Mohammad Rafi and the songs based on Classical Raagas
By: H.A.K. Walijah
Mohd Rafi and Naushad Ali
Although Mohammad Rafi could sing any type of song, my choice of his best songs are classical based; and though he has sung more hit classical based songs for a few composers like Naushad, Shankar-Jaikishan, S.D. Burman. He was the favorite of all illustrious MDs of his time such as Naushad, Shankar-Jaikishan, S D Burman, C Ramchandra, Madan Mohan, O P Nayyar, Roshan and later R D Burman, Kalyanji –Anandji and Laxmikant-Pyarelal. In the film ‘Ragini’ O P Nayyar even used Rafi to playback for Kishore Kumar for the song ‘Man mora Bawara’ which was classical based. Naushad used to compose very tough classical based songs which none other than Rafi could sing. If one listens to “O Duniya ke Rakhwale” of Baiju Bawra and “Zindabad, Zindabad aye Mohabbat” of Mughal-e-Azam, one can notice the high pitch where even Rafi’s tone seems to almost breakdown. Can anybody guess what the song was? When Rafi Saab rehearsed for fifteen days for this song and after recording this song his voice was broken. and people started telling he won’t get his voice back. Okay the raag was Darbari and it was Baiju Bawra and the song was “O Duniya ke Rakhwale”. That was how Rafi Saab performed his immortal songs based on classical ragas. Therefore, I personally feel, it is not exaggeration or inappropriate to call Rafi Saab – Baiju of modern times.
There is one better example of Kuhu-kuhu bole koyaliya (Suvarna Sundari). This superb semi-classical duet is based on four Ragas, one each for each stanza, Sohni, Bahar, Juanpuri and Yaman. This movie Suvarna Sundari was dubbed from the 1957 Telugu movie of the same name, made before Hindi – same Music director (Adi Narayan Rao) and same tune. All songs are basically reproductions from the Telugu version. But whereas Ghantasala and Jikki were not awarded for Telugu version for Hayi Hayiga Aamani [Raga Sohini]. The surprising part was that this Hindi song won a National Award in 1958, where as the regional Telugu song was neglected. Well, anyhow, people were happy for Adi Narayana Rao, who got awarded for this excellent composition along with Rafi and Lata. Normally, one sees the lyrics, mood & raaga match to create a perfect effect, here a unique experimentation has been tried… in “Kunj-kunj mein bhanvre dole, gun-gun bole” – mood & lyrics are suited for “raaga bahaar” but this antara is set in raaga Sohini, whereas in “Kaahe ghata mein bijuri chamke” – mood & lyrics are suited for “raaga malhaar” but this antara is set in raaga Bahaar & yet its effect is perfect. One more word about the lyrics penned by Bharat Vyas, assuming that he had to write lyrics keeping in mind the fact that the song was to be dubbed, he has come up with words that fit with the lip movement of the actors. Not just that, he came up with a song that makes perfect sense. In fact, it is as good a song as any that Bharat Vyas wrote in his career. This song is among the most difficult songs that have been sung in HFM. For one, the singers are called upon to sing in a wide range of frequencies, and secondly, it is a semi classical song, where one needed to sing not just one raag, but as many as four raagas.
Likewise in Duniya na bhaaye (Basant Bahar, 1956) like all classical-based songs, it starts out slow with a short alaap and a slow tempo that quickens pretty soon. Rafi starts out pleading for a place at God’s feet, since he does not like the world and soon the voice is soaring in an ecstasy of devotional fervor, with, of course, perfect control on the higher notes. Also in Kahan ja raha hai (Seema, 1955) – A compassionate understanding of human troubles coats Rafi’s voice as it once again effortlessly brings forth the emotions demanded of it.
Madhuban main Radhika naache (Kohinoor, 1960) – This beautiful, semi-classical song in the well-known and popular Raag HAMIR. The song has five antaras. The third and the fifth antaras are taranas and the fourth is in sargam.
Further in Ya meri manzil bata (Rakhi, 1962) Rafi was especially adept at expressing anger, his voice could slip into the high notes and quick enunciation of the angry man, with extraordinary control and with such great effect – like in O duniya ke rakhwaale which is probably the angriest lament in HFM. The song expresses anger in a more subdued form. But it always cools down to a baffled, sad sort of anger with Rafi’s voice-modulation doing a superb job of expressing the emotion, as always.
Classical Music, however, has frequently made a straightforward entry into cinema, directly with great performers, as well as indirectly through the voice of filmi playback singers. The magnificence of classical music came live with Bade Ghulam Ali Khan singing “Premjogan Ban Ja” in Mughal-e-Azam, D. V. Paluskar and Ustad Amir Khan presenting the duet, “Aaj Gawat Man Mero Jhum Ke” in Baiju Bawra, the duets of Ustad Bismillah Khan and Ustad Amir Khan in the movie Goonj Uthi Shehnai, Pt. Bhimsen Joshi’s song in the movie Ankahi. Manna Dey, who of all the composers is best grounded in classical music, has made thrilling presentations, such as “Laga Chunri Mein Daag”, “Chalo Kahe Ko Jhoothi Banao Batiyan” And “Phul Gendwa Na Maro”. K. L. Saigal’s resounding Bhairavi, “”Babul Mora” in the film street singer made in Calcutta in 1939, is one of the immortal creations in Indian film music. K.L. Saigal was trained basically in ghazal singing, but was gifted with purity of voice which is the soul of classical singing. In the movie Tansen made in 1943, he presented Raag Bilawal, “Sapt Suran Teen Gram”, with transparent purity of notes. So did Mohammad Rafi when he sang Raag Malkouns, “Man Tarapat Hari Darashan Ko Aaj”, in Baiju Bawra. In Kohinoor, he was even able to run into impressive taans when he sang “Madhuban mein radhika nache ri”. Classical music is the base of all music compositions.
Besides, the runaway successes of films like Baiju Bawra, Basant Bahar, Tansen, Payal Baje, Abhimaan etc was possible because Classical music was presented to them in the way they loved. Music Directors like Vasant Desai, Naushad, S.D.Burman and many others have helped classical music reach to people in an acceptable form.
