Indian film and non-film music has a great base in the heritage of the Indian classical music. A saying in Sanskrit defines “Raaga” as “Ranjayati Iti Raagah”… It means, whatever “Colours Up” our mind is a “Raaga”. A Maestro may define “Raaga” in assorted ways giving importance to the grammar of Indian music but this is perhaps the best definition of “Raaga” for an amateur.
Although it is said that Geeta Ji’s was not a voice which had gone broad as a consequence of painstaking practice of Classical Music, she had sung few Classical Based songs with excellence. Geeta Ji was indeed a singer whose singing was always “effortlessly effective” and the fact remains unchallenged even in cases of certain complex classical rooted numbers! By her inherent talents, Geeta Ji truly “Colours Up” our minds in her renderings of “Raaga Based” Songs…
Presented below is a non-comprehensive list of “Classical Based Songs” rendered by Geeta Ji. One can never deny that the singer truly has a very special appeal on us through every Raaga she sings!
Raaga : Sharang
The “Sharang Raaga” is thought to have been derived from the “Shalag Raaga”. Although it has traditionally been considered as Rain Raaga, it also expresses other moods! Experiments on Sharang have created many subdivisions of the raga, few of them being “Shuddha Sharang”, “Gaud Sharang” and “Brindabani Sharang”. “Brindabani Sharang” is a popular Raaga used in Hindi Films seems to be influential in certain songs of Geeta Ji too.
We also see the use of “Gaud Sharang” in one of Geeta Ji’s songs. Whenever some situation in a film required expression of overflowing jovial restlessness, the composers had full faith in “Sharang”…
1. Jhanan Jhanan Jhanwa (Geeta Dutt) (Mangala-1950) (Brindabani Sharang)(Composer : M.D.Parthasarathi)
Whilst “Jhanan Jhanan Jhanwa” goes on, we see the young and frolicsome Mangala performing her daily chores and having completed making butter, tasting a bit to confirm its sweetness… Then the excited girl calls for her Lord, the naughty Krishna to taste… By her admirable rendering, Geeta Ji (and of course Bhanumathi on-screen) creates a delightful scene… The music director, very appropriately makes use of the restless “Brindabani Sharang” in this beautifully worded song, to incite the listeners. And Geeta Ji, through her ever-colorful and free-flowing voice, lets us understand the emotional status of the on-screen Mangala, right at the beginning of the film…
2. Dekho Jadu Bhare More Nain (Geeta Dutt) (Aasman-1952) (Gaud Sarang)(Composer : Omkar Prasad Nayyar)
The song “Dekho Jadu Bhare More Nain” too we once notice the fast tempo just as in “Jhanan Jhanan Jhanwa” or “Rang Birangi Phoolon Ki”. An appreciable synchronization of various instruments such as the violin and the flute adds beauty to the song too. Is this also not a romantic song as the above… Imaginations guided by deep emotions? Geeta Ji renders the song as excellently as she did the former ones! Jumping from one note to another in “Drut Teentaal” so freely! Does the song not force out a childish friskiness from our hearts?
A Touch Of Sharang
1. Piya Aiso Jiya Mein Samaye Gayo Re (Geeta Dutt) (Sahib Bibi Aur Ghulam-1962) (Composer : Hemant Kumar)
Don’t we feel, while listening to “Piya Aiso Jiy Mein Samaye Gayo Re” and visualizing the scene where Chhote Bahu (actress Meena Kumari) waits on for her husband to come, restlessness? Although not as much as the “Aasman” or “Mangala” song does, this song indeed brings an excitement to our minds when we hear it. Hence we find a touch of “Sharang” or being more specific, “Brindabani Sharang”. But the song only partially follows the notes of the “Kafi Thaat” to which the particular Raaga belongs to. Hence we can not refer to it as a Raga-Based song despite the influence of “Sharang”!
Raaga :Multani
It is believed that the “Multani Raga” was created by Shekh Bahauddin Jawkria of Multan. It is a peaceful Raaga and follows the notes of “Todi”. However “Multani” does not use Rishabh and Dhaibat during Aarohan, which “Tori” does. Also, if “Tori” begins from Uttarmandra then “Multani” begins from Abhirudgata (Nishad before the Starting Shadaja of “Tori”). Unlike “Todi” and her sisters “Saheli Todi”, “Gujari Todi”, etc who like to go to temple early morning and sing Bhajans, the cousin “Multani” prefers the daytime heavy classical. As yet, one song by Geeta Ji has been found to have a “Multani” base.
1. Lag Gayi Aankhiyan (Geeta Dutt & Mohammad Rafi) (Jeevan Jyoti-1953) (Compser : Sachin Dev Burman)
This song goes on a light folk base with Geetaji, Rafi Sahab, Burman Da and last but not the least the harmonium player creating the magic! The singers are successful in conveying the feeling of the song. The composer very appropriately uses the Raga to render this folk-based song. Burman Da very effectively mingles the folk style and the Raaga to create this immortal song and Geeta Ji renders it in the most auspicious way, so does Rafi Sahab who gets comparatively fewer lines to sing.
