A list of Indian classical Raagas in Hindi film songs - 2

It isn't a researched material of my own, but found it in some site while surfing.Requesting interested persons to correct / update the existing information.
25. Darbaari - Yeh hawaa yeh raat yeh chaandni - SANGDIL
26. Darbaari Kaanada - Jhanak jhanak tori baaje paayaliya -MERE HUZOOR
- Raadhike toone bansuri churaayee - BETI BETE
- Hum tujhse mohabbat karkey sanam - AAWAARA
- Koi matwaala aayaa mere dwaare - LOVE IN TOKYO
- Yaad main teri jaag jaag ke hum - MERE MEHEBOOB
- O duniya ke rakhwaale sun dard bhare - BAIJU BAAWRA
- Too pyaar ka saagar hai - SEEMA
- Tora man darpan kehelaaye - KAAJAL
- Mujhe tumsey kuchhbhi na chaahiye - KANHAIYYA
- Rahaa gardishon main hurdum - DO BADAN
- Teri duniya main dil lagta naheen - BAAWRE NAIN
- Ke paga ghungaroo baandh, meera naachee thhee - NAMAK HALAAL
- Agar mujhsey mohabbat hai - AAP KI PARCHHAYEEYAAN
- Shaayaraana si hai zindagi - PHIR TERI KAHAANI YAAD AAYEE
- Main tere dar pe aayaa hoon - LAILA MAJNOO
27. Des - Aji roothkar ab kahaan jaayiyega - AARZOO
- Vande maataram - AANAND MATH
- Door koi gaaye, dhun ye sunaaye - BAIJU BAAWRA
- Ye jo des hai tera, swades hai tera - SWADES
28. Desi - Aaja gaawata man mero jhhoomake - BAIJU BAAWARA
29. Devgandhaar - Jab dil ko sataaye ghum - Film ?
30. Durga - Geet gaaya paththaroney - TITLE SONG
31. Dhaani - Prabhu tero naam,jo dhhaye fal paaye - HUM DONO
32. Gaara - Mohe panghat pe nandlal chhed gayo re - MUGHAL - E - AAZAM
- Thumaka chalata Ramchandra - TRADITIONAL BHAJAN
33. Gaud Malhaar - Garajata barasata sawana aayo re - BARSAAT KI RAAT (old)
34. Gaud Saarang - Allah tero naam - HUM DONO
35. Gujari Todi - Ek thha bachpan - AASHIRWAD
- Jaa Jaa re pathhikwaa - LEKIN
36. Hameer - Madhuban main raadhika naache re - KOHENOOR
37. Hamsadhwani - Jaa tosey naheen boloon kanhaiyya - PARIVAAR
38. Hemant - Tum bin jeevan kaise beeta - BAAWARCHI
39. Jaijaiwanti - Mana mohana bade jhhoothey - SEMA
- Bairana ho gayee re - DEKH KABEERA ROYA
40. Jhinjhoti - Tum mujhe yoon bhulaa na paaoge - PAGLAA KAHEEN KA
- Chhup gayaa koi re, door se pukarke - CHAMPAAKALI
- Teri aankhon ke siwa duniya main rakhaa kya hai - CHIRAAG
41. Jeevanguri - Pal pal hai bhaari ab aao raghurai - SWADES
42. Jogkauns - Baaje re paayela baaje - Film ?
43. Jogiya - Raat bhar ka hai mehmaa andhera - SONE KI CHIDIYA
- Dil ek mandir hai - TITLE SONG
- Keh do koi naa kare yahaan pyaar - GOONJ UTHEE SHEHANAI
44. Jaunpuri - Meri yaad main tum naa aansoo bahaana - MADHOSH
- Jaayen to jaayen kahaan - TAXI DRIVER
45. Kaafi - Biraj main holi khelata nandlaal - GODAAN