I remember some of the classical-based songs which did belong to Rafi’s classical hits category ~
- Man Tarpat Hari Darsan Ko Aaj – Baiju Bawra(1952)
- Madhuban Mein Radhika Nache Re – Kohinoor(1960)
- Duniya na bhaaye – Basant Bahar(1956)
- Aaye Bahar Ban Ke – Rajhat(1956)
- Man Mora Bawara – Raagini(1958)
- Na Kisi Ki Aankh Ka Noor Hoon – Lal Qila(1960)
- Kah Do Koi Na Kare Yahan Pyar – Goonj Uthi Shehnai(1959)
- Nache Man Mora – Meri Surat Teri Ankhen(1963)
- Radhike Tune Bansari Churayee – Beti Bete(1964)
- Subah Na Aayi Sham Na Aayi – Cha Cha Cha(1964)
- Ajhun Na Aye Balamwa – Sanjh Aur Sawera(1964)
- Koi Sagar Dil Ko Bahlata Nahin – Dil Diya Dard Liya(1966)
- Kaise Samjhaoon Badi Nasamjah Ho – Suraj(1966)
- Meri Aawaz Suno – Naunihal(1967)
- Navakalpana – Mrig Trishna(1975)
- Kuhu kuhu bole koyaliya – Suvarna Sundari (1958)
- Man re tu kahe na dheer dhare – Chitralekha (1964)
- Saaz ho tum aawaz hoon main – Saaz aur Awaaz (1966)
- O Duniya ke Rakhwale – Baiju Bawra (1952)
Naushad Sahab and Rafi Sahab
As the “talkies” arrived in the 1930’s, film music charted a separate course, not integrating with classical music, but still yielding a treasure of rich variety, using all available styles. There has been fruitful interaction between the two which further enriched the music in Indian cinema. Our film music patterned itself broadly in three segments. First, we have had compositions which are based on Raag, but not necessarily on Taal. All the music directors in films have had some grounding in classical music and there are any number of compositions by Naushad, Anil Biswas, Lakshmikant- Pyarelal or Kalyanji- Anandji, which scrupulously adhere to the discipline of Raag. S.D. Burman, of course, is the one who delighted in mixing several Raags in one composition with wonderful results.
Is it true that in Indian folklore there are said to be certain Raag’s that could turn stone into water and make it rain? We can say so when someone refers Tansen. Tansen is considered to be one of the greatest musicians that ever lived. He was the court musician of the famous Mogul Emperor Akbar (16th century). He was so highly valued in the court that he was called one of the “Nine Jewels” in his court (Navarathan). It is said that Tansen could work miracles with his singing. He is said to have created Raag Darbari, one of the most famous and powerful Raag. There are many lores associated with Tansen. He is supposed to have caused it to rain by singing Raag Malhar. He made lamps light up by just singing Raag Deepak. According to historical legends – Raag Malkauns is the raag which was sung by Baiju (of the Baiju Bawra fame) in his musical duel with Tansen. He sang this raag so powerfully that a nearby slab of stone began melting. Baiju then proceeded to place his tanpura in the molten stone and stopped singing, upon which the stone solidified with the tanpura embedded within. Needless to say, Tansen accepted defeat.
Next, we have a vast reservoir of music in cinema which includes transmuted forms from numerous sources, ghazal, bhajan, and qawwali, regional, ethnic and village music, and some doses of Latin American, Jazz and Rock. The biggest form of Indian popular music is filmi, or songs from Indian films, it makes up 72% of the music sales in India. The film industry of India supported music by according reverence to classical music while utilizing the western orchestration to support Indian melodies. Music composers like Naushad, C. Ramchandra, Salil Chowdhury, Shankar Jaikishan, Kalyanji Anandji, R. D. Burman.
Though popular film music is not entirely synonymous with Hindi film music, Hindi films are usually seen as adequately constituting the “essence’ of commercial Indian cinema. Since the early 1930s, there have been few Hindi films without songs, and only the so- called art cinema, the advent of which was perhaps marked by Shyam Benegal’s Ankur (“The Seedling”, 1975), has shown a disdain for this most marked feature of the Hindi film. A number of characteristics of Hindi film music and song compel attention. First, Hindi film music has borrowed unabashedly from all known styles and genres of music, and much like Indian culture as a whole, refuses to acknowledge the bankrupt concept of “copyright”. Everything is, to put it colloquially, fair game: thus the borrowings are not only from Indian classical, folk, and devotional music, but also from Japanese music (as in the film “Love in Tokyo”) and Persian music, and from Western music. Hindi film music is often set to large, Western-style orchestras; in many Hindi films until recently, there was a set piece in which the hero played, before a large and distinguished gathering, in which his fiancée as well as the vamp were present, the piano. But the hero in the Hindi film plays the piano no more than he sings: indeed, songs are sung by what are termed playback singers. Thus the hero and heroines (the villains are seldom given that honor) appear to sing, but the long history of Indian cinema has known only a few dozen singing voices. Among the most well-known male playback singers have been K. L. Saigal, Mohammed Rafi, Mukesh, Manna Dey and Kishore Kumar; among the women, the two dominant voices have been of Lata Mangeshkar and her sister Asha Bhosle. Lata, as she is affectionately known throughout India, has been singing for nearly sixty years. Along with her sister Asha she is listed in the Guinness Book of Records for having recorded more songs than anyone else. Some of the songs are sung as duets, with male and female voices alternating.
Yaman is the first raga to be taught to students. Yes, it does have a simple structure – in the sense that it has no komal svaras, but its simplicity is deceptive. Creating beauty in Yaman requires a high level of skill and sensitivity. It sounds bland and pedestrian in the hands of a novice or an artist of average capability. There is, however, no limit to the heights it can attain in the hands of a master. No wonder it is one of the favourite ragas of our film industry’s composers, some of whom – Roshan for example – have given their best in this raga.
Yaman and Kalyan are two different names of the same raga. Yaman Kalyan, interestingly, is slightly different, as it uses shuddha madhyam occasionally along with the teevra madhyam of Yaman. The difference is not much, and in this article I would use Yaman to mean both Yaman and Yaman Kalyan. The predominant mood of Yaman is tranquility – shant rasa. Another great raga Malkauns is also known for evoking shant rasa, but there is an important difference between the two. The tranquility of Malkauns has a Yogic, meditative quality about it. Yaman’s serenity is much closer to everyday life. It evokes the kind of peace one feels when one is happy at home and with family, in the company of friends, watching a beautiful sunset, or doing something one enjoys.
