Bahana · 1960
Guzre Hain Is Tarah Se Duniya Mein Din Hamare
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
Shivaranjani
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. The source quotes Pankaj Rag, Dhunon ki Yatra.
Evidence: Named musician's analysis · Suneel Kumar Gupta, doctoral thesis on Madan Mohan (Banaras Hindu University, 2015), ch.5, printed p.194 (PDF p.21)
Source wording: “्र कृष्ण के कलाम को शिवरंजनी का कितना शालीन आधार दिया था मदन मोहन ने! ग़ज़ल को सस्पेंस संगीत के बीच भी कितना परिशुद्ध और स्तरीय वे बनाए रख सकते थे, वह ‘रिश्ते नाते’ (1965) के हसरत जयपुरी लिखित ‘मुझे याद करने वालो तेरे साथ-साथ हूँ मैं’ (लता) को सुन कर जाना जा सकता है।”
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.