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Posts: 1,222
Reply with quote  #1 
the problem with most (old) filmsongs is that they are only loosely based on a raga, most of the times they only use the raga notes and not the chalan and angs...(some songs do however) so that is why there is some confusing about on which raga a song is based.

For example the famous song "Mohe bhool gaye sanwariya" from Baiju Barwa, on most sites it is classified under raag Bhairav, but on some sites also under raag Kalingada, both these raags use the same notes, but the feel of these raags is different. I too feel it is not 'really' Bhairav.
trippy monkey

Posts: 4,281
Reply with quote  #2 
Friend Barend

This is exactly what I was talking about. Using a scale of notes in film songs means they can do whatever takes their fancy. Mix up 2 entirely different raags. And I'm not on about Basant Bahar either.

Doing this kind of thing means raags could well go into millions if one can mix any 2 & give it a new name.

jaan e kharabat

Posts: 1,401
Reply with quote  #3 
This is very true of film songs in general. Some are closer to their aspired to ragas than others. For example, the old Mukesh classic in jhaptal from the movie Parwarish , Aanso bhari hain shows extraordinairy fidelity to raga Yaman, where as Mohe bhool gaye sawariyan may not be a gramatically correct Bhairo, however the composer is Naushad and there is filmi lyrics to consider, so sometimes the mere suggestion and a sort of evokation of a famous raga is enough in a light song.

It is a beautifull tune and Lata is magnificent, and the aura of Bhairo is there to be sure, even if only scalewise, but arent we kind of arguing a moot point when the intention of the composer Naushad was never 100% fidelity to a given raga structure in the first place?

And who is not reminded of Bhairavi when they hear ghar aya mera pardesi?

If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?

Posts: 1
Reply with quote  #4 
any help would be greatly appreciated! thank you

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