A list of Indian classical Raagas in Hindi film songs - 1

This is not my own researched material, but got the list from some obscure site while surfing. Requesting interested persons to make corrections or update the existing information.
1. Abhogi Kaanada - Jiya laage kya karoon sajana - Film ?
- Na jaiyo re suatan ghar sainya -Film ?
2. Adaana - Manmohan man main ho tumhee - KAISEY KAHOON
- Jhanak jhanak tori paayal baaje - TITLE SONG
3. Ahir Bhairav - Poochcho na kaisey manie rain bitayee - MERI SOORAT TERI AANKHEN
- Albela sajan aayo ree - HUM DIL DE CHUKEY SANAM
- Raam teri ganga mailee ho gayee - TITLE SONG
4. Alahiya Bilawal - Bhor aayee gayaa andhiyaara - BAAWARCHI
5. Aasaawari - Chale jaana naheen nain milaakey - BADI BEHEN
6. Bageshree - Raadha na bole, na bole, na bole re - AAZAD
7. Bahaar - Sakal ban gagan pawan chalat purvayee - MAMATA
- Chham chham baaje re paayiliy - TALAASH
8. Bairaagi - Main ek raaja hoon - UPAHAAR
9. Baarwaa - Khai hai re humne kasam sang rehene ki - TALAASH
10. Basant - Ketaki, gulaab, juhi, champak ban phooley - BASANT BAHAAR
11. Basant Bahaar - Sur na saje kya gaoon main - BASANT BAHAAR
12. Bibhhaash - Saanjh dhhaley gagan taley - UTSAV
13. Bhairav - Jaago mohan pyaare - JAAGTE RAHO
- Satyam Shivam Sundaram - TITLE SONG
- Mohe bhool gaye saanwariya - BAIJU BAAWRA
14. Bhairavi - Too ganga ki mauj main jamuna ki dhaara - BAIJU BAAWRA
- Tumhen aur doon kya main dil ke siwa - AYEE MILAN KI BELA
- Do hunson ka joda bichhad gayo re - GANGA JAMUNA
- Baabul mora, naihar chhootohi jaye - STREET SINGER
- Naachey man mora magan tikita tiki tiki - MERI SOORAT TERI AANKHEN
- Meethhey bol bole - KINAARA
- Suno chhoti si gudiya ki lumbee kahaani - SEEMA
- Kaa karoon sajani, aaye na baalam - SWAAMI
- Hunsataa hua noorani cheheraa - PAARAS MANI
- Humein tumsey pyaar kitna - KUDRAT
- Phul gaindava naa maaro - DOOJ KAA CHAAND
15. Bhatiyaar - Ek ritu aaye, ek ritu jaaye - Film ?
16. Bhimpalasi - Nainon main badira chhaaye - MERA SAAYA
17. Bhoopali - Jyoti kalash chhalake - BHAABHI KI CHOODIYAAN
- Hum tumsey naa kuchh keh paaye - ZIDDI (New)
- Punkh hoti toh ud aatee re - SEHRA
- Jiya dhhadak dhhadak - KALYUG (New)
19. Bihaag - Tere sur aur mere geet - GOONJ UTHHEE SHEHANAI
- Koi gaata main so jaata - AALAAP
- Beeti naa bitaayee raina - PARICHAY
20. Bilaaskhaani Todi - Jhhoothe naina boley - LEKIN
21. Basant Mukhadi - O basanti pawan paagal - JIS DESH MAIN GANGA BEHATI HAI
22. Chandrakauns - San sanana san, san sanana san - ASOKA
23. Chhaaya Nat - Hum bekhudi main tumko pukaare chaley gaye - KAALA PAANI
- Tere naina talaash karey jise - TALAASH
24. Chaarukeshi - Bainyaa naa dhharo , O balama - DASTak

Parveen Sultana - Begum who rules the hearts of indian classical lovers!

On the occassion of celeberations of 50 years of formation of the state of Madhya Pradesh, a concert was organized in which Pt Vishwajit Roychoudhary and Begum Parveen Sultana were invited to perform. The evening began with the sarod recital of Pt Roychoudhary. He gave a unique performance in the sense that for accompaniment, both tabla as well as Pakhawaj were used. This is unique for me at least, as Pakhawaj is used as an accompaniment primarily in the Dhrupad style of performance, while Tabla is used for the Hindustani or the Khayal style. The performance was blemishless and emhanced by the uniqueness of the accompaniment. This, the musician explained, was done to highlight the difference between the Dhrupad style of playing and the Hindustani style. The performance began with an Alaap and Jod set in Raga Nat Bihag and ended with a Mishra Bhairavi Dhun.

The piece de resistance was undoubtedly, Begum Sahiba. She commenced with a khayal in Raga Jog set in Jhap taal, then she sang a taraana in Hamsadhwani, a meera bhajan and ended with a Bhairavi Daadra. What strikes even a layman is her range. She flows effortlessely from the lowest octave to the highest. Being an exponent of the Kiraana Gharaana, her taans are as usual elaborate and intricate, yet soothing to the ears. She also is most down to earth and a humble human being. A few persons were standing inside the auditorium as all the seats were occupied. She invited them on to the stage to sit besides her so that they can enjoy the music better ! Then she asked one of the girls sitting besides her whether she was learning music. The girl replied in the negative. On which, Parveenji said "Acchha hai. Agar sab Taansen ban gaye to Kaansen kaun banega!!!" I wish Begum Parveen Sultaana good health so that she can regale us for many more years to come.

Music knows no barriers !

Attended a musical evening organized to commemorate "Sharad Poornima" day before yesterday. It wasn't anything "Heavy" (Classical), but the usual Film songs based on the theme of "Chaand". I too sang an everlasting Mukesh number "Chaand aahein bharega, phool dil, thhaam lengey". But this post is not about my singing ability or rather the lack of it ! The show was started by a singer of the orchestra which was invited to provide the support to our over enthusiastic efforts. And what a blemishless performnce it was ! He rendered an evergreen Jagjit Singh ghazal "Kal chaudahveen ki raat thhi". With the full moon rising above the upper lake (Badi Jheel) of Bhopal and a gentle breeze blowing across the lawns (show was organized in a housing society facing the lake), we felt transported to another world. There could'nt have been a better start to the evening.

