Anand · 1971
Naa, Jiyaa Laage Naa Tere Bina Mera Kahin
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
Malgunji
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 विजय वर्मा, हिन्दी फ़िल्म संगीत, स्वर सरिता, 13 सितंबर 2013, पृ.38.
Evidence: Named musician's analysis · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.2, printed p.105 (PDF p.58), composer discussion / prose example, table row 8, table row 8
Source wording: “‘ना जिया लागे ना’ - ‘आनंद’ - मालगंुजी 9) ‘ठंडी-ठंडी सावन की फुहार’ - ‘जागते रहों’ - तिलक कामोद 10) ‘ओ देयारे दैया चढ़ गयो पापी बिछुआ’ - ‘मधुमती’ - ‘वृन्दावनी सारंग’“1 सलिल चौधरी के बिराट सांगीतिक व्यक्तित्व की एक अनन्य धारा यह भी थी-सलिल चौधरी पहले धुन बनाकर फिर उस पर गीत लिखवाते थे।”
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.