Hindi film
Mughal-e-Azam (1960)
8 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
- KedarBekas Pe Karam Kijiye · 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 : बेकस पे करम कीजिए; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : केदार + कामोद + खमाज, दादरा।”.
- KamodBekas Pe Karam Kijiye · 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 : बेकस पे करम कीजिए; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : केदार + कामोद + खमाज, दादरा।”.
- KhamajBekas Pe Karam Kijiye · 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 : बेकस पे करम कीजिए; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : केदार + कामोद + खमाज, दादरा।”.
- Mishra GaraMohe Panghat Pe Nandalal Ched Gayo Re · 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: “Naushad composed this song in Raga Mishra Gara.”.
- Gara ThumriMohe Panghat Pe Nandalal Ched Gayo Re · 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. Mohe Panghat pe / Gara Thumri / Lata Mangeshkar (3: 55)”.
- Pancham Se GaraMohe Panghat Pe Nandalal Ched Gayo Re · 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: “Meanwhile, the lyricist Shakeel Badayuni wrote the song and Naushad set the tune in Raga `Pancham se Gara'.”.
- RageshriShubha Din Ayo Rajadulara · 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: “Bade Ghulam Ali Khan sings for Naushad in MUGHAL-E-AZAM (1960): shubha dina aayo.”.
- BageshriShubha Din Ayo Rajadulara · 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: “‘शुभ दिन आयो राज दुलारे’ (राग : बागेश्री) के लिए नौशाद अली जी ने प्रख्यात शास्त्रीय कलाकार उस्ताद बडे़ गुलाम अली खाँ को आमंत्रित किया था।”.
- JaijaivantiYeh Dil Ki Lagi Kam Kya Hogi (a.k.a. Jab Raat Hai Aisi Matwali) · 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: “This song is from the film, Mughal-e-Azam,1960. It is composed in a qawwali style in Raga Jaijaiwanti by Naushad.”.
- KafiYeh Dil Ki Lagi Kam Kya Hogi (a.k.a. Jab Raat Hai Aisi Matwali) · 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: “In the beginning there is a beautiful symphony of sitar, sarangi, xylophone and violin orchestra in raga Jaijaiwanti, Kafi and Gara.”.
- GaraYeh Dil Ki Lagi Kam Kya Hogi (a.k.a. Jab Raat Hai Aisi Matwali) · 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: “In the beginning there is a beautiful symphony of sitar, sarangi, xylophone and violin orchestra in raga Jaijaiwanti, Kafi and Gara.”.
- YamanKhuda Nigehbaan · 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: “12. Khuda Nigehban Ho / Yaman / Lata Mangeshkar (3: 20)”.
- Darbari KanadaMohabbat Ki Jhooti · 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: “Raag Darbari is a raga which is sufficient in itself to evoke karun ras. Naushad has skillfully used this raag, to inject pathos to highlight the karun ras as demanded in the situation .”.
- Darbari KanadaPyar Kiya To Darna Kya · 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 : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।”.
- KafiPyar Kiya To Darna Kya · 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 : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।”.
- ShahanaPyar Kiya To Darna Kya · 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 : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।”.
- PiluPyar Kiya To Darna Kya · 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 : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।”.
- Madhmad SarangPyar Kiya To Darna Kya · 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 : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।”.
- Brindavani SarangPyar Kiya To Darna Kya · 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 : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।”.
- BaharPyar Kiya To Darna Kya · 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 : प्यार किया तो डरना क्या; गायक कलाकार : उस्ताद नियाज़ 342 अहमद खाँ, उ॰ फ़ैय्याज अहमद खाँ, उ॰ हफ़ीज अहमद खाँ एवं लता मंगेशकर; प्रयुक्त राग एवं ताल : दरबारी + काफी + शहाना + पीलू + मध्यमाद सारंग + वृन्दावनी सारंग + बहार, तीनताल + दादरा।”.
- MeghPyar Kiya To Darna Kya · 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 different ragas that were used in the song include Shahana, Kafi, Megh, Madhyamad Sarang, Vrindavani Sarang, Pilu, Bahar and Darbari Kanada itself.”.