Alaap · 1977
Koi Gata, Main So Jata
Hindi-film eligibility matched; song credits may still need checking
Sources differ: Bihag and Alhiya Bilawal 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
Bihag
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 · Rajan Parrikar, Hindustani raag articles, Short Takes: Bihag — https://www.parrikar.org/hindustani/bihag/ — Raga Bihag; paragraph opening: “Composer Jaidev recruits Yesudas in this splendidly-arranged composition in ALAAP (1977): ko’i”
Source wording: “Composer Jaidev recruits Yesudas in this splendidly-arranged composition in ALAAP (1977): ko’i gata main so jata.”
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Attribution sources
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
Alhiya Bilawal
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 पंकज राग, धुनों की यात्रा (footnote 1).
Evidence: Named musician's analysis · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.2, printed p.130 (PDF p.83), composer discussion / prose example
Source wording: “अमिताभ पर फ़िल्माया येसुदास का गाया ‘कोई गाता मैं सो जाता’। सम्भवत: बिहाग और अल्हैया बिलावल पर आधारित इस गीत में जो तन्मयता है वह जितना गायक का कमाल है उतना ही संगीतकार का भी।” · 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.