Guide · 1965
Tere Mere Sapne Ab Ek Rang Hain
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
Gara - Nat Ang
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.2, printed p.79 (PDF p.32), composer discussion / prose example
Source wording: “तेरे मेरे सपने अब एक रंग है - (मुहम्मद रफ़ी, राग - गारा - नटअंग + जयजयवंती + काफ़ी) 4- दिन ढल जाए हाय शाम ना जाए - (मुहम्मद रफ़ी, खमाज + बिलावल + पहाड़ी) 5- गाता रहे मेरा दिल - (लता, किशोर, राग-पहाड़ी) फ़िल्म ‘जिद्दी’ में भी शास्त्रीय संगीत शैली का भिन्न रूप सुनने को मिला।” · 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
Jaijaivanti
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.2, printed p.79 (PDF p.32), composer discussion / prose example
Source wording: “तेरे मेरे सपने अब एक रंग है - (मुहम्मद रफ़ी, राग - गारा - नटअंग + जयजयवंती + काफ़ी) 4- दिन ढल जाए हाय शाम ना जाए - (मुहम्मद रफ़ी, खमाज + बिलावल + पहाड़ी) 5- गाता रहे मेरा दिल - (लता, किशोर, राग-पहाड़ी) फ़िल्म ‘जिद्दी’ में भी शास्त्रीय संगीत शैली का भिन्न रूप सुनने को मिला।” · 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 · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.2, printed p.79 (PDF p.32), composer discussion / prose example
Source wording: “तेरे मेरे सपने अब एक रंग है - (मुहम्मद रफ़ी, राग - गारा - नटअंग + जयजयवंती + काफ़ी) 4- दिन ढल जाए हाय शाम ना जाए - (मुहम्मद रफ़ी, खमाज + बिलावल + पहाड़ी) 5- गाता रहे मेरा दिल - (लता, किशोर, राग-पहाड़ी) फ़िल्म ‘जिद्दी’ में भी शास्त्रीय संगीत शैली का भिन्न रूप सुनने को मिला।” · 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.