Parwana · 1971
Piya Ki Gali Laage Bhali, Roko Na Sakhi, Jiya Bas Mein Nahin
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
Gaur Malhar
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.345 (PDF p.9)
Source wording: “वैसे तो ‘परवाना’ में भी मदन ने परवीन सुल्ताना और आशा के साथ शास्त्रीय रूप का गौड़ मल्हार और कान्हड़ा का रंग लिए ‘पिया की गली लागे भली’ जैसा गीत डाल ही दिया था, लोकिन ‘दिल की राहें’ की तो बात ही कुछ और थी।” · 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.
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
Kanada
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.345 (PDF p.9)
Source wording: “वैसे तो ‘परवाना’ में भी मदन ने परवीन सुल्ताना और आशा के साथ शास्त्रीय रूप का गौड़ मल्हार और कान्हड़ा का रंग लिए ‘पिया की गली लागे भली’ जैसा गीत डाल ही दिया था, लोकिन ‘दिल की राहें’ की तो बात ही कुछ और थी।” · 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.