The shant rasa of Yaman combines well with bhakti rasa. It is an ideal raga for devotional compositions. Let me therefore begin with one of the best known works of Roshan, Man re tu kahe na dheer dhare, from the film Chitralekha. A few years back Outlook magazine had polled some leading music personalities to come up with a list of twenty all time great songs from films, and this song topped that list. I wouldn’t quite go that far, but there is no doubt that this is one of the great songs of Hindi films. Mohammad Rafi sings Man re tu kahe na dheer dhare from Chitralekha (1964), lyrics Sahir Ludhiyanvi, music Roshan.
Here are some of Rafi Saab best remembered solos as well as duet songs which are closely based on classical Ragas:
SOLO SONGS:
O Duniya Ke Rakhawale ; Madhuban men radhika nache re; Ham bekhudi men tumko pukare chale gaye; Nache man mora magan dhik dha; Baharon phul barsao; Meri muhabbat javan rahegi; Raat bhar ka hai maheman andhera; Rang aur nur ki baraat kise pesh karun; Man re tu kahe na dhir dhare; Tute hue khvabonne; Maine chand aur sitaronki tamanna kit hi; Chaudhavin ka chand ho; Bhari duniya mein akhir dil ko samajhane kahan jaayen; Kabhi khud pe kabhi haalaath pe ronaa aayaa; Jane kya dhundti rahati hain; Hum tum se juda ho ke; Chahunga main tujhe sanjh savere; Keh Do Koi Na Kare Yahan Pyaar; Takdir ka fasaana; Ankhiyana sang ankhiya lagi aaj; Man mora bawra; Duniya na bhaaye; Zindabad aye mohabbat zindabad;
DUET SONGS:
Kuhu kuhu bole koyaliya; Jo vada kiya vo nibhana padega; Tere bina sajna lage na jiya hamar; Ajahun na aye balma; Tere bin soone nayan hamare; Dekh humen awaz na dena o bedard zamane; Do sitaronka Zamin par hai Milan; Yaad mein teri jaag jaag ke hum; Woh jab yaad aye bahut yaad aye; Rimjhimke geet sawan gaye; Apko pyar chupaneki buri adat hai; Jivanmen piya tera sath rahe; Abhi na jao chhodkar ke dil abhi bhara nahin; Aap yun hi agar humse milte rahe dekhiye ek din pyaar ho jaayega; Vrindavanka krishna kanhaiya; Chalo dildar chalo; Parbaton ke pedon par sham ka basera hai; Yeh dil tum bin kahin lagta nahin; Savan aye ya na aye.
Most film music lovers run away from classical music. I think it is only partly true. What the reality is that the word Classical Music is associated with some Ustad so and so, having a Mehfil with only a Tanpura or a Violin,and who goes on repeating a word or a set of words again and again for half an hour each and such songs seem to be endless! Music is in every Indian’s blood. It is what one would call a “Virasat”of Indian culture. Music is in our life throughout right from birth to death .Every Indian grows up listening to his mother’s lories marriage songs, holi songs etc. When classical music is presented to people sans the Ustad’s mehfil and also in a short version with catchy and lilting tunes in a short time, it is always welcome. That is how our film music evolved and since last 80 years, is the delight of all Indians all over the world.
Hindi film music has truly helped take classical music to the masses. Besides, it has played another role too. The famous Historian of Music James McConnachie says” As India marched into an uncertain future in 1947 (after Independence), Film songs offered something unique: they helped create a sense of belonging to one Nation, something that the divisive Right wingers in India chanting “Hindu” and “Muslim” could never achieve! When Hindi Film Singers sang, nobody cared, whether Rafi was a Muslim or Lata was a Hindu Bramhin. Its great music bridged the gap between Hindus and Muslims, better than any Politician (read Gandhi or Nehru) ever could “-World Music- The rough guide, Vol II, pp 106, pub.1990 Harper Collins.
Naushad was a genius and unparalleled music director in the history of Indian film music for giving songs to us wrapped in classical Ragas; and his association with Rafi was amazing and far more divine than others with lots of quality songs. Naushad whom he promoted later became first choice of everyone was not at all coincidence; actually he was the first music composer who brings the freshness to HFM with suhani raat dhal chuki. 1949-1969 known as the most melodious period and actually Naushad based the foundation of this golden era by promoting Mohd. Rafi. Naushad’s genius completely changed the mind set of every genius composer. Rafi Saab definitely has had the special bond with Naushad Saab. The Guru Shishya Parampara (Teacher – Student tradition) which lasted for three decades until death separated the greatest singer of our times. I am talking about the Guru Music Maestro Naushad and the Shishya the immortal singer Rafi Saab! Naushad Saab composed music for only 65 films (Hindi) in a span of 65 years. 25 films of which have been silver, nine golden and two diamond jubilee hits. He based his music upon the “ragas” that formed a basis in Indian classical music, and due to this, his music was complex and with depth. Rafi was introduced by Naushad first as a chorus singer. Although Rafi worked with different music directors, he was always an obedient student with Naushad from beginning till the end. Success never changed his attitude towards his Guru. Naushad at last found a singer who can sing any type of song with full mastery. He found that Rafi could mould his voice according to the mood of the song and according to the style of the character on which the song is to be picturised. Naushad discovered that in an era when low octave singing was the norm, Rafi had a phenomenal range, and yet, he never sounded out of tune.
