Prahaar: The Final Attack · 1991
Yaad Piya Ki Aaye
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.
Sources differ: Kaushik Dhwani and Bhinashadaj 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
Kaushik Dhwani
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 · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.4, printed p.429 (PDF p.46), composer discussion / prose example, table row 32, table row 32
Source wording: “‘याद पिया की आए’-उ॰ बडे़ गुलाम अली खाँ की एक प्रसिद्ध ठुमरी है। इसी ठुमरी पर आधारित गीत है ‘बलमा अनाड़ी मन भाए’-जिसे लता जी ने सन् 1963 में बनी फ़िल्म ‘बहूरानी’ में गाया एवं उन्होंने इस गीत को हेमन्त, कौशिक ध्वनि, खमाज रागों के स्वरों में एवं कहरवा ताल में गाया 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.
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
Bhinashadaj
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.129 (PDF p.13)
Source wording: “‘याद पिया की आए’ भी ‘उस्ताद बडे़ गुलाम अली खाँ’ द्वारा गाई गई राग भिन्न षड्ज / कौशिक ध्वनि की एक अति प्रसिद्ध परम्परागत ठुमरी 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.