Hindi film
Pakeezah (1972)
12 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
- Chalo Dildar Chalo
- Inhi Logon Ne Le Lina Dupatta Mera
- Mausam Hai Ashiqaana
- Bata De Sakhi Kaun Gali Gayo Shyam (a.k.a. Sakhi Kaun Gali Gayo Shyam )
- E Bandhana Bandho (a.k.a. Bandhan Bandho)
- Ab Ki N Jao Bides
- Chalate Chalate Yunhi Koee Mil Gaya Tha
- Mora Sajan Sautan Ghar Jaye
- Mori Bali Umariya Mein Daag
- Najariya Ki Mari Mari Mori Guiyan
- Thade Rahiyo O Banke Yar
- Ye Dhuaan Kahan Se Uthata Hai
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
- YamanInhi Logon Ne Le Lina Dupatta Mera · 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 : इन्ही लोगों ने ले लीना दुपट्टा मेरा; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : शुद्ध कल्याण + मारूबिहाग + यमन कहरवा।”.
- Shuddha KalyanInhi Logon Ne Le Lina Dupatta Mera · 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 : इन्ही लोगों ने ले लीना दुपट्टा मेरा; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : शुद्ध कल्याण + मारूबिहाग + यमन कहरवा।”.
- Maru BihagInhi Logon Ne Le Lina Dupatta Mera · 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 : इन्ही लोगों ने ले लीना दुपट्टा मेरा; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : शुद्ध कल्याण + मारूबिहाग + यमन कहरवा।”.
- YamanMausam Hai Ashiqaana · 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: “Film: PAKEEZAH (1971), Music: Ghulam Mohammad: mausam hai.”.
- PahadiBata De Sakhi Kaun Gali Gayo Shyam (a.k.a. Sakhi Kaun Gali Gayo Shyam ) · 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: “पहाड़ी एवं दादरा ताल में गाया है। 5)5)5)5) इसी प्रकार अनेक विख्यात शास्त्रीय कलाकार जैसे डाॅ॰ प्रभा अत्रे, पं॰ छन्नुलाल मिश्र, उ॰ बरकत अली खाँ द्वारा गाया हुआ ‘बतादो कोई कौन गली गयो श्याम’-राग मिश्र खमाज पर आधारित एक अति मधुर परम्परागत ठुमरी है।”.
- BhupaliE Bandhana Bandho (a.k.a. Bandhan Bandho) · 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: “Shobha Gurtu‘s E bandhana bandho in PAKEEZAH (1971).”.
- PiluAb Ki N Jao Bides · 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 है : ‘अब की न जाओ बिदेस’। इस रचना में ताल दादरा एवं राग पीलू का प्रयोग किया गया है।”.
- PahadiChalate Chalate Yunhi Koee Mil Gaya Tha · 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 : चलते चलते यूँही कोई मिल गया था; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : पहाड़ी + खमाज + यमन कल्याण + भूपाली, कहरवा।”.
- KhamajChalate Chalate Yunhi Koee Mil Gaya Tha · 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 : चलते चलते यूँही कोई मिल गया था; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : पहाड़ी + खमाज + यमन कल्याण + भूपाली, कहरवा।”.
- YamanChalate Chalate Yunhi Koee Mil Gaya Tha · 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 : चलते चलते यूँही कोई मिल गया था; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : पहाड़ी + खमाज + यमन कल्याण + भूपाली, कहरवा।”.
- BhupaliChalate Chalate Yunhi Koee Mil Gaya Tha · 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 : चलते चलते यूँही कोई मिल गया था; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : पहाड़ी + खमाज + यमन कल्याण + भूपाली, कहरवा।”.
- PahadiMora Sajan Sautan Ghar Jaye · 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: “प्रस्तुत ठुमरी गीत के निर्वहन हेतु राग पहाड़ी व राग मारू बिहाग का चयन किया गया है।”.
- Maru BihagMora Sajan Sautan Ghar Jaye · 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: “प्रस्तुत ठुमरी गीत के निर्वहन हेतु राग पहाड़ी व राग मारू बिहाग का चयन किया गया है।”.
- GaraMori Bali Umariya Mein Daag · 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: “प्रस्तुत ठुमरी राग गारा पर आधारित है तथा दादरा ताल में इसका गायन हुआ है।”.
- Mishra KhamajNajariya Ki Mari Mari Mori Guiyan · 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 है : ‘नजरिया की मारी मरी मोरी गुइयाँ’। इस गीत को राजकुमारी ने राग मिश्र खमाज एवं दादरा ताल में गाया है।”.
- Maru BihagNajariya Ki Mari Mari Mori Guiyan · 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: “यह दादरा गीत मुख्य रूप से राग ‘मिश्र पहाडी’ पर आधारित है तथा कहीं-कहीं मारू बिहाग तथा खमाज राग के स्वरों का प्रयोग भी किया गयाह ै।”.
- PahadiNajariya Ki Mari Mari Mori Guiyan · 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: “प्रस्तुत गीत के निर्वहन हेतु मारू बिहाग, पहाड़ी तथा खमाज राग का चयन किया गया है।”.
- KhamajNajariya Ki Mari Mari Mori Guiyan · 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: “यह दादरा गीत मुख्य रूप से राग ‘मिश्र पहाडी’ पर आधारित है तथा कहीं-कहीं मारू बिहाग तथा खमाज राग के स्वरों का प्रयोग भी किया गयाह ै।”.
- Mishra PahadiNajariya Ki Mari Mari Mori Guiyan · 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: “यह दादरा गीत मुख्य रूप से राग ‘मिश्र पहाडी’ पर आधारित है तथा कहीं-कहीं मारू बिहाग तथा खमाज राग के स्वरों का प्रयोग भी किया गयाह ै।”.
- MandThade Rahiyo O Banke Yar · 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 : ठाडे़ रहियो ओ बाँके यार; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : माँड, दादरा।”.
- PahadiYe Dhuaan Kahan Se Uthata Hai · 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: “प्रयुक्त राग पहाड़ी पर आधारित एक और ठुमरी है-‘ये धुआँ कहाँ से उठता है’, जिसे नसीम बानो चोपड़ा जी ने गाया हैं।”.