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Inteha

This is the name of the new ghazal album by Saheb (Big Music, Big Music and Home Entertainment). Released after a gap of couple of years, this ghazal album features 8 tracks, and thankfully containing ghazals by various poets.

There are two ghazals by Payyam Sayeedi (remember “ab ke baras bhi” & “hum dosti ahsaan wafa” from yesteryears releases of JS?), and one each by Faragh Roohvi (”dekhaa jo aaiinaah”), Rajinder Rahbar (”tere khusboo mein base khat”), Sanjay Masoom, Aalok Shrivastav, Amjad Islam Amjad (”chaand ke saath kaii dard”) and Naseem Ajmeri.

The compositions are good and especially good is the rendition of “intehaa aaj ishq ki kar di” (Payyam Sayeedi). However, age has taken its toll over his voice as is pretty evident in this record.

In terms of poetry, “Inteha” is better than his earlier records, though choice of poetry could have been better.

Here is the lyric of “Manzilen kya hain….” (Aalok Shrivastav), the ghazal having the most catchy tune in the album. Again JS outsmarts all other composers, in this very short beher (10 syllable) composition. The beher of the ghazal is Khafiif musaddas makhbuun mahzuuf maqtau with the pattern 2122-1212-22.

Manzilen kyaa hain raastaa kyaa hai,
hauslaa ho to faaslaa kyaa hai.

Woh sazaa deke door jaa baithaa,
kis se poochoon mirii khataa kyaa hai.

Jab bhii chahegaa chiin legaa woh,
sab usii kaa hai aapkaa kyaa hai.

Tum humaare qariib baithe ho,
ab dawaa kaisii ab duaa kyaa hai.

Chaandnii aaj kis liye nam hai,
Chaand kii aankh mein chubhaa kyaa hai.

N.B: This ghazal is ‘hamradeef’ with the famous ghazal by ‘Ghalib’, “dil-e-naadan tujhe huaa kyaa hai”…. I have no doubt, that if “pressed”:) , JS can render both the ghazals in vice-versa tunes.

Jagjitji’s First Devotional Album

When you say “JS’ first devotional album”, it can be interpreted in a number of ways:

(a) the first devotional album composed/sung by him;

(b) the first devotional album containing all songs sung by him but composed by somebody else; or

(c) the first devotional album which had some songs sung by him besides other singers. Of course, the word “devotional” includes bhajans, shabads, shloks, naats etc.

Here is my information on these:

(a) The first devotional album composed/sung by JS along with Chitra was SAMARPAN, which was released on audio cassette by the ISKCON Temple in 1983 — it contained the songs you’ve listed under KRISHNA but there are some shloks which were edited out of KRISHNA. KRISHNA was later released by CBS in 1983 on LP and cassettes obviously because ISKCON could not market it on a scale that a music company could. It is said that JS fully donated his royalties from this album to ISKCON. When CBS went out of business in the late 1980s or so, they sold their catalogue to PAN Music which also eventually went out of business and sold their catalogue to BMG Crescendo sometime in the early 1990s. (It’s another matter that BMG Crescendo does not exist today).

(b) The first devotional album containing all songs sung by JS (including his duets with another singer) was in the 1970s — these were shabads and shloks released on LP, which RPG published in the CD format some years ago under the name BABA SHEIKH FARID (see link below). On the CD, the female singer is wrongly credited as Chitra Singh — she is actually Neelam Sahni who was also an accomplished ghazal singer in her own right.

http://sikhsangeet.com/albumid462-Jagjit-Singh-Baba-Sheikh-Farid-(Shabads-Shloka…

(c) The first devotional album which had some songs sung by JS besides other singers was again from the 1970s, released on LP, when JS and Chitra sang shabads composed by S. Mohinder. Other singers included the who’s who of the playback world at that time — Lata Mangeshkar, Asha Bhosle, Mohd. Rafi, Manna Dey and Mahendra Kapoor, to name a few. All these shabads were released in the late 1990s by RPG as a 5-CD pack titled 50 GLORIOUS YEARS OF RECORDED SHABADS.

Between (b) and (c), I don’t know which one came first. But both of them were definitely many years before SAMARPAN/KRISHNA of 1983.

PS: Seeing the success of this album, EMI/HMV asked JS to do a bhajan album for them. JS made BHAJAN in 1984 with Chitra, which was also a hit. The resemblance between Chitra’s “Muraliya baaje re jamuna ke teer” and A R Rehman’s composition “O paalanhaare” in LAGAAN is striking.

