Hindi film
Veer-Zaara (2004)
5 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
- Maru BihagAaya Tere Dar 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 (mixed); not a note-by-note check unless reviewed. Label: “आया तेरे दर पर दीवाना | वीर ज़ारा | 2004 | मदन मोहन | मारुबिहाग+ यमन+ यमन कल्याण+ खमाज+चम्पाकली+बहार+रामदासी मल्हार+ मेघ+ काफी+ मेघ मल्हार”.
- YamanAaya Tere Dar 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 (mixed); not a note-by-note check unless reviewed. Label: “आया तेरे दर पर दीवाना | वीर ज़ारा | 2004 | मदन मोहन | मारुबिहाग+ यमन+ यमन कल्याण+ खमाज+चम्पाकली+बहार+रामदासी मल्हार+ मेघ+ काफी+ मेघ मल्हार”.
- KhamajAaya Tere Dar 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 (mixed); not a note-by-note check unless reviewed. Label: “आया तेरे दर पर दीवाना | वीर ज़ारा | 2004 | मदन मोहन | मारुबिहाग+ यमन+ यमन कल्याण+ खमाज+चम्पाकली+बहार+रामदासी मल्हार+ मेघ+ काफी+ मेघ मल्हार”.
- ChampakaliAaya Tere Dar 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 (mixed); not a note-by-note check unless reviewed. Label: “आया तेरे दर पर दीवाना | वीर ज़ारा | 2004 | मदन मोहन | मारुबिहाग+ यमन+ यमन कल्याण+ खमाज+चम्पाकली+बहार+रामदासी मल्हार+ मेघ+ काफी+ मेघ मल्हार”.
- BaharAaya Tere Dar 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 (mixed); not a note-by-note check unless reviewed. Label: “आया तेरे दर पर दीवाना | वीर ज़ारा | 2004 | मदन मोहन | मारुबिहाग+ यमन+ यमन कल्याण+ खमाज+चम्पाकली+बहार+रामदासी मल्हार+ मेघ+ काफी+ मेघ मल्हार”.
- Ramdasi MalharAaya Tere Dar 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 (mixed); not a note-by-note check unless reviewed. Label: “आया तेरे दर पर दीवाना | वीर ज़ारा | 2004 | मदन मोहन | मारुबिहाग+ यमन+ यमन कल्याण+ खमाज+चम्पाकली+बहार+रामदासी मल्हार+ मेघ+ काफी+ मेघ मल्हार”.
- MeghAaya Tere Dar 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 (mixed); not a note-by-note check unless reviewed. Label: “आया तेरे दर पर दीवाना | वीर ज़ारा | 2004 | मदन मोहन | मारुबिहाग+ यमन+ यमन कल्याण+ खमाज+चम्पाकली+बहार+रामदासी मल्हार+ मेघ+ काफी+ मेघ मल्हार”.
- KafiAaya Tere Dar 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 (mixed); not a note-by-note check unless reviewed. Label: “आया तेरे दर पर दीवाना | वीर ज़ारा | 2004 | मदन मोहन | मारुबिहाग+ यमन+ यमन कल्याण+ खमाज+चम्पाकली+बहार+रामदासी मल्हार+ मेघ+ काफी+ मेघ मल्हार”.
- Megh MalharAaya Tere Dar 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 (mixed); not a note-by-note check unless reviewed. Label: “आया तेरे दर पर दीवाना | वीर ज़ारा | 2004 | मदन मोहन | मारुबिहाग+ यमन+ यमन कल्याण+ खमाज+चम्पाकली+बहार+रामदासी मल्हार+ मेघ+ काफी+ मेघ मल्हार”.
- Maru BihagAisa Des Hai 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: “ऐसा देस है मेरा | वीर ज़ारा | 2004 | मदन मोहन+ संजीव कोहली | मारुबिहाग+ पहाड़ी+ चारुकेशी”.
- PahadiAisa Des Hai 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: “ऐसा देस है मेरा | वीर ज़ारा | 2004 | मदन मोहन+ संजीव कोहली | मारुबिहाग+ पहाड़ी+ चारुकेशी”.
- CharukesiAisa Des Hai 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: “ऐसा देस है मेरा | वीर ज़ारा | 2004 | मदन मोहन+ संजीव कोहली | मारुबिहाग+ पहाड़ी+ चारुकेशी”.
- Nat BhairaviDo Pal · 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: “दो पल रुका ख़्वाबों का क़ारवां | वीर ज़ारा | 2004 | मदन मोहन- संजीव कोहली | नट भैरवी+ काफी”.
- KafiDo Pal · 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: “दो पल रुका ख़्वाबों का क़ारवां | वीर ज़ारा | 2004 | मदन मोहन- संजीव कोहली | नट भैरवी+ काफी”.
- Nat BhairaviMain Yahaan Hoon · 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: “मैं यहाँ हूँ यहाँ | वीर ज़ारा | 2004 | मदन मोहन | नट भैरवी”.
- Nat BhairaviTere Liye · 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: “तेरे लिए | वीर ज़ारा | 2004 | मदन मोहन- संजीव कोहली | नट भैरवी+ मांझ खमाज+ काफी”.
- Manj KhammajTere Liye · 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: “तेरे लिए | वीर ज़ारा | 2004 | मदन मोहन- संजीव कोहली | नट भैरवी+ मांझ खमाज+ काफी”.
- KafiTere Liye · 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: “तेरे लिए | वीर ज़ारा | 2004 | मदन मोहन- संजीव कोहली | नट भैरवी+ मांझ खमाज+ काफी”.