Another song from outside Basant is the devout prayer of Bhakti Hriday - 'Dhanbhanj Vandana Sune Hamari ...'

Cinematic - Ajit Parrot

Also read :Which is the sweet confusion of which raga-ragini to taste after Shivarajani's departure ....

Let's finish today with a song from the movie Basant that went unfulfilled last Friday. Thus today is February 14th, Valentine's Day. But let us proceed with the same, so that the continuity of our words with the outside will not be disrupted.

In the headline, the song is released. There are two ways to enjoy this song. First let's talk about the anger associated with it. For a year and a half under the rule of the British, it is taught to our children that the seasons are three - winter, summer and monsoon. In fact, according to Indian tradition, there are six seasons - Vasant (recently spring Vasant Panchami), Summer, Rain, Sharad, Hemant and Shishir.

Also read :If you want to enjoy 'Shivaranj's Romarshashini ..' then listen to Shankar Jakison ...

Malhar is one of the few seasonal ragas that Indian musicians have studied. Said in Sanskrit, Mal harayati iti malhar. The dirt that spreads on the roads in the summer is the litter, the washing machine, that is, the rain. Here again, a raga is performed in the name of Tansen, Mian Malhar. (Remember Ney Goody, say Ray Papihara ...). Other types of Malhar are also described by some scribes - Megh Malhar, Gaud Malhar, Ramdasi Malhar, Mirambai Ko Malhar, etc. Similarly in the Navadha devotion, the spirit of listening and listening to Vishnu is described in the scriptures as well. We can put Shailendra's song as a surrender or complete surrender.

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This devotional song composed by Shailendra is sung by Shankar Jaikis at Rag Mia Malhar. Both men have tried to find the surrender value of words in the vowels. You will also agree on the point that this manuscript is written. However, at the other end of the song, the sentiment varies slightly, but it is important that the central focus of the song is not harmed. "Sun-wounds of horror, Dars-tere mage yeh tera pujari ..."

See how sensibly the first word is formed here. Horror. Weave to the Almighty, who frees the devotee completely, without fear. Even offering something for this - 'Songs or Phoolon ki mala banakar, laya main dil aarti mein sajakar, Ye sanson ki sargam tere arpan ...' This line of dedication all his life is truly unique - Sanso ki Sargam. Here is the dedication ... 'Here is the preparation for surrendering. The eyes of the devotee expressing this sentiment are naturally wet. Being bursting with tears. In this regard, think of how relevant the symbol of the year is to Sam Rag Mia Malhar. If the vocalist's complete control over the vowels is not possible, the two cannot justify Nishad.

Also read :Three captivating streaks of Bhairavi mean the rest of the songs outside Basant ....

Talking about the success of Baiju Bawra, Naushad Saheb said that I gradually added a dose of scripturalism to the flow of the story. There was no serious rage at all. Here you see. This is exactly what Shankar Jaikis has done with ease. Of the nine songs, two were in Pilu and two in Sada Sarvada Sukhaddini (their supposed) Bhairavi. Their vigilance is felt here as the rest of the captives harmonize with the central focus of the song.

We all know that this song is also in the voice of Manna Day like the song of the song. Here also ten quantities of apricots are used. The weight of the syllables is set in such a way that the words are intact. Next week we will finish the last two or three songs from Basant.