Padosan · 1968
Sharam Ati Hai Magar
Hindi-film eligibility matched; song credits may still need checking
Sources differ: Abhogi and Mishra Abhogi 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
Abhogi
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 · Sakshi Sharma, doctoral thesis (University of Rajasthan, 2025), ch.4, printed p.158 (PDF p.18), राग आभोगी पर आधारित फिल्मी गीत, table row 1 (numbered list)
Source wording: “1. गीत–शर्म आती है मगर फिल्म–पड़ोसन (1968) संगीत निर्देशक–R.D. Burman”
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
Mishra Abhogi
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 · Sakshi Sharma, doctoral thesis (University of Rajasthan, 2025), ch.5, printed p.300 (PDF p.82), शर्म आती हैं मगर analysis paragraph
Source wording: “इस गीत की अपनी खासियत है कि इसके स्वरों का चलन आभोगी राग पर आधारित है परन्तु कोमल निषाद एवं पंचम का अल्प प्रयोग इस गीत में देखा जा सकता है जो इस गीत को मिश्र आभोगी के अन्तर्गत स्थापित करता 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.