृदयनाथ मंगेशकर | पहाड़ी+ दुर्गा+ खमाज”.
- DurgaMain Ek Sadi Se · 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: “मैं एक सदी से बैठी हूँ | लेकिन | 1991 | हृदयनाथ मंगेशकर | पहाड़ी+ दुर्गा+ खमाज”.
- KhamajMain Ek Sadi Se · 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: “मैं एक सदी से बैठी हूँ | लेकिन | 1991 | हृदयनाथ मंगेशकर | पहाड़ी+ दुर्गा+ खमाज”.
- VihanginiSuniyo Ji Araj · 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 : सुनियो जी अरज म्हारी ओ बाबुला; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : विहंगिणी, तीनताल+अद्धा तीनताल।”.
- PahadiSurmai Shaam · 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: “सुरमयी शाम इस तरह आये | लेकिन | 1991 | हृदयनाथ मंगेशकर | पहाड़ी+ मांझ खमाज”.
- Manj KhammajSurmai Shaam · 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: “सुरमयी शाम इस तरह आये | लेकिन | 1991 | हृदयनाथ मंगेशकर | पहाड़ी+ मांझ खमाज”.
- MeghYaara Seeli Seeli · 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: “यारा सीली सीली | लेकिन | 1991 | हृदयनाथ मंगेशकर | मेघ+ मधमाद सारंग+ नीलाम्बरी”.
- Madhmad SarangYaara Seeli Seeli · 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: “यारा सीली सीली | लेकिन | 1991 | हृदयनाथ मंगेशकर | मेघ+ मधमाद सारंग+ नीलाम्बरी”.
- NilambariYaara Seeli Seeli · 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: “यारा सीली सीली | लेकिन | 1991 | हृदयनाथ मंगेशकर | मेघ+ मधमाद सारंग+ नीलाम्बरी”.