Barsaat Ki Raat · 1960
Garjat Barsat Sawan Aayo Re
Hindi-film eligibility matched; song credits may still need checking
Metadata references
Release and credit references do not establish 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 or taalTaalA recurring cycle of counted units that organises rhythm. The cycle gives a framework for compositions and rhythmic elaboration.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary attribution.
Reported 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
Gaur Malhar
A named writer on music analysed the song in this 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. This records what the source says; a musician has not checked the recording note by note.
Evidence: Named musician's analysis · Punit Jaipal Shah, doctoral thesis (Newcastle University), printed p.197 (PDF p.198), chapter 5, §5.4.1, paragraph beginning “Roshan had the opportunity”, both-film bandiś statement, Barsat Ki Raat rendition
Source wording: “One of these Agrā gharānā bandiśes, Garajat barasat bhījat (set to drut tīntāla in rāga Gauḍ Malhār) was used by Roshan in the films Malhar (1951) directed by Harish and Barsat Ki Raat (1960) directed by P.L. Santoshi.”
Need the attribution logic? Read how film-song raags are identified.
Recording cues
No phrase-level timestamp has been expert-reviewed for this attribution yet.