Here below some more Rafi songs segregated based on various classical ragas ~
Raga: Adana
Radhike toone bansari choorayee – Beti Bete
Raga: Bhairavi
Kaise samjhaun bade nasamajh ho – Suraj
Nache man mora magan dhik dha dhigi dhigi – Meri Surat Teri Aankhen
Tu Ganga ki mauj – Baiju Bawra
Raga: Bhimpalasi
Chalenge Teer jab dil par – Kohinoor
Maine Chand Aur Sitaaron Ki – Chandrakanta
Raga: Chayanat
Hum Bekhudi Mein – Kala Paani
Raga: Darbari Kanada
Basti Basti Parbat Parbat – Railway Platform
Guzre hai aaj ishqmen – Dil Diya Dard Liya
Hum tum se juda ho ke – Ek Sapera Ek Lutera
Main Yeh Soch Kar – Haqeeqat
O Duniya Ke Rakhwaale – Baiju Bawra
Raha gardishonmen haradam – Do Badan
Sarfaroshi ki tammana – Shaheed
Tere Dar Pe Aaya Hoon – Laila Majnu
Toote Huye Khawabon Ne – Madhumati
Yaad mein teri jaag jaag ke hum – Mere Mehboob
Raga: Desh
Aapko Pyar Chhupaane Ki – Neela Akash
Takdir ka fasaana – Sehra
Raga: Hamir
Madhuban Mein Radhika Naache – Kohinoor
Raga: Jhinjhoti
Mere Mehboob Tujhe – Mere Mehboob
Teri ankhoke siva duniyamen – Chirag
Tum mujhe yun bhula na pao ge – Pagla Kahin Ka
Raga: Jogiya
Dil ek mandir hai – Dil Ek Mandir
Keh Do Koi Na Kare Yahan Pyaar – Goonj Uthi Shehnaai
Raga: Kalavati
Koyi Sagar Dil Ko – Dil Diya Dard Liya
Raga: Kalyan
Abhi na jao chhodkar – Hum Dono
Dil diya dard liya – Dil Diya Dard Liya
Dil e betabko sinese – Palki – Rafi and Suman
Dil Jo Na Keh Saka – Bheegi Raat
Ehsaan tera hoga mujhapar – Junglee
Lagta nahin hai dil mera – Laal Quila
Man re tu kahe na dhir dhare – Chitralekha
Meri duniyamen tum aaye – Heer Ranjha – Rafi and Lata
Tere husn ki kya tarif karun – Leader
Woh jab yaad aye bahut yaad aye – Parasmani – Rafi and Lata
Zindagi-bhar nahin bhulegi – Barsaat Ki Raat
Raga: Kedar
Aap yun hi agar humse milte rahe – Ek Musafir Ek Hasina
Raga: Kirwani
Yaad na jaye bite dinonki – Dil Ek Mandir
Pukarta chala hun main – Mere Sanam
Mai pyarka rahi hun – Ek Musafir Ek Hasina
Raga: Malkauns
Ankhiyana sang ankhiya lagi aaj – Bada Aadami
Mann Tarpat hari darshanko – Baiju Bawra
Raga: Pahadi
Aaj ki rat mere dil ki salami – Raam Aur Shyam
Chahunga main tujhe sanjh savere – Dosti
Chal ud ja re panchi – Bhabhi
Chalo dildar chalo – Pakeezah – Rafi and Lata
Chaudavin Ka chand ho – Chaudavika Chand
Dil pukare a re a re – Jewel Thief – Rafi and Lata
Dil Todhne Wale – Son Of India – Rafi and Lata
Do sitaronka jamin par hai milan – Kohinoor – Rafi and Lata
Isharon isharon mein dil lenewale – Kashmir Ki Kali
Jaane kya dhundti rahati hain – Shola aur Shabnam
Janevalo jara mudke dekho mujhe – Dosti
Jo vada kiya vo – Taj Mahal – Rafi and Lata
O durke musaphir hamko bhi sath le le – Udan Khatola
Parbatonke pedon para shamka basera – Shagoon – Rafi and Suman
Salamat raho – Parasmani
Suhani Raat Dhal Chuki – Dulari
Sun More Saajna – Aansoo – Rafi and Lata
Tasvir banata hun teri khuna jigarase – Deewana
Tere bharose he nandalala – Title song – non film Album
Tujhko pukare mera pyar – Neel Kamal
Tum ho jo mere hamsaphar – Rafi and Geeta Dutt
Vrindavanka krishna kanhaiya – Miss Mary – Rafi and Lata
Ye Vaadiyan Yeh Fizaayen – Aaj aur Kal
Zara Sun Haseena – Kaun Apna Kaun Paraya
Raga: Pilu
Ajahun na aye balma – Sanjh Aur Savera
Badi der bhai kab loge khabar – Basant Bahar
Din sara guzara tore angana – Junglee
Jhulemen pavanki ayi bahar – Baiju Bawra
Maine shayad tumhe pahle – Barsaat Ki Raat (old)
Na Jhatako Zulf Se Paani – Sagaai
Tere Bin Soone – Meri Soorat Teri Aankhein – Rafi and Lata
Raga: Puria Dhaneshri
Rang Aur Noor Ki Baraat – Gazal
Raga: Sarang
Savan aye ya na aye – Dil Diya Dard Liya
Raga: Sudh Kalyan
Jahaan daal daal par sone ki cheediyaan – Sikandar-e-Azam
Meri Mohabbat Jawaan rahegi – Jaanvar
Raga: Shivranjani
Awaaz Deke – professor – Rafi and Lata
Bahaaron phool barsao – Suraj
Dil Ke jharokhemen tujhko bithakar – Bramhachari
Na Kisi Ka Aankh Ka Noor Hoon – Laal Qilla
Rimjhimke geet savan gaye – Anjaana – Rafi and Lata
Raga: Tilang
Itna To Yaad Hai Mujhe – Mehboob Ki Mehndi
Meri kahani bhulnevale – Deedar
Yahi arman lekar aaj apne – Shabab
Raga: Todi
Duniya na bhaye mohe, ab to bulale – Basant Bahar
Insan bano – Baiju Bawra
Rafi Saab was a total perfectionist, a benchmark that can never be matched. To prove this statement, I would like to cite the anecdote as told by Naushad Saab himself a few years before his death. Naushad Saab recorded the song Suhani Raat Dhal chuki Na Jane Tum Kab Aaoge for the movie DULARI which you can enjoy every night even today. Next day after the original recording Rafi Saab came to Naushad’s home and said that he thought about this song whole night and felt that he did not do full justice to his composition although Naushad was fully satisfied. He wept like a child requesting Naushad to record again and Naushad could not believe the dedication of this singer. Naushad recorded the song again and Rafi was satisfied.
It is ironical to note that Naushad Saab era also came to an end after the departure of Rafi Saab. It does not mean that Naushad Saab’s ability to compose marvelous songs came to an end after 1980. Naushad lost his soul-mate and could not find the replacement to sing his composition in the perfect way as Rafi Saab. Unfortunately and to his distaste the times were changing which demanded more fast-paced, tunes, and Naushad could not adapt towards the end as he belonged to the era where music was pure and classical.
bahut shukriya..badi maherbani..app ne meri dil khush kar diya…
Walijah Saab,
Thanks for writing such a brilliant article. I think it is one of nicest articles published recently on this blog. The semi classical songs of Rafi Saab had no match until today. Wonderful………..
