Beti Bete · 1964
Radhike Tune Bansari Churaiye
Hindi-film eligibility matched; song credits may still need checking
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
Adana
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.
Evidence: Named musician's analysis · Rajan Parrikar, Hindustani raag articles, The Kanada Constellation (Part 1/3) — https://www.parrikar.org/hindustani/kanada/ — Raga Adana; paragraph opening: “Adana and Darbari often commingle in ancillary genres. Shankar-Jaikishan‘s tune in BETI”
Source wording: “Adana and Darbari often commingle in ancillary genres. Shankar-Jaikishan‘s tune in BETI BETE is tilted towards Adana. Voice: Mohammad Rafi: Radhike tune bansari churayi.” · Applies to: mixed
Need the attribution logic? Read how film-song raags are identified.
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
Darbari 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.
Evidence: Named musician's analysis · Rajan Parrikar, Hindustani raag articles, The Kanada Constellation (Part 1/3) — https://www.parrikar.org/hindustani/kanada/ — Raga Adana; paragraph opening: “Adana and Darbari often commingle in ancillary genres. Shankar-Jaikishan‘s tune in BETI”
Source wording: “Adana and Darbari often commingle in ancillary genres. Shankar-Jaikishan‘s tune in BETI BETE is tilted towards Adana. Voice: Mohammad Rafi: Radhike tune bansari churayi.” · Applies to: mixed
Need the attribution logic? Read how film-song raags are identified.
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
Nayaki 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.
Evidence: Named musician's analysis · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.3, printed p.252 (PDF p.81), notated analysis
Source wording: “फ़िल्म का नाम : बेटी बेटे (1964); गीत के बोल : राधिके तुने बंसरी चुराई; गायक कलाकार : मोहम्मद रफी; संगीत निर्देशक : शंकर-जयकिशन; प्रयुक्त राग एवं ताल : दरबारी, नायकी कानड़ा, पटद्वीप, तीनताल, कहरवा।” · 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
Patdeep
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.
Evidence: Named musician's analysis · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.3, printed p.252 (PDF p.81), notated analysis
Source wording: “फ़िल्म का नाम : बेटी बेटे (1964); गीत के बोल : राधिके तुने बंसरी चुराई; गायक कलाकार : मोहम्मद रफी; संगीत निर्देशक : शंकर-जयकिशन; प्रयुक्त राग एवं ताल : दरबारी, नायकी कानड़ा, पटद्वीप, तीनताल, कहरवा।” · 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
Kafi
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.
Evidence: Named musician's analysis · Pooja Tiwari, doctoral thesis on semi-classical styles in film music (University of Delhi, 2020), ch.3, printed p.144 (PDF p.28)
Source wording: “गीत के निर्वहन हेतु नायकी कान्हड़ा, काफी, पटदीप राग का चयन किया गया है।” · 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.