Hindi film
Omkara (2006)
10 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
- MeghBeedi Jalaile · 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: “572. | बीड़ी जलाइले | ओमकारा | 2006 | विशाल भारद्वाज | मेघ+ झिंझोटी+ पीलू”.
- JhinjhotiBeedi Jalaile · 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: “572. | बीड़ी जलाइले | ओमकारा | 2006 | विशाल भारद्वाज | मेघ+ झिंझोटी+ पीलू”.
- PiluBeedi Jalaile · 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: “572. | बीड़ी जलाइले | ओमकारा | 2006 | विशाल भारद्वाज | मेघ+ झिंझोटी+ पीलू”.
- Mishra KafiBeedi Jalaile · 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: “85 Beedi Omkara Vishal Bhardwaj A (6th white) Mishra Kafi”.
- PahadiJag Ja · 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: “86 Jag Ja Omkara Vishal Bhardwaj F (4th White) Pahadi”.
- Mishra BhairaviLaakad · 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: “89 Laakad Omkara Vishal Bhardwaj A (6th White) Mishra Bhairavi”.
- KhamajLakad Jalke Koyla Hoy Jaay · 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: “553. | लकड़ जलके कोयला होय जाय | ओमकारा | 2006 | विशाल भारद्वाज | खमाज+ बसंत मुखारी+ भैरवी+ किरवानी+ चारुकेशी”.
- Basant MukhariLakad Jalke Koyla Hoy Jaay · 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: “553. | लकड़ जलके कोयला होय जाय | ओमकारा | 2006 | विशाल भारद्वाज | खमाज+ बसंत मुखारी+ भैरवी+ किरवानी+ चारुकेशी”.
- BhairaviLakad Jalke Koyla Hoy Jaay · 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: “553. | लकड़ जलके कोयला होय जाय | ओमकारा | 2006 | विशाल भारद्वाज | खमाज+ बसंत मुखारी+ भैरवी+ किरवानी+ चारुकेशी”.
- KirwaniLakad Jalke Koyla Hoy Jaay · 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: “553. | लकड़ जलके कोयला होय जाय | ओमकारा | 2006 | विशाल भारद्वाज | खमाज+ बसंत मुखारी+ भैरवी+ किरवानी+ चारुकेशी”.
- CharukesiLakad Jalke Koyla Hoy Jaay · 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: “553. | लकड़ जलके कोयला होय जाय | ओमकारा | 2006 | विशाल भारद्वाज | खमाज+ बसंत मुखारी+ भैरवी+ किरवानी+ चारुकेशी”.
- Ahiri TodiNaina · 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: “88 Naina Omkara Vishal Bhardwaj E (3rd White) Ahiri Todi”.
- Ahir BhairavNaina Thag Lenge · 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: “562. | नैना ठग लेंगे | ओमकारा | 2006 | विशाल भारद्वाज | अहीर भैरव+ परमेश्वरी+ गावति+ भैरवी”.
- ParameshwariNaina Thag Lenge · 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: “562. | नैना ठग लेंगे | ओमकारा | 2006 | विशाल भारद्वाज | अहीर भैरव+ परमेश्वरी+ गावति+ भैरवी”.
- GawatiNaina Thag Lenge · 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: “562. | नैना ठग लेंगे | ओमकारा | 2006 | विशाल भारद्वाज | अहीर भैरव+ परमेश्वरी+ गावति+ भैरवी”.
- BhairaviNaina Thag Lenge · 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: “562. | नैना ठग लेंगे | ओमकारा | 2006 | विशाल भारद्वाज | अहीर भैरव+ परमेश्वरी+ गावति+ भैरवी”.
- KhamajNamak Ishq 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: “563. | नमक इश्क का | ओमकारा | 2006 | विशाल भारद्वाज | खमाज+ झिंझोटी”.
- JhinjhotiNamak Ishq 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: “563. | नमक इश्क का | ओमकारा | 2006 | विशाल भारद्वाज | खमाज+ झिंझोटी”.
- KhamajNamak · 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: “87 Namak Omkara Vishal Bhardwaj C (1st White) Khamaj”.
- JogO Saathi 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 (influence); not a note-by-note check unless reviewed. Label: “16. O Saathi Re: The musical composition of O Saathi Re from the film Omkara intricately weaves through the notes of Raag Jog, embracing the rhythmic cadence of Kehrva Taal.”.
- Manj KhammajO Saathi 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 (mixed); not a note-by-note check unless reviewed. Label: “564. | ओ साथी रे | ओमकारा | 2006 | विशाल भारद्वाज | जोग+ माँझ खमाज”.
- AsaOmkara · 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: “84 Omkara Omkara Vishal Bhardwaj G (5th White) Asa”.
- BilawalOmkara · 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: “566. | ओमकारा | ओमकारा | 2006 | विशाल भारद्वाज | बिलावल+ पहाड़ी”.
- PahadiOmkara · 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: “566. | ओमकारा | ओमकारा | 2006 | विशाल भारद्वाज | बिलावल+ पहाड़ी”.
Music
Singers
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