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Come enjoy other spring based rag songs - every song is great!


The Kannada novel 'Hansagiti' was claimed to be based on the life of Dhundhar composer Bee (Bhairavi) Venkatsubaiyah, who was born in the 5th century Karnataka music. It was a combination of facts and imagination. Look at India Bhushan presented on screen, it was such a character born of Anukampa.


The film, as mentioned earlier, did not gain huge popularity or popularity. But the music proved to be like a 24-carat gold jug. The temptation to talk a little bit about every song in this film can't be stopped. The nine songs of the film have been compared by some enthusiastic fans to the Navratna of Akbar's court. Ketki Gulab Juhi .. We are talking about the song. Now let's move on.

Shabari has a character in Ram Charit Manas of Tulsidasji who has been waiting for Lord Ram for years. Here is a song that defies Shabari's craving for Ramadhan. 'Badi dar dhabi kab log ya know more Ram, Chalte chalte mere paag haare, Aayi jeewan ki shaam ...' It is like looking at a mammoth. In classical music, raga is more commonly used for classical song types like Pilu Thumri-Dadra.


If you had imagined it, you could have composed this hymn in Bhairavi too. But the musicians chose Rag Pilu to highlight the tendency created by Shailendra Bhajan's words. In the Scriptures the interest of this raga is expressed in exuberance, joy, joy. Here is the key to the musicians. In this captivity, a devotee's sensation is felt as a result of pain or longing. There is no hilariousness, no joy, no excitement, there is humility. I came of age, now come on ... this song is in the rhythm of saying "Okay fast."

In comparison, the eight-volume Kahrava Tal, which seems to be delayed, has given a yellow song to Shankar Jaikis. It is in the throes of Manna Day and it is like self-denial or confession. You may have remembered the song so readily. Yes, in the story of the film, "Sur na saje kya gaon main, sur ke siva jeewan suna ...", the singer is said to have been harmed by drinking something like sindoor. After this, here again the idea of ​​looking for a tune is again confirmed by the verse of Shailendra.


Budi der soapi in the voice of Rafi So the song opens in the voice of Manna Day. Manna Day has brought the spirit of words to life. The sentiment presented in the words is the only way the eye can stand before our eyes. In the last distance, Shailendra has amazed - 'Music Man ko ping lage, Lyrics se rimzim ras barseye, Swar ki sadhna parmeshwar ki ...' Manna de man ko pingaaye when you hear the words through the voice, you will be amazed if you listen intently. Is.

The two songs are in rag yellow and the two are different and the sensation is different. We have to salute the musicians' imagination. Again a song based on pure raga in Muhammad Rafi's voice is released. The traditional raga, which was created by Miya Tansi, has broken the key. (Coincidentally, a song in Biju Bawra was also insan bano kar lo bhalai ka koi kam .. was in the breaking. It was embedded in the Khemat Tala).


Here, Rafi's voice is presented in the words, "The world does not go in the face, now I take the bullet, the feet I have met ..." Here the prisoner is prepared in such a way that the pains of devout hearts are expressed in compassionate vowels. This song is made more intriguing by the amount of rhythm known as Adha. Some scholars also refer to this rhythm as Punjabi Tintal.

We all know that Shankaraji himself was a medieval practitioner of the stage, so by deciding which rhythm to use in a song, how would he associate it with Jaykisson who would stick to it. The world is not scared .. It is not an exaggeration to say that the antithesis of the song gives new dimension to the song.

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