Namak Haraam · 1973
Sooni Re Sejaria
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
Khamaj
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 · Pooja Tiwari, doctoral thesis on semi-classical styles in film music (University of Delhi, 2020), ch.3, printed p.147 (PDF p.31)
Source wording: “ठुमरी गेय विधा पर आधारित यह गीत राग खमाज में रचित है, जिसका प्रयोग संगीत-निर्देशक आर-डी- बर्मन ने सन् 1973 की फ़िल्म ‘नमक हराम’ में किया तथा आशा भोंसले जी एवं उषा मंगेशकर ने इसे कंठ प्रदान किया है।”
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Recording cues
No phrase-level timestamp has been expert-reviewed for this attribution yet.