Chitchor · 1976
Jab Deep Jale Aana, Jab Shaam Dhale Aana
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.
Sources differ: Yaman and Shuddha Kalyan are separately reported. RagaPedia has not resolved this difference or verified a multi-raag treatment of the recording.
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
Yaman
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.97 (PDF p.98), chapter 2, §2.6, example 1, Jab dīp jale ānā, paragraph beginning “Jab dīp jale ānā is a romantic melody”
Source wording: “Firstly, music composer Ravindra Jain employs rāga Yaman (known to manifest multiple moods including that of romance, solitude and tranquillity) to suit a scene set in a peaceful rural backdrop.”
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.
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
Shuddha Kalyan
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 as one of several 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 in the song. 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.7, printed p.379 (PDF p.43)
Source wording: “रविन्द्र जैन के संगीत से सजी फिल्म ‘‘चितचोर’’ (1976) के दो गीत ‘‘जब दीप जलो आना, जब शाम ढलो आना’’ जिसे राग शुद्ध कल्याण या यमन कल्याण में रचा गया था तथा दूसरा गीत ‘‘तू जो मेरे सुर में सुर मिला लो’’ जिसे राग पीलू तथा मालगूँजी में रचा गया था मदन मोहन जी की ग़ज़ल शैली का एहसास कराते हैं।” · Applies to: mixed
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.