At the end of the rendition however, all of us got the shock of our lives when the compare announced that the singer cum keyboard artiste was in fact blind ! During the entire period before the show commenced, all of us had interacted with the entire group of the orchestra in order to rehearse our songs, but never did we get even a clue that the lead keyboard artiste was blind. He in fact was guiding the auxillary keyboard artiste regarding the change of beats, sound frequencies etc ! We all felt subdued in front of this man who had conquered all odds to pursue his hobby.

This brings me to the point which I always knew but never realized - that music is felt or experienced and not "Learnt". That is why in Indian music there is so little emphasis on the visual aspect. Of course I'm not talking about the crass Item numbers or the remixed fare that we are subjected to these days. This is the reason why we instantly close our eyes the moment we hear a soul stirring peice of music. Music therefore transcends all barriers and unites us with our true self. I am indeed grateful to the blind artiste (Mr.Ravi.Rao) who showed to me the pathway of appreciation of music in the fullest sense.

Adieu Naushad

With the passing away of Naushad, Indian cinema has lost a music composer par excellance. He was a doyen of Indian film music, who was a perfectionist to the core. His compositions with few exceptions were simple and based on classical music. I have been a great fan of his, though I am relatively young to like his music! I can recall so many of his compositions now e.g Man tarapat hari darasan, O duniya ke rakhwale, Door koi gaaye (all from Baiju Baawra), Koi sagar dil ko behlata nahin (Dil diya dard diya), Madhuban main Radhika naache (Kohenoor), Prem jogan ban ke and Pyar kiya to darna kya (both from Magnum opus Mughale Azam). His zest for life was legendary. I had a great fortune to listen to him and interact with him in 1996 when he was a guest of honour in my Father's institution. I still recall his words regarding Indian classical music, "When we listen to western music, our body dances, while when we listen to Indian music, it is the soul which dances!" Even though he was rooted in clasical music, he was open to western orchestration also. In fact, Naushad was the first Indian music composer to use a 100 piece orchestra for the music of film "Aan". Salutations to you Naushadji! Your memory and your work shall remain forever in our hearts!

Return of classical melody in Hindi film music?

Refreshingly, now days we find quite a few compositions in contemporary music especially, reflecting shades of Indian classical music. Take for example, Albela sajan ayo from "Hum dil de chuke sanam",based on Raag Ahir BHairav or Rang Deeni sung by Kailesh Kher which is definately based on Raag Darbari Kanada, or Jiya Dhadak Dhadak, sung by Rahat Fateh Ali Khan in "Kalyug" which is based on Raag Bhoopali. Is this to suggest that we are finally going back to our roots? Hardly, I would say. But there definately an attempt to re-explore the golden raagas.
This brings us to the next question - Why are the old songs everlasting? Why do they affect us like no other melodies do? The reason is, almost all if not all were based on classical music, which from times immemorial, have been created to appeal to a particular emotion in our mind.When that happens, we become one with the music. For example, Raag Lalit, a morning Raag, explores the mood of uncertainity about the coming dawn while Raag Marwa too similarly appeals to our sense of apprahension of approaching dusk. Thus if you happen to catch a few bars of "Ek shahenshah ne banwa ke haseen Tajmahal" (Raag Lalit) at its appropriate time, there's every possibility that you will experience the oneness with the music!

Harmony - lacking in Indian classical music ?

It amazes me to learn about the interest of Westerners in Indian classical music. Not only is there interest, but also they are begining to understand it better than us! I came across a blog post by Rob http://robquick.blogspot.com. His post is mainly about the harmony that is present in western music, which is lacking in ours. The closest to harmony in our music is the Drone (Tanpura/Swarmandala etc) on which two notes, fifth apart are continuously played. Its on the background of these two notes that the melody or Raaga is expounded.

Yes, I accept that there's not too much harmony in Indian classical music. But then, our music has rhythm and melody which more than makes up for lack of harmony. Imagine, there are only 12 notes in the octave of western music, but 22 notes in ours! It is these micro notes that give our music its variety, richness and melody! In Western music, lot of stress is given on tonal clarity and harmony, which is produced by playing different notes simultaneously (Chords) many times on different instruments. On the contrary, Indian classical music is monophonic with the singer or the instrumentalist singing or playing the notes and other accompanists viz, percussionist, drone player only providing the rhythm and melody base respectively. Yet, inspite of it being monophonic, Indian classical music is much appreciated in the west. What is it that attracts them to it? Is it its inherent spiritualism, rhythm , melody, soothing effect or something else? I want to know the answers to it!