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Kahin Deep Jale Kahin Dil (Page 2)

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Posted: 28 March 2006 at 10:20pm | IP Logged
yups i love tht song real haunting.

another of my fav is from mahal , i love tht my fav song.

aayega aayega aayega aane wala , deepak bagair kaise parwane jal rahe hain.---mahal

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Posted: 28 March 2006 at 11:03pm | IP Logged
Originally posted by kishore_bhakta

Greetings, everyone!

When we think of ghost songs filled with a unique haunting element, the song "kahin deep jale kahin dil" will be one that will easily have hairs stand on ends! I can relate to the experience. When I was four years old, I used to bug my parents to read me a bedtime story, they said, "listen to this." It was a tape called "Suspense" which had Lataji's ghost or haunting songs from films. The first song used to scare me. "oooooooooooo....."

This song was composed by Hemant Kumar for the film Bees Saal Baad. The film was about a man searching his history of strange deaths. His grandfather (I think), raped a woman, and after she died, her soul continously haunted his family. The song "kahin deep jale kahin dil" has a few interesting facts.

Around the mid-1960s, Lataji had a voice problem that almost would have ruined her vocie forever. She took time off and did not sing for some time. Many anti-Lata music directors were happy of her absence. Hemant Kumar used her voice as a come-back to the playback industry. Hemantda like one of the rehearsal takes of the song, that he used it in the final.

Many people claim this song as a Sivaranjani raga song. People claim to place the Sa of the song on the word "ra" in zara dekh le aakar, the word "dil" would get komal ga. The trend of the song places way too much emphasis on komal ga that it looses its Sivaranjani feel.

If you listen to the tabla sur (the pitch of the tabla), you will see it is tuned to the word "dil." In tabla, you tune the dayan (high pitched drum) to the tonic (Sa) of the song. If you equate Sa to the word "dil," then you will see that the most haunting note appears when Lataji does the "ooo" part. The komal re in the tar saptak (upper octave) appears. The sruti (microtone) is slightly sharper than the typical komal re. This slightly sharpened komal re is a treat from the Marwa That raagas.

With a swar set of S G M D N S' and r used sparingly implies this raga is Sohini. You don't get the same effect with suddha ga going toward komal ga. In Lataji's 1988 concert in London, you can hear the musicians tune their instruments according the Sohini scale and not Sivaranjani scale.

Hence, this is a song in Raga Sohini.

kishore_bhakta Da,

Great information with a wonderful analyses as far I remember Lataji was seriously ill and doctor said that it will be very tuff for her to return. That was her first recording after her illness fortunately the recording went well. Hemant Kumar was of a very quiet temperament person. " Interestingly Hemant Kumar recorded Lataji's voice during the rehearsal and okayed it as the final take, The song won her another Filmfare award

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Posted: 28 March 2006 at 11:03pm | IP Logged
Originally posted by adwarakanath

Originally posted by monet

kaash mujhe bhi itna gyan hota.


Same hereCry
Me too.
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Posted: 29 March 2006 at 6:26am | IP Logged
Another ghost-song, again Lata-Hemantda that I love is -

Jhum jhum dhalti raat from KOHRAA.

Which raag is this song? I dont have much knowledge about raags. Just what I hear some experts like KB ji say.

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Posted: 29 March 2006 at 6:32am | IP Logged

Originally posted by jhsurti

Another ghost-song, again Lata-Hemantda that I love is -

Jhum jhum dhalti raat from KOHRAA.

Which raag is this song? I dont have much knowledge about raags. Just what I hear some experts like KB ji say.

Jhoom Jhoom dhalti raat is possibly my most favourite one of all the haunting melodies sung by Lataji.

 

Sima Samuel Senior Member
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Posted: 29 March 2006 at 6:36am | IP Logged

great information and analysis...i wish i was that knowledgeable as you all..
kishore_bhakta Senior Member
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Posted: 29 March 2006 at 6:47am | IP Logged

Originally posted by madhavir108

Clap Clap Thanks for analysing one of my all time favourites..

What do u have to say about Aapki Nazaron ne samjha ?

Aapki nazaron ne samjha was a Madan Mohan-Lataji combination, the combination which would almost always be guaranteed a hit. The song is loosely based on Darbari in the asthayi (the refrain). The scale of this song is very unsual that it the highest point of the song is shuddha ma and the lowest point of the song is mandra saptak re (low octave suddha re). Of course, you have consider that Madan-ji had his Sa using a higher sur, so the limited range of the song wouldn't be understood.

In the antara, Madanji introduced grace note shuddha dha in the mandra saptak, in the first line of the antara. Towards the end of the antara, he places unusal amount of strength on suddha re that you begin to wonder where the actual Sa is.

Range-wise, it is nothing big, as it contains slightly more than one octave, but it is not focused on high pitched singing, but on low pitched singing for females. This song requires great practice. Those who remembers watching C2005 recalled the rehearsal when Hima Bindu's attempt to song this song. Remember AS emphasized the subtle point about the right sruti of the word "aap" (the first word of the refrain). It is not komal ga but not suddha re exactly. As Abhi will agree with me, this is the extent where the harmoinium will fail.

kishore_bhakta Senior Member
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Posted: 29 March 2006 at 7:00am | IP Logged
Originally posted by Bhaskar.T

Originally posted by jhsurti

Another ghost-song, again Lata-Hemantda that I love is -

Jhum jhum dhalti raat from KOHRAA.

Which raag is this song? I dont have much knowledge about raags. Just what I hear some experts like KB ji say.

Jhoom Jhoom dhalti raat is possibly my most favourite one of all the haunting melodies sung by Lataji.

Jhoom Jhoom Dhalti Raat is a very eerie song from Kohraa and another Hemantda, Lataji combo. This song has two versions to it. Almost everyone knows one version of the song where it only has three instruments used. (tabla, strings, very very faint solo violin. You'd really have to hear 'behind' her voice to find that) There is a second version where it is more instrumental than the latter.

This song is based loosely on Asavari (the straight chained nature of the notes). A strange feature of this song has a grace note of shuddha ni. Unlike grace notes used by many other musicians, the suddha ni is used chromatically with komal ni. This is why it sounds "strange" in the antara. It sounds even more strange, yet "cleaner" to the ears when she uses the high Sa to latch down to komal ni.

Hemant-da was a clever music director. In Kahin Deep Jale Kahin Dil, he composed the antara using only three notes from the Raga Sohini, and five grace notes (two of which are found in the instrumental interlude found in the movie version) which aren't in the raga. Here is the sargam for that

D d D N N N S' N S' R' S' S' N N

(na main sapna hoon na koi raaz hoon)

N  N D -  N N S'  --  N S' N  m

(ek dard bhari awaaz hoon)

Note the shuddha ma is here! Suddha ma and Sa form a harmonic pair. This raga Sohini is not understood for its harmony, as it is a Marwa Thaat raga. The grace note of shuddha ma form a harmony that sounds very otherworldy in the scope of this raga.

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