Rishte Naate · 1965
Khanak Gayo Hai Bairi Kangna
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: Mishra Khamaj and Khamaj 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
Mishra Khamaj
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.198 (PDF p.25)
Source wording: “मिश्र खमाज के सर्वश्रेष्ठ उदाहरणों में ‘रिश्ते-नाते’ (1965) का खनकता ‘खनक गयो हाय बैरी कँगना’ (लता) क्या नहीं आएगा\ मदन मोहन राजस्थानी नहीं थे, पर ‘माँड’ के फ़िल्म-संगीत के सबसे सुंदर इस्तेमालों में उनके ‘दो दिल टूटे दो दिल हारे’ (लता-हीर-राँझा, 1970) को न सिर”
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
Khamaj
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 · Harshdeep Kaur, doctoral thesis on raag Khamaj in film songs (Panjab University, 2013), ch.6, printed p.225 (PDF p.1), table row 9
Source wording: “9. | खनक गयो हाय ..... | रिश्ते नाते | 1965 | लता मंगेशकर | मदन मोहन | हसरत जयपुरी”
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.