Hindi film
Sati Savitri (1964)
6 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
- Yamanjeevana dor · 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: SATI SAVITRI (1964), Music: Laxmikant-Pyarelal: jeevana dor.”.
- AbhogiJiya Nahin Lage Ka Karoon Sajna · 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: “इसी फ़िल्म का और एक गीत ‘जिया नाहीं लागे का करूँ सजना’-में दक्षिण भारतीय राग अभोगी का अति मनमोहक स्वरूप सुनने को मिलता है।”.
- KalavatiKabhi To Miloge Jeevan Sathi · 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: “3. गीत–कभी तो मिलोगे जीवनसाथी फिल्म–सती सावित्री (1964) संगीत निर्देशक–लक्ष्मीकांत प्यारेलाल”.
- KalavatiSakhi Ri Pi Ka Nam · 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: “का गीत-‘सखी री पी का नाम’ में अनेक रागों का समावेश उन्होंने किया। कलावती, शंकरा, नंद, बिहाग एवं खमाज रागों पर आधारित यह उनकी एक सुंदर गीत रचना है।”.
- ShankaraSakhi Ri Pi Ka Nam · 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: “का गीत-‘सखी री पी का नाम’ में अनेक रागों का समावेश उन्होंने किया। कलावती, शंकरा, नंद, बिहाग एवं खमाज रागों पर आधारित यह उनकी एक सुंदर गीत रचना है।”.
- NandSakhi Ri Pi Ka Nam · 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: “का गीत-‘सखी री पी का नाम’ में अनेक रागों का समावेश उन्होंने किया। कलावती, शंकरा, नंद, बिहाग एवं खमाज रागों पर आधारित यह उनकी एक सुंदर गीत रचना है।”.
- BihagSakhi Ri Pi Ka Nam · 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: “का गीत-‘सखी री पी का नाम’ में अनेक रागों का समावेश उन्होंने किया। कलावती, शंकरा, नंद, बिहाग एवं खमाज रागों पर आधारित यह उनकी एक सुंदर गीत रचना है।”.
- KhamajSakhi Ri Pi Ka Nam · 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: “का गीत-‘सखी री पी का नाम’ में अनेक रागों का समावेश उन्होंने किया। कलावती, शंकरा, नंद, बिहाग एवं खमाज रागों पर आधारित यह उनकी एक सुंदर गीत रचना है।”.
- BihagSakhi Ri Pi Ko Naam Na Puchho · 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 गीत मूलतः बिहाग, बिहागड़ा एवं नंद रागों का मिश्रण करके बनाया गया है।”.
- BihagdaSakhi Ri Pi Ko Naam Na Puchho · 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 गीत मूलतः बिहाग, बिहागड़ा एवं नंद रागों का मिश्रण करके बनाया गया है।”.
- NandSakhi Ri Pi Ko Naam Na Puchho · 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 गीत मूलतः बिहाग, बिहागड़ा एवं नंद रागों का मिश्रण करके बनाया गया है।”.