Mr.Raja,
Pl keep ur likes to urself.
post 44: Mr. Raja,
Please do not bring Ghantasala again to this thread, he is spreading like a virus in every thread. If you happened to be his fan then keep all his greatness with you.
SPB is correct with his observations on Rafi’s relative limitations on the low frequencies. There has never been a singer with no limitations and there will not be one. Rafi’s voice is naturally high pitched and therefore he is more comfortable in higher scale. But he managed his limitations well and was bold enough to venture into the low pitched songs. We have to remember that most singers do not sing in scales they are not very comfortable at. There are few Mukesh/ Hemant songs that go into high notes. Conversely there are few Mohd. Aziz/ Udit Narayan (High pitched voices) songs that go low.
Excellent article, mind blowing. Gone through great research on the topic. Thank you Walijah Saab.
Rafi Saab of course a great singer, but when we come to classical based renditions, he is next to Ghantasala only. siva sankari song is worth to mention here as well as the telugu counterpart hayee hayee ga for kuhu kuhu bole koyaleya…….
Janab Walijah Saab, ASA
Aadab Rafi
I can say only one word OUTSTANDING, for this write up. you have done extensively research on the subject and it is worth that this site keep it as in POPULAR POST always as some of our friend pointed in the above comments.
Rafi Saab classical based songs are really the treat to the music lovers. I enjoyed it very much. The songs enlisted in the article are almost classic renditions and perhaps more than fifty year old but even today all seems to be fresh and mind blowing.
I wish you we all rafi fans continue this musical journey with you with so many further write ups you have to write for us and give it to this beautiful site.
Thanks a lot and blessings of Allah shower upon you .
Y. Sharif
Santoshbhai,
Some more Rafi low-pitchers:
http://www.youtube.com/watch?v=23wHmmHevaA&feature=related
The entire song is sung at a low pitch
http://www.youtube.com/watch?v=1cdgLSixrvM
Watch out 1.58 to 2.02, 2.18-2.22 and similar parts.
http://www.youtube.com/watch?v=cpbXDsoSSVI.
Watch out ‘aake..’ in the line ‘is duniya mein aake’ and compare with Kishore’s singing the same song. You will find that Rafi is as crisp as the naturally lower-pitched Kishore.
Dear Walijah sab,
Brilliant !! Very well researched too.
Hatsoff to you janab for taking much pains to enlighten us on the raag based songs of Rafi sab. I look forward to more such treats from you. This is the kind of value addition this forum needs & deserves.
Hearty congratulations!!
Adaab Rafi
Nagesh
“Takdeer ka fasana jaaker kise sunaaye , is dil me jal rahi hai armaan ke chitaaye. ”
or
“mujhe le chalo aaj us galli jahan pehli baar dil ladkaya ”
masterpieces of rafi saaheb singing in different scales.
Post 14.. santhosh ji…
i know you as a mohd rafi fan hence i wish to write a few lines which you might appreciate.
ignorance is ‘never’ a crime. but insistence of it could be a crime.
you have quoted s.p. bala and the statement is misleading especially since s p b considers rafi saaheb as the ultimate divine force in singing. a big portrait of rafi saaheb adorns spb ‘s house in chennai. i will be meeting him too to discuss things with him. more of it later.
when spb was called by laxmikant pyarelal, spb was asked to exhibit his singing skills.
spb duly sang mohd rafi- l & p number from evergreen dosti. the song was ” Jaane waalo zara.
There are about 7000 mohd rafi songs including non filmi bhajans. pls hear some of them on you tube or from rafi lovers. your beliefs and doubts will be clear about rafi saahebs singing on any and every scale.
Pls listen to jahan daaal daal par sone ki chidiya in which rafi saaheb scales the high pitches and comfortably glides down to create a masterpiece of a song.
also try and listen to the monumental man tadpat hari darshan ko aaj and write a few lines on it.
manna dey tried a life time to compete with mohd rafi and gave up. One fine day he went to mohd rafi and said: ” i have tried to compete with you so many times but failed. from today you are my guru said the veteran singer and bowed down to rafi saaheb.”
that was the day i found peace with myself said manna dey.
on another occassion another major classical singer said : ” we are saved. if rafi had concentrated only on classical singing then we would have had a permanent holiday.”
at another conclave of senior classical singers, word went around that rafi has come.
sr. singers full of confidence and pride asked : ‘who is this rafi’ and called the young lad to take the mike. ‘
mohd rafi took the blessings of “senior ustad singers” and proceeded the recital.
he sang hari om in various forms and the audience were spellbound.
duly the ustads gave aashirwad to the budding singer.
need i say more – santhoshji on mohd rafi’s singing calibre which you have pointed out.
from the rafi foundation, mumbai
Mail : binus2000@hotmail.com
Cell + 9833 250 701
Walijah Saab,
Wonderful article. I had been gone through so many times, at all times I feel relief and solace. You touched almost every point and said so well that I am speechless.
God bless you.
Keep enthralling us with your beautiful articles.
Anees
In my opinion post # 14 had no clue of rafi sahab’s magnitude. Rafi cannot sing in low pitch? Listen to some songs with minimum or no music at all e.g. pyasa’s – jinhe naaz hai hind per.. lal Quilla’s – na kisiki aakhka noor and lagta nahi hai dil mera. also all the songs of do badan and the list is endless. like the great md madan mohan said if rafi is singing i don’t need to be there. rafi can sing with some, more or no music at all. also try aman’s- aaj ki raat and love in tokyo’s – aaja re aa jaara. rafi sahab the singer par excellence for any mood or any type of song.
Janab Walijah Sahab, Assalam Alaikum….
Jab se aap ki tahreer padhi hai main ek dam sakte main agaya hoon ke kya kahoon, kis tarh aap ko mubarakbaad pesh karoon. Aap ka yeh mazmoon padh kar dil bagh bagh ho utha hai. Kya tahreer and kya rawani hai.. Mashallah, Allah nazar e bad se bachaye.
Umeed karta hoon ke aap aur bhi mazmoon rafi sahab ke baare main lekhte rahen and hum padhte rahen..
Jazakallah Khair…….
Hashmat Alvi
Music Lovers
Mehdi Hassan, the legendary ghazal maestro, passed away at a Karachi hospital Wednesday, 13 June 2012 after a prolonged illness. He was 84.
Mehdi Hassan’s death has left a void in the world of music that can never be filled.
“RIP Mehdi Hassan saab, huge loss to the world of music… your Voice is immortal though.
