Dil Diya Dard Liya · 1966
Saavan Aye Ya Na Aye
Hindi-film eligibility matched; song credits may still need checking
Sources differ: Brindavani Sarang, Sarang influence, Megh, Shuddha Sarang and Megh Malhar 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
Brindavani Sarang
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.244 (PDF p.73), notated analysis
Source wording: “फ़िल्म का नाम : दिल दिया दर्द लिया (1966); गीत के बोल : सावन आये या ना आये; गायक कलाकार : आशा भोंसले एवं मोहम्मद रफी; संगीत निर्देशक : नौशाद अली; प्रयुक्त राग एवं ताल : वृन्दावनी सारंग+मेघ+शुद्ध सारंग, तीनताल+अद्धा+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
Sarang
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 an influence rather than a strict identity. 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 Sarang Family — https://www.parrikar.org/hindustani/sarang/ — paragraph opening: “We conclude the Sarang folkfest with the popular Rafi-Asha number from DIL”
Source wording: “We conclude the Sarang folkfest with the popular Rafi-Asha number from DIL DIYA DARD LIYA (1966), tuned by Naushad to Shakeel Badayuni‘s words: sawan aaye ya na aaye.” · Applies to: influence
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
Megh
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.244 (PDF p.73), notated analysis
Source wording: “फ़िल्म का नाम : दिल दिया दर्द लिया (1966); गीत के बोल : सावन आये या ना आये; गायक कलाकार : आशा भोंसले एवं मोहम्मद रफी; संगीत निर्देशक : नौशाद अली; प्रयुक्त राग एवं ताल : वृन्दावनी सारंग+मेघ+शुद्ध सारंग, तीनताल+अद्धा+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
Shuddha Sarang
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.244 (PDF p.73), notated analysis
Source wording: “फ़िल्म का नाम : दिल दिया दर्द लिया (1966); गीत के बोल : सावन आये या ना आये; गायक कलाकार : आशा भोंसले एवं मोहम्मद रफी; संगीत निर्देशक : नौशाद अली; प्रयुक्त राग एवं ताल : वृन्दावनी सारंग+मेघ+शुद्ध सारंग, तीनताल+अद्धा+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
Megh 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.
Evidence: Named musician's analysis · Radha Tyagi, doctoral thesis on Naushad (University of Delhi, 2015), ch.4, printed p.251 (PDF p.158)
Source wording: “It shows glimpses of notes used in Vrindavani Sarang, Megh Malhar and Shuddh Sarang.” · 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.