Hindi film
Sardari Begum (1996)
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
- PiluMore Kaanha Jo Aaye Palat Ke · 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: “फ़िल्म का नाम : सरदारी बेगम (1997); गीत के बोल : मोरे कान्हा जो आए पलट के; गायक कलाकार : आशा भोंसले; संगीत निर्देशक : बनराज भाटिया; प्रयुक्त राग एवं ताल : पीलू , कहरवा एवं अद्धा।”.
- Miśr PīlūMore Kaanha Jo Aaye Palat Ke · 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: “सांगीतिक विवरण - यह गीत मुख्य रूप से राग मिश्र पीलू पर आधारित है तथा इसे ताल दादरा में निबद्ध किया गया है।”.
- Maru BihagChahe Maar Dalo Raja · 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 गीत के निर्वहन हेतु राग मारू बिहाग का चयन किया गया है तथा यह कहरवा ताल में निबद्ध है।”.
- BhairaviChali Pee Ke Nagar · 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 : चली पी के नगर सजके दुल्हन; गायक कलाकार : आरती अंकलीकर; प्रयुक्त राग एवं ताल : राग भैरवी, तालविहीन।”.
- NandGhar Naahi Hamre 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: “गीत के बोल : घर नाहीं हमरे श्याम; गायक कलाकार : आरती अंकलीकर; प्रयुक्त राग एवं ताल : नंद, अद्धा तीनताल।”.
- Mian Ki MalharGhir Ghir Aayee Badariya Kaari · 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 : घिर घिर आई बदरिया कारी; गायक कलाकार : आरती अंकलीकर; प्रयुक्त राग एवं ताल : मियाँ की मल्हार, एकताल।”.
- MandHuzoor Itna Agar Hum Par · 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 : हुजूर इतना अगर हम पर करम; गायक कलाकार : आरती अंकलीकर; प्रयुक्त राग एवं ताल : मांड, दादरा।”.
- ChayanatRaah Mein Bichhi Hai Palke · 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 : राह में बिछी हैं पलके; गायक कलाकार : आरती अंकलीकर एवं शोभा जोशी; प्रयुक्त राग एवं ताल : छायानट+अल्हैया बिलावल, दादरा।”.
- Alhaiya BilawalRaah Mein Bichhi Hai Palke · 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 : राह में बिछी हैं पलके; गायक कलाकार : आरती अंकलीकर एवं शोभा जोशी; प्रयुक्त राग एवं ताल : छायानट+अल्हैया बिलावल, दादरा।”.
- KhamajSaawariya Dekh Zara · 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 : साँवरिया देख ज़रा इस ओर; गायक कलाकार : शोभा जोशी; प्रयुक्त राग एवं ताल : खमाज+माँझ खमाज, कहरवा।”.
- Manj KhammajSaawariya Dekh Zara · 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 : साँवरिया देख ज़रा इस ओर; गायक कलाकार : शोभा जोशी; प्रयुक्त राग एवं ताल : खमाज+माँझ खमाज, कहरवा।”.
- Mishra KhamajSaawariya Dekh Zara · 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: “श्याम’; राग मिश्र खमाज एवं कहरवा ताल में निबद्ध गीत ‘साँवरिया देख जरा इस ओर’।”.
- Mishra PahadiSaawariya Dekh Zara · 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 निर्वहन हेतु राग मिश्र पहाड़ी का चयन किया गया है तथा कहरवा ताल में इसका गायन किया गया है।”.