Walijah Sahab,
Bas kya………
Bahut khoob and lajawab write up. I am so much happy to read this mind blowing article. Thanks and again thanks.
This blog is again come to life and many rafi fans are returning to it when I saw the lovely comments. This article is really awesome and I think left nothing to comment.
I can say in one word OUTSTANDING for this write up. Rafi Saab can play in all fields, he was so versatile and all rounder, there is no doubt. semi classical songs are one such genre where his mastery is clearly evident.
Thanks Sir for your beautiful writing.
Raja
Post no 18.. ameena –
” mujhe le chalo aaj is gali mein : is a very difficult song and only mohd rafi could sing it.
it has pathos of a man pushed to the brink in life – beautifully vocalised by one and only mohd rafi saaheb.
it has lyrical beauty of rajender krishan and composed by eternal composer madan mohan who himself is getting credit for his immortal works – decades after he is gone from us.
the passing away of madan mohan and sachin dev burman has created “great voids” in the music world said mohd rafi to amin sayani when the latter passed away in a rare video interview.
thankfully the ‘immortal songs and music of yesteryears’ stay with us.
from the rafi foundation, mumbai.
Post #14, Santosh Bhai,
Please listen to this song of our Rafi Sahab. No one will sing this song the way Rafi sahab sang it. Amazing, the gayeki of Rafi Sahab from low pitch to high pitch hhttp://www.youtube.com/watch?v=RVnf7o8_szwigh .
An ardent fan of rafi sahab,
Dr. Khaja Aliuddin
a classic case of a rafi all-in-one low,medium and high pitch song is the popular 70’s “main tere dar pe aya hoon” from laila majnu!
Binu, sirji,
Lata’s Baiyyan na dharo based on raag charukesi lost to Vani Jayaram’s Bolo re papihara based on raag miyan malhar in the national awards. Vani won the best female playback singer award that year.
Man Mouji saab,
two other Rafi songs which begin on a soft note and go high pitch. Gham uthane ke liye mein to jiye jaoonga in Mere Huzoor and Dil ke jharokon mein tujhko bithakar in Brahmachari.
regards
Walijah saab,
Should I call it a thesis, a treatise or a collector’s treasure? While discussing Rafi sahab and his songs, you have taken us on a musical journey, touching upon the various facets of film music. Your article is a reader’s delight.
regards
Utthara
First of all congrats to Walijah Saab for brilliantly written article. A lot of research should have gone into making this. Thank you. I would keep this article for reference.
Walijah Saab can you please give us some information or website to find the ragas in songs or is it possible for a layman to find out in any way?
Santosh got it totally wrong. Though people (MDs) made advantage of Rafi Saab’s ability at highs there are many songs of Rafi Saab at lows which are wonderful. Man Mauji’s explanation is very good and detailed.
As Jyoti Mohanti mentioned ‘yaad na jaye’ sums all up to prove that Santosh is totally misinformed about Rafi Saabs ability. In fact as all we know Rafi Saab is the ONLY singer who could surf through low to high and high to low and middle with the same ease.
If you are mentioning about Bala (SPB), let me tell you being very talented singer (I consider best after Rafi) he had a very high base voice that that made his voice from being perfect whereas Rafi’s voice set in the perfect base level. Another singer who has more base voice I remember is Anwar.
Listen to few more of Rafi greats in low to re assure yourself that your admiration of the greatest is apt and you could not find any other singer living or dead that matches Rafi Saab (thank god for sending him down to earth):
Sau Baar Janam lenge
Suhani raat dhal chuki
Aaj ki raat ye kaisi raat
Santosh keep diving to the depths of Rafi Saab Ocean you find more and valuable gems you are looking for.
Rafi Saab semi classical songs had always gained a great populairty. He was tremendously adept in classical ragas. It is because his daily riyaz I suppose. It is a wonderful article have seen in months. Please keep writing.
a very intelligently written article -very intelligently analysed by the readers..rafi’s low pitch songs are endless though most of the songs have varied expressions- imagine the mukhda of the song from dilip kumar starrer ‘shaheed’ — “watan kee raah mein watan ke naujawan shaheed ho’ and beginning of its antara “shaheed teri maut hee tere watan ki zindagi”- a classis example of a beautifully rendered low pitch song reaching to highest and then soulfully gradually returning to madhyam/low- ‘khilenge phool us jagah pe too jahaan shaheed ho”..
other songs which are still remembered are from manoj kumar’s shaheed – ‘aiye watan aiye watan humko teri kasam’ and ‘sarfaroshi kee tamanna ab hamare dil me hai” start from low pitch and then leap to a breathtaking high..!
can we forget an unforgettable o p nayyar composition – ‘ tukde hai mere dil ke, aiye yar tere aansoo’ which travels through all pitches ..
Dear Shri H.A.K. Walijah,
It will be difficult for me to find suitable words of praise (for your article) having same amount of depth and intensity as the write-up. I do not have the kind of knowledge that you have as far as the classical music is concerned. I would just say: Superb and brilliant.
I am a simple music lover who finds tremendous solace and peace of mind listening to old gems especially of Rafi saab.
Coming to post Post no. 16 from Man Mauji, he has dispelled all doubts about Rafi saab’s ability in rendering at low pitch. ‘Meri duniya main tum aayeen… (Heer ranjha)’ and ‘Tuse kahoon ek baat paron se.. (Dastak)’, ‘Aak ki raat badi shokh badi matkhat hai… (solo version from movie ‘nai Umar ki nai fasal’), ‘Koi saagr dil ko behalata nahin… (Dil Diya dard Liya) are some of the examples where rafi saab had sung brilliantly at lower octave. There are also some non-film songs in that category: ‘Shaam ke deepak jale…’, ‘Do ghadi baitho tumhara roop aankhon mein basa loon…’, etc., listening to these songs will leave no room for any doubt on this matter.
-J.K. Bhagchandani
The comment # 16 should have been sent via email to Bala Sir as a compliment from Rafi lovers on low pitch songs of Rafi Saab, so this will add in his musical knowledge.
Talking of low – pitched songs of the True Genius Mohammed Rafi Sahib, has not anyone heard that extra – ordinary song from Sangeet Samrat Tansen which was tuned by S.N. Tripathi and which was sung by Rafi Sahib with Manna Dey Babu ?
And look at the second antara which Rafi Sahib renders with such aplomb and mastery that one is totally swept off his feet !
