Hindi film
Umrao Jaan (1981)
7 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
- BhupaliIn Ankhon Ki Masti 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 (mixed); not a note-by-note check unless reviewed. Label: “गीत के बोल : इन आँखों की मस्ती के; गायक कलाकार : आशा भोंसले; प्रयुक्त राग एवं ताल : भूपाली+पहाड़ी+शुद्ध कल्याण, कहरवा।”.
- PahadiIn Ankhon Ki Masti 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 (mixed); not a note-by-note check unless reviewed. Label: “गीत के बोल : इन आँखों की मस्ती के; गायक कलाकार : आशा भोंसले; प्रयुक्त राग एवं ताल : भूपाली+पहाड़ी+शुद्ध कल्याण, कहरवा।”.
- Shuddha KalyanIn Ankhon Ki Masti 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 (mixed); not a note-by-note check unless reviewed. Label: “गीत के बोल : इन आँखों की मस्ती के; गायक कलाकार : आशा भोंसले; प्रयुक्त राग एवं ताल : भूपाली+पहाड़ी+शुद्ध कल्याण, कहरवा।”.
- YamanIn Ankhon Ki Masti 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 (mixed); not a note-by-note check unless reviewed. Label: “यमन, कल्याण एवं भूपाली राग पर आधारित तबले तथा सारंगी के अविस्मरणीय प्रयोग के साथ ‘इन आँखों की मस्ती के मस्ताने हजारों हैं’ और तबले की सुन्दर संगत के साथ गाया गीत ‘दिल चीज़ क्या है आप मेरी जान लीजिए’ आज भी श्रोताओं को मुग्ध करता है।”.
- BihagYeh Kya Jagah Hai Doston · 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: “राग यमन कल्याण एवं राग बिहाग की छाया लेकर रचित गीत ‘ये क्या जगह है दोस्तो’ मन को छू लेता है।”.
- YamanYeh Kya Jagah Hai Doston · 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: “राग यमन कल्याण एवं राग बिहाग की छाया लेकर रचित गीत ‘ये क्या जगह है दोस्तो’ मन को छू लेता है।”.
- BihagDil Cheez Kya 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 (mixed); not a note-by-note check unless reviewed. Label: “गीत के बोल : दिल चीज़ क्या है; गायक कलाकार : आशा भोंसले; प्रयुक्त राग एवं ताल : बिहाग+खमाज+बिलावल कहरवा।”.
- KhamajDil Cheez Kya 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 (mixed); not a note-by-note check unless reviewed. Label: “गीत के बोल : दिल चीज़ क्या है; गायक कलाकार : आशा भोंसले; प्रयुक्त राग एवं ताल : बिहाग+खमाज+बिलावल कहरवा।”.
- BilawalDil Cheez Kya 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 (mixed); not a note-by-note check unless reviewed. Label: “गीत के बोल : दिल चीज़ क्या है; गायक कलाकार : आशा भोंसले; प्रयुक्त राग एवं ताल : बिहाग+खमाज+बिलावल कहरवा।”.
- Tilak KamodJhoola Kinne Dala · 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: “फ़िल्म का नाम : उमराव जान (1981); गीत के बोल : झूला किन्ने डाला रे; गायक कलाकार : शाहिदा ख़ान; संगीत निर्देशक : ख़्ाय्याम; प्रयुक्त राग एवं ताल : तिलक कामोद, देस एवं कहरवा।”.
- DeshJhoola Kinne Dala · 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: “फ़िल्म का नाम : उमराव जान (1981); गीत के बोल : झूला किन्ने डाला रे; गायक कलाकार : शाहिदा ख़ान; संगीत निर्देशक : ख़्ाय्याम; प्रयुक्त राग एवं ताल : तिलक कामोद, देस एवं कहरवा।”.
- Tilak KamodKahe Ko Byahi 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 (mixed); not a note-by-note check unless reviewed. Label: “गीत के निर्वहन हेतु राग तिलक कामोद, राग देस तथा राग खमाज का चयन किया गया है।”.
- DeshKahe Ko Byahi 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 (mixed); not a note-by-note check unless reviewed. Label: “गीत के निर्वहन हेतु राग तिलक कामोद, राग देस तथा राग खमाज का चयन किया गया है।”.