Raaga : Aashavari
“Aashavari”, sung in the “Third Prahar” of the morning, is Raaga which bestows seriousness or sometimes, sadness. It is supposed to have originated in Orissa. “Aashavari” shares similarities with Raaga Jaunpuri, but is not as complex as the latter. The most popular “Raaga” of the “Aashavari Thaat” in Hindi Film Music is “Darbari Kannada”. However, Hemant Kumar chooses to use the “Thaat” in its purest form and gives us two songs to enjoy in the evergreen voice of Geeta Ji!
1. Na Yeh Chand Hoga Na Taare Rahenge (Geeta Dutt) (Shart-1954) (Composer : Hemant Kumar)
When we hear “Na Yeh Chand Hoga Na Taare Rahenge” from “Shart” we realize how deep a saying can be. Its captivating tune, which applies the grave “Aashavari” reminds us of depth… Does it not? The feeling of the song is furthermore helped to be exposed by the slow paced rhythm. Of as usual, Geeta Ji, who always sang “Straight from the Heart”, sings this song submerged into depths of feeling and we get an evergreen hit! By means of its clearly engraved tune, this song succeeds in forecasting a reassuring avowal of enduring love…
A rare video clip of the second part of this song is here
2. Tum Aur Hum (Geeta Dutt & Hemant Kumar) (Fashion-1957) (Composer : Hemant Kumar)
In “Tum Aur Hum” we hear the application of fast rhythm over “Aashavari”. We also have both Geeta Ji and Hemant Kumar singing! In case of “Na Yeh Chand Hoga” the two are not actually juxtaposed but individually declare enduring love whereas this song has the two lovers together. Perhaps the togetherness brings in the excitement and the composer uses a “Drut Taal”. Geeta Ji with her carefree singing and Hemant Kumar with his extremely romantic voice successfully renders this beautiful song which is nothing but musically declaring imaginations, profoundly rooted in deep emotions…
Raaga : Jaunpuri
Supposed to have originated from Jaunpur in Uttar Pradesh, “Raaga Jaunpuri” from the “Aashavari Thaat” is not much differentiated from the purest form of the Thaat or “Raaga Aashavari”. It is usually performed in the “Third Prahar” of the day. One of the early songs of Geeta Ji’s is seen to have been greatly influenced by “Raaga Jaunpuri”.
1. Ghunghat Ke Pat Khol Re (Geeta Dutt) (Jogan-1950) (Composer : Bulo C Rani)
“Ghunghat Ke Pat Khol” is an extremely significant song in Kidar Sharma’s “Jogan”. It is heard in the very beginning of the film and gives us a sketchy idea of the focal theme of the story. It’s nothing but a divine imagery of uniting with the Lord. In her virgin voice young Geeta Roy beautifully renders the song and captivates her listeners in a moment. Legendary singer Juthika Roy had been famous singing this Bhajan and so did the beautifully worded and composed song add to making Geeta Roy a legend.
Raaga : Jogia
“Jogia” is a Raaga from the “Bhairav Thaat”. It is sung in the “Second Prahar” of the day which is early morning. “Jogia” creates a highly divine atmosphere and has been appropriately used in a devotional song sung by Geeta Ji early in her career for “Jogan”.
1. Uthat Chale Avadhoot (Geeta Dutt & Co-Singer) (Jogan-1950) (Composer : Bulo C Rani)
This song has been used in two scenes of “Jogan”, both demonstrating pains of separation. In the first, Devotee Meera moves away from a particular place where the lead actor met her. The second usage of the song has been in the scene where Meera Devi takes her final departure in order to perpetually unite with her Lord. Young Geeta Roy creates a very emotional environment by her rendering of this song and so does the on screen Dilip Kumar with his skills in acting. We are not able to find video/audio of the second part as of now.
Part-1:
Part-2:
Raga : Maand
“Raaga Maand” is believed to have its origin in folk music of Rajasthan. It is a Raaga used to create a highly devotional atmosphere. Bulo C Rani had given Geeta Ji a song based on “Maand” in “Jogan”. It is the very famous Bhajan “Aeri Mein To Prem Deewnai”. The warmth of “Maand” shines through the song and its beauty induces a longing for divine love.
1. Aeri Mein To Prem Deewnai (Geeta Dutt) (Jogan-1950) (Composer : Bulo C Rani)
“Aeri Mein To Prem Deewani” as used in “Jogan” is a Bhajan being sung by Meerabai which continuously grabs the attention of the agnostic hero of the film. It is important to note that it is actually Geeta Ji who immediately attracts our attention by the charming rendering of this beautifully worded song.
Part:1
Part: 2
http://www.youtube.com/watch?v=uLxpu_1iLr8
Acknowledgements:
Concept and research : Sachin Godbole
Development and poetic expansion : Sounak Gupta
We are grateful to our dear friends Sachin and Sounak for coming up with this authentic research based article on classical based songs of Geeta ji.