Vidhana kay dow toot gayi prairana rooth ….. ! This is rendered in such a low pitch that anyone listening to it will start sweating profusely, I swear ! The song’s opening line is : Sudh bisar gayi aaj apnay gunan ki !
You are talking about low – pitch songs of Rafi Sahib ! My dear friend you have not heard Rafi Sahib then at all ! As a Rafi lover points correctly above, most of Rafi Sahib’s songs were a judicious mix of low – pitch & high octaves and true his stature, Rafi Sahib sang all these songs with nothing but sheer ecstasy !
Walijah Saab,
I am truly enjoyed this write-up and I consider it as one of the best articles published so far on this blog. You have taken so much pains for the research and it alone confirms that your love for our Rafi Saab. Each one of your articles is an asset for this blog.
I truly admire the spirit of writing in a simple prose that all can understand your thoughts.
The classical based songs of Rafi Saab is a treat for music lovers. truly enjoyable and admirable.
I simply congratulate your for this stupendous work.
Hearty regards
Prem Kumar
walijah sahab, this is a wonderful write up, based on so much of knowledge and research and true appreciation and understanding of music in general and rafi sahab’s repertoire in particular.
please accept my heartiest congratulations on writing one of the most enjoyable articles on this website. i am grateful to you for putting the songs in categories of ragas on which the songs have been based. great effort Sir !!!
keep us absorbed with such articles Sir!!
The Rafi Magic:
If a channel in Kerala like Kairali t.v. could run 16 episodes of rafi saahebs life & times
why ????
cant a single hindi channel take the lead and telecast a serial on rafi saaheb titled ” r for rafi” – one of the greatest and lovable indian of our times.
i request rafi saaheb lovers to opine on this and give suggestions.
from the rafi foundation.
Cell : 9833 250 701
“yaad na jaye bite dino ki’ was a classic example of low pith with yeh mehlon, yeh takhton and many more ,but true, in 70s , rafisaab, did nt deliver much in low pitch……
can anybody comment on that wonderful song ‘mujhe le chalo aaj is gali mein’ from the film sharabi with music by madan mahan
Santosh bhai, Rafi was rather good with low notes when he was young. His lows got destroyed thanks to the loud 60s’ songs.
Let me post a few Rafi low pitchers and hope the post will find its way into the site.
http://www.youtube.com/watch?v=UWk3v6pwbPc
It is quite low at 1.54.
http://www.youtube.com/watch?v=RU95UkXAG0E&feature=related
It is pretty low when he sings ‘mere’ in the line ‘gaaye mere saath zamaana’.
Now let me see if this post finds its way thru the moderation. If it does, I’ll post a few more of them.
Post 14: Santoshji,
I write the below comment some one year ago in one of Walijah Saab’s articles. I reproduce the same comment, and I guess you would agree with me with regard to low pitch songs of Rafi saab.
the normal and low Pitch Rafi Songs are by far the larger in number than the H Pitch ones. But, the god-given high Pitch capability of Rafi Saab could be properly utilised only by a handful of MDs such as Naushad, SDB (occasionally), SJ (occasionally) and even Iqbal Quereshi, for that matter. Some MDs were just obsessed with somehow utilising his high-pitch capability and in the process did not do justice either to themselves or to the Great man. Actually, the best High Pitch songs of Rafi Saab also contain the low pitch for a large part.
Talking of unforgettable High Pitch songs of Rafi Saab, I will give some examples:
1. “Yeh Mahalon Ye Thakhthon” from Pyaasa (SDB). Starts quite low in pitch at the beginning and reaches the unreachable peaks at the ‘Jala Do Ise’ part. The result: the listener’s hairs literally rise and his soul stirs!
2.Yeh Duniya Ke Rakhwale (Naushad) is another well known example, combining extreme low and extreme high pitches.
3. I was listening to a recent from film:Shama Parwana (1954), “O Toone Mera Yaar Na Milaya”.This song starts in the normal pitch, but in the last Antara (Bahar Gham Ka Mere Daste Na Dawa Se Utha), Rafi Saab goes to the highest possible scale. In doing so, he expresses the great agony of the hero somewhat similar to an infant crying breathlessly! And someone like me becomes absolutely restless on listening!
4. Of course, we all know “Zindabad Zindabad” from Mughl-e-Azam, wherein the whole song is only on High Pitch. See how he makes you tremble when he sings in the last Antara, “Woh Pathhar Hai Insaan Kahaan Aa Aa Aa Aa Aa Aa Aa”
5. Of course, Iqbal Quereshi’s Oh Hum Na The and Subha Na Aayee from Cha Cha Cha are two more examples of starting with low pitch and reaching the peak before the listener realises!
6. In Duniya Na Bahye Mohe from Basant Bahar (SJ), the song again starts on normal pitch, but once he comes to “Dil Ke Yeh Tukde Kaise Bech Doon Duniya Ke Bazaar Mein”, he peaks in pitch and you just keep saluting him.
7. One more example is “Tu Shokh kali Main Mast Pawan” from Main Suhagan Hoon (Lachhiram). The last Antara starting with “Har Dam Aankhe Pyaar Karen”!
But, having said this and praising his High Pitch songs, I would still like his normal and low pitch songs. As this post is getting too long, I would give some noteable examples of the normal/low pitch category later.
The fact is that songs of Rafi Sahaab have both high pitch and low pitch in one song itself. There are many such songs. For example, JAANE KYA DHOONDHTI REHTI HAIN… begins at low and ends in a high note. So also, YEH MEHLON YEH TAKHTON … Similarly the song AYE GULBADAN AYE GULBADAN is like a roller-coaster ride with highs and lows. One of the most difficult songs DUNIYA NA BHAAYE MUJHE likewise begins with a low Aalaap and goes on rising in crescendo. The result is: One enjoys all kinds of pitch in Rafi Sahaab’s songs.
Fortunately or unfortunately, it is not easy for one to completely fathom and understand ‘Mohammed Rafi’, what with such phenomenal quantity and variety of such mindboggling quality. I, for one, think that I know ‘quite a bit’ about Rafi Saab, but that ‘quite a bit’ has still not reached the 60% mark! In fact, discussions and polls of this type are possible only with Rafi Saab and no other.
On the current issue, for Normal/Low Pitch songs only because he seems to have a higher number of high quality songs in this variety than in the High Pitch variety.It is just that the MDs have given him a higher number of these N/L pitch songs. I know he is equally at complete ease on both kinds.
