Sardari Begum · 1996
More Kaanha Jo Aaye Palat Ke
Hindi-film eligibility matched; song credits may still need checking
Sources differ: Pilu and Miśr Pīlū 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
Pilu
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 · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.4, printed p.456 (PDF p.73), semi-classical song analysis
Source wording: “फ़िल्म का नाम : सरदारी बेगम (1997); गीत के बोल : मोरे कान्हा जो आए पलट के; गायक कलाकार : आशा भोंसले; संगीत निर्देशक : बनराज भाटिया; प्रयुक्त राग एवं ताल : पीलू , कहरवा एवं अद्धा।”
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
Miśr Pīlū
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 · Pooja Tiwari, doctoral thesis on semi-classical styles in film music (University of Delhi, 2020), ch.4, printed p.235 (PDF p.13)
Source wording: “सांगीतिक विवरण - यह गीत मुख्य रूप से राग मिश्र पीलू पर आधारित है तथा इसे ताल दादरा में निबद्ध किया गया 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.