Film Songs Based on Classical Ragas (7) – Desh and Tilak Kamod. Guest article by Subodh Agrawal(Subodh returns, after some gap, with an outstanding article on Desh and its close variant, Tilak Kamod. He also includes the concluding portion of Tagore’s dance drama .

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The classical pieces he has included  are recognised landmarks in these Ragas. Along with it I also include its closely related cousin – Tilak Kamod, because Tilak Kamod would perhaps not merit a separate post by itself, and the two go together quite well.

Both these ragas have strong roots in folk melodies. Because of this they are often dismissed as minor ragas, which – in my opinion – is grossly unfair. Desh is classified as audav- sampoorna. It means that it uses only five notes – sa, re, ma, pa and ni – in the ascent, while all the seven are used in the descent. All notes except ni are shuddha.

Niis shuddha in ascent, but komal in descent. Let me illustrate the characteristic ascent and descent of Desh with the help of one of the most well known compositions – the original version of Vande Mataram. I believe it was composed by Pandit Omkarnath Thakur. The first . The entire octave is thus covered in this short movement. In contrast . Rapid ascent and leisurely descent are the chief characteristics of this raga and make it very easy to identify, even for beginners.

Playing with differing emphasis on the ascent and descent allows the composers to use this raga to express a wide range of emotions from agonizingly sombre to playfully romantic, as the selection of songs below illustrates. I have arranged the songs according to the mood – from the saddest to the most joyous. In the process I have had to zigzag through the timeline. Dukh ke ab din beetat naahin by K L Saigal from Devdas (1.

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Kidar Sharma, music by Timir Baran. This is the iconic song of Desh. The composer has used the slow descent of Desh to express the agony of separation from one’s beloved in a manner that touches the listener’s heart. Saigal has used Desh again in the opening part of . Aayee ritu sawan ki by Kumari Faiyaz and Bhupendra from Alaap (1.

Dr Rahi Masoom Raza, music by Jaidev. Bhupendra has been among the most underrated singers of the Industry. His voice can really haunt, as it does in this song. He is wonderfully complemented by Kumari Faiyaz. Internet search has unearthed a few more songs by this intriguingly named singer, but hasn’t thrown up much information on her background, training etc.

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I would love to know more. Kadam chale aage by K L Saigal from Bhakta Surdas (1. DN Madhok, music by Gyan Dutt. We return to Saigal and the 1.

It is no longer sad but reflective. One would like to forget the past and get on with one’s life, but the mind defies control and keeps harking back.

There is a tinge of regret, but with a philosophical attitude towards it. Phir kahin koi phool khila by Manna Dey from Anubhav (1. Kapil Kumar, music by Kanu Roy. Anubhav is a film I remember for several reasons. Hulk 2003 Torrent Download Italiano more. It was the first .

After this film I felt confident enough to leave my teens behind and count myself among adults. I would never forget Tanuja in what was perhaps her best role. The music director Kanu Roy will always have my gratitude for bringing my favourite singer Geeta Dutt back from oblivion; sadly she passed away soon after. This song by Manna Dey has a quiet introspective mood and the composer has used the slower descending movements of Desh very effectively to bring this out.

Sakhi ri chitchor nahin aaye by Geeta Dutt from Jogan (1. Pt. Indra, music by Bulo C Rani. The mood gets playful now. The words suggest separation, but the tempo of the song and Geeta Dutt’s voice create the ambience of light- hearted romance. The mood is enhanced by Nargis’s impish smile and fluttering eyelids. She has rarely looked as good as this.

This film had several Meera Bhajans sung by Geeta Dutt. The composer Bulo C Rani would be remembered for this movie even if he had done nothing else in his career. Milne ka din aa gaya by K L Saigal and Suraiya from Tadbir (1.

Swami Ramanand, music by Lal Mohammad. The playful mood gets stronger, with some good natured banter between Saigal and Suraiya. This song was a discovery for me while researching raga Desh. The composer has kept the descending movements short for creating the required mood. Gori tore nain kajar bin kare kare by Mohammad Rafi and Asha Bhosle from Main Suhagan Hoon (1. Kaifi Azmi, music by Lachhiram. We now have a full- blooded classical song with all the alaaps, taans and accompanying instruments that one associates with a classical performance.

The mood is joyous and culminates in a dance. Both Rafi and Asha display their classical virtuosity, though one must admit that Asha has an edge over Rafi in this song. Would the actors in the song be Kewal Kumar and Nishi?

They are definitely not Ajit and Mala Sinha – the lead pair of the movie. Saiyan jao jao by Lata Mangeshkar from Jhanak Jhanak Payal Baaje (1. Hasrat Jaipuri, music by Vasant Desai. I end the list of film songs in Desh with the most playful and happy song that I know in this raga. The opening parts of the stanzas depart considerably from the raga, but the song keeps returning to it. Overall the impression is very much of Desh. There is something intriguing about the picturisation of this song.

Sandhya is apparently upset with Gopi Krishna. She is telling him to go away and not to talk to her or bother her.

However, all this while she continues to pamper him. In the interest of . Like Gorakh Kalyan, which has nothing at all to do with Kalyan, this raga too has no relationship whatever with Kamod – one of the ragas I had covered in the fourth article of this series. I remember a simple recipe for playing this raga given by a music teacher – play Desh, but keep breaking its rules of ascent and descent.

In a sense it gives greater freedom to the artist as compared to Desh. Surprisingly this greater freedom does not result in a greater expressive range. We have seen the range of moods Desh can express. Tilak Kamod, on the other hand, has a narrow range, falling somewhere in the middle of Desh – it is neither very sad, nor as joyous as Desh can be. Within its narrow range, however, it can be incredibly beautiful – as the four songs below illustrate. Thandi thandi sawan ki phuhar by Asha Bhosle from Jagte Raho (1.

Shailendra, music by Salil Chowdhary. This song is my personal bonus for writing this article. I had seen Jagte Raho years back but didn’t remember this song.

I guess the setting in the movie, with an inebriated Motilal forcing his abused wife to sing, is not in keeping with the sensuous and romantic mood of the song. I re- discovered it while researching this article and it charmed me completely. I am sure it would have found a place in AK’s post on songs of Asha Bhosle, if it had not been lost to popular memory.

Hiya jarat rahat din rain by Mukesh from Godaan (1. Anjaan, music by Pandit Ravi Shankar. Mukesh was the master of folk, and Pandit Ravi Shankar excelled in composing Tilak Kamod.

The combination has produced one of the most haunting folk based film songs. The words of the song talk of pain, but the mood of the video is one of rural idyll – something that goes very well with this raga. Yeh neer kahan se barse hai by Lata Mangeshkar from Prem Parbat (1. Padma Sachdev, music by Jaidev.

If I remember the film Prem Parbat at all, it is because of two songs – . Jaidev has excelled in creating the soft romantic mood that fits Tilak Kamod perfectly. Neer bharan kaise jaaoon by Ahmad Jahanzeb from Khuda Kay Liye (Pakistan 2. Ahmad Jahanzeb, Kami Jee and Mark Berlin. This one is from across the border and way out of the range of So. Y. However, it deserves inclusion here as it is the purest example of Tilak Kamod in film music in the subcontinent. The hero of our movie has gone to Chicago for higher study in music.

In the introductory class each student is asked to play or sing a piece by way of introduction. How To Update Blackberry Os Curve 8520 Os. As he sings the other students also join with their instruments. The movie itself was an eye- opener.