Incidentally, it is interesting to note that both O.P.Nayyar Saab and Khayyam Saab have told in interviews on Vividhbharati that they prefer the Normal/Low pitch songs of Rafi Saab in his subdued tone. OPN had even named “Man Re Tu Kahe Na” from Chitralekha (Roshan) as his great favorite. But, then again, it is their opinion. A Naushad may feel differently. Even OPN and Khayyam may fall in a dilemma if you play to them the High Pitch gems of Rafi Saab such as “Zindabad Zindabad” or “Jaane Kya Dhoondti” or a “Yeh Mahalon Yeh Thakthon”.
How can I dare to say Yes for this & No for that ???
Man Re, Tu Kahe Na Dheer Dhare…
Na Ja Ab Kahin Na Ja, Dil Ke Siwa…
One at the bottom of Ocean, the other one, at the top of Himalaya.
I like both styles. (of course depending on mood)
God have made everything for human being’s (specially for me) enjoyment,in the same line, like God, Rafi have sang each & every possible style of singing.
Rafi mastered all type of sound – Pashyanti, Madhyama, and Baikhari and above these…
Saptam-Sur Ke Upar ONLY Rafi Hi Surila Hai.
I will request all to elaborate ‘lovely’ Rafian Songs in..
1-Pashyanti (murmuring)
2-Madhayama(Low/Normal)
3-Baikhari (more than Normal)
4-Saptam Sur (above all possible (hearable)sound’s level)
with musical regards
Man Mouji
No words, no figures, no emotions to describe this beautiful & exhaustive writeup. janab walijah saab, aap ka bhi jawab nahi……. well researched, painstakingly written article. We are blessed to have you as a Rafian.
Warm Regards & Best Wishes.
Great Article Sir, Was good reading indeed.I am a small bhakt of rafi saab.I am of the view that Rafi saab is the best playback singer till date with voice of God.But I request u to touch upon an aspect of rafi saab’s singing.That is low pitched songs.I find that the only weakness of rafi saab if any was this genre.I saw an interview of bala sir wherin he mentions that it is strange and curious that the medium pitch in general was rafi saab’s low pitch.Maybe that is the reason for rafi saab not singing songs like, Zindagi ka safar, jeevan se bhari , Ae mere pyaare watan etc which start with low notes.The depth * Excuse me and forgive ) if I am using a wrong word was not there.Even in song Nav Kalpana Nav roop se, I find that rafi saab struggling with Antras eg, Kala ki devi Kamini.Maybe the bass in rafi saab’s voice is so much good.I request all knowledgable persons to shed some light on this aspect .The reason being I love rafi saab and there is a devil inside me that makes me sad that rafi saab did not deliver songs at low picth
Janab Walijah Saab,
What a brilliant article it is, I am just dumbfounded.
No comments just complimentary best wishes.
Thanks and thanks all the ways……….
Kabeer Aman
Dear Walijah Saab,
You have taken the topic to the skies and I can count this article among your write ups is the best article. And I request the admin of this site to keep this article always on ” Popular Post” so that any new visitor can read it anytime.
I read and read so many times just get the peace of mind and the classical songs of Rafi Sahab.
My best wishes and regards
Prasad
dear walijah sahab,
sabse pehle aap ka tahe dil se shukriya ada karte hai is pyare se aur informative article ke liye , please mujhe email se yeh write up bhej de. mera email id hai vmehru@gmail.com. with regards
vinod mehru
09768245368
brilliant write up..
if ever a contest takes place to chose the best in this blog, this article will find a place in the ‘top’ category..
Janab Walijah Saab, ASA
Wah wah bahut khoob, what a nice and informative write up. I would say this much that you did write a full length article on the topic leaving nothing for us to comment.
A marvelous and brilliant essay.
Zakallah Khairan………
A. Almas
Dear Mr. Walijah,
I have literally found no words to compliment you for this lovely brilliant and informative write up on classical side of Rafi Sahab. I enjoyed very much reading this article and known many things which I was not known earlier.
I am just speechless, so no comment but just my complimentary best wishes for your wonderful article.
Thanks a lot my friend.
Narendra
Rafi sahab is such a great person ,he is a ”Baiju Bawra ” OF Modern era . god bless you Rafi SAHAB
Lot of thanks for sharing excellent knowledge about our beloved Rafi Saab and all those mentioned in your article. Kindly keep on sharing your knowledge as this gives lot of enegy to our mind. when we talk of music i consider Rafi Saab as the base. i prefer Rafi Saab to evreyone else . I can’t miss Rafi Saab’s song and forget all while listening him. i can’t switch off TV till Rafi Saab’s songs are made available continuously for hours. His songs are food to the soul.
Very exhaustive and great write up sir. congrats walijah saaheb. more might to your ever flowing pen.
semi classical tunes are always soothing for the soul so they ‘will’ have a long run .
here, i wish to mention about a non mohd rafi song tuned by vasant desai and sung by vani jairam. the song : Bol re papi……. from movie guddi directed by hrishikesh mukherji.
the song itself was a big hit and the established singer of the times could not tolerate such a great hit. vani jairam was banised from hindi movies soon after.
mohd rafi did a recording with vani jairam and after the recording said : “Kya khoob gaati hai ye gaayika”. (vani jairam) to a music lover.
a case of talent wasted in mumbai .
ASA, Walijah Sahab,
Bahut khoob, My lips are sealed. I don’t have any words to say. I am speechless.
Khuda kare zore khalam aur ziyada.
An ardent fan of Rafi Sahab,
Long live rafi sahab,
Dr. Khaja Aliuddin
M.Rafi sahab is favourite Singer and I love his songs and I always sing rafi saahab Style, Allah Give hime in paradise place
Walijah Saab,
What a topic and what an article, it almost seems to be piercing into the heart of Rafi lovers like rocket in sky.
Amazing and wonderful write-up. I simply salute you Sir.
Dear Walijah Saab,
First of all please accept my complimentary best wishes on this wonderful article, I can only say WAH, WAH! kYA kAHNE………
You have done justice to the topic taking the article to its elevated heights and paying your best khiraj aqeedat to Rafi Saab and Naushad Saab.
I would come back again after reading this article so many times with my comments.
Meantime accept my hearty greetings for your amazing work.
Regards,
Man Mouji