- KhamajKahe Ko Byahi 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 (mixed); not a note-by-note check unless reviewed. Label: “गीत के निर्वहन हेतु राग तिलक कामोद, राग देस तथा राग खमाज का चयन किया गया है।”.
- RamkaliPratham Dhar Dhyan · 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 : प्रथम धर ध्यान गणेश आलाप सरगम; गायक कलाकार : उ॰ ग़ुलाम मुस्तफ़ा खाँ, शाहिदा खाँ एवं रूना; संगीत निर्देशक : ख़्ाय्याम; प्रयुक्त राग एवं ताल : रामकली (आलाप ताल विहीन)।”.
- Mian Ki TodiPratham Dhar Dhyan · 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 : अब मोरी नैया; गायक कलाकार : उ॰ ग़ुलाम मुस्तफ़ा खाँ, शाहिदा खाँ एवं रूना; प्रयुक्त राग एवं ताल : मियाँ की तोड़ी, तीनताल।”.
- Shuddha SarangPratham Dhar Dhyan · 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 : सुगन विचार आयो बमना; गायक कलाकार : उ॰ ग़ुलाम मुस्तफ़ा खाँ, शाहिदा खाँ एवं रूना; प्रयुक्त राग एवं ताल : शुद्ध सारंग, तीनताल।”.
- BhimpalasiPratham Dhar Dhyan · 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 : बिरज में धूम मचायो कान्हा; गायक कलाकार : उ॰ ग़ुलाम मुस्तफ़ा खाँ, शाहिदा खाँ एवं रूना; प्रयुक्त राग एवं ताल : भीमपलासी, तीनताल।”.
- YamanPratham Dhar Dhyan · 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 : दर्शन देओ शंकर; गायक कलाकार : उ॰ ग़ुलाम मुस्तफ़ा खाँ, शाहिदा खाँ एवं रूना; प्रयुक्त राग एवं ताल : यमन कल्याण, तीनताल।”.
- MalkaunsPratham Dhar Dhyan · 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 : पकड़त बइयाँ मोरी बनवारी; गायक कलाकार : उ॰ ग़ुलाम मुस्तफ़ा खाँ, शाहिदा खाँ एवं रूना; प्रयुक्त राग एवं ताल : मालकौंस, तीनताल।”.
- BhairaviPratham Dhar Dhyan · 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 : बाँसुरी बाज रही धुन मधुर; गायक कलाकार : उ॰ ग़ुलाम मुस्तफ़ा खाँ, शाहिदा खाँ एवं रूना; प्रयुक्त राग एवं ताल : भैरवी, तीनताल।”.
- BhairavPratham Dhar Dhyan · 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: “इस फ़िल्म में प्रयुक्त राग माला ‘प्रथम धर ध्यान’ शास्त्रीय संगीत का एक अति उत्तम उदाहरण है। उस्ताद ‘गुलाम मुस्तफा खाँ’ शाहिदा खाँ और साथी कलाकारों के कंठ द्वारा भैरव”.
- TodiPratham Dhar Dhyan · 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: “इस फ़िल्म में प्रयुक्त राग माला ‘प्रथम धर ध्यान’ शास्त्रीय संगीत का एक अति उत्तम उदाहरण है। उस्ताद ‘गुलाम मुस्तफा खाँ’ शाहिदा खाँ और साथी कलाकारों के कंठ द्वारा भैरव, तोड़ी”.
- KedarPratham Dhar Dhyan · 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: “इस फ़िल्म में प्रयुक्त राग माला ‘प्रथम धर ध्यान’ शास्त्रीय संगीत का एक अति उत्तम उदाहरण है। उस्ताद ‘गुलाम मुस्तफा खाँ’ शाहिदा खाँ और साथी कलाकारों के कंठ द्वारा भैरव, तोड़ी, केदार”.
- KafiPratham Dhar Dhyan · 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: “इस फ़िल्म में प्रयुक्त राग माला ‘प्रथम धर ध्यान’ शास्त्रीय संगीत का एक अति उत्तम उदाहरण है। उस्ताद ‘गुलाम मुस्तफा खाँ’ शाहिदा खाँ और साथी कलाकारों के कंठ द्वारा भैरव, तोड़ी, केदार, काफ़ी”.
- Gaur SarangZindagi Jab Bhi · 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: “‘जिन्दगी जब भी तेरी बज्म में लाती है हमें’ - गौड़सारंग”.