Here is some information i found on Samarpan.

The Samarpan tape had incredible history since 1983, when the bhajans were first rendered. It was originally recorded for ISKCON’s Golden Avatara tape collection in Mumbai.
It featured Prabhupada pranama mantras, Vaisnava pranama, Radha and Krsna pranam, Panca Tattva pranam, and the harer nama verse for the “sloka” track. The songs featured were
He Govinda He Gopala (Nanak),
Jaya Madhava Madana Murari* (trad.),
Sabse Unchi Prem Sagai* (Surdas),
Raga Puriya Dhansri Kirtan*,
Yasomati Nandana* (Bhaktivinoda Thakura),
Jaya Radha Madhava* (Bhaktivinoda Thakura),
Bhaja Hu Re Mana (Govinda Das Kaviraja),
Raga Bhairavi Kirtan*.

The asterisk(*) songs feature mahamantra.

This is the cover image of the CD available now from Krishnaculture.com

Later, in 1993, a music company bought rights to these songs and to give more “all-rounder Hindu appeal”, they cut Prabhupada, Radha, Panca Tattva pranams, as well as many many mahamantras. The songs from the CD originally come from Jagjit and Chitra Singh’s recording for ISKCON (Hare Krishna movement). The unedited version has shlokas glorifying the founder of ISKCON, Srila Prabhupada, prayers to the Vaisnavas, prayers to Radha and Krsna, prayers to Lord Caitanya Mahaprabhu and His associates. The “fade” that appears in songs like Jaya Madhava Madana Murari, Sabse Oonchi Prem Sagai, Hare Krishna tracks, Yasomati Nandana, Jaya Radha Madhava, and Bhaja Hu Re mana have more music left or beautifully sung Hare Krishna mahamantras taken out.

An interesting fact on the bhajan Jai Madhav Madan Murari -

A traditional Brajabhasa was introduced in ISKCON in 1975 by Acytuananda Swami through his album “Hindi bhajans.” Ever since then, in small home programs and recordings, “Jaya Madhava Madana Murari” is sung. It is also important to note that this song is actually a Yaman raga song, rather than the misrepresented Asavari song. Many devotees take the Ga of the original Yaman raga and make that Ga into Sa of the Asavari raga. This way, the notes get distorted. There is also a Khamaja version of this song, which was popularized by Jagjit and Chitra Singh through their 1983 album “Samarpan.”

This is another masterpiece by Jagjit Singh, which he sang earlier in his career. Though he does not sing this ghazal in public now, the one version I have heard is truly a gem. Even though that recording is not great in sound quality, the impact he makes with his voice and the poetry rendition, is just marvelous. Specially, when he sings the ‘maqta’ the spontaneous clamour of ‘mukkarrar’ proves it all. I’ve heard the Ghulam Ali version too, and some say that JS has somewhat copied that version. Whatever it be, this ghazal is a beauty.

There are some unsung shers too, which neither JS or Ghulam Ali have been known to sing, atleast to my knowledge. I present the ghazal below:

Faasle aise bhi honge ye kabhi socha na tha,
Saamne baitha tha mere aur woh mera na tha.

Voh ke khushbu ki tarah phaila tha mere chaarsu,
Main use mahsoos kar sakta tha chu sakta na tha.

Raat bhar pichli si aahat kaanon mein aati rahi,
Jhaank kar dekha gali mein koyi bhi aaya na tha.

Aaj us ne dard bhi apne alheda kar liye,
Aaj main roya to mere saath woh roya na tha.

Yeh sabhi viraaniyaan uske juda hone se thiin,
Aankh dhundhlaayi huyi thi shahar dhundhlaaya na tha.

Yaad karke aur bhi takleef hoti thi ‘Adeem’,
Bhool jaane ke siwa ab koyi bhi chaara na tha.

– Adeem Haashmi

Priceless

There are somethings money can’t buy, and time cannot repeat. The picture below and a similar surrounding is one such thing.

JS CS Together on Stage

JS CS Together on Stage

This picture is from the Vancouver concert, posted in youtube. There may be many more details of this rare stuff, that can be provided by other members of the PDJS forum.

Interestingly, I actually “saw” Chitra ji singing, only a couple of years ago for the first time! I had been a fan for almost 14 years of the duo till then! It would never have been possible without the internet and the network of fans that we have now.

Jagjit Singh ji explaining the difference between Ghazal and Nazm while singing the beautiful Nazm Tere Khusboo mein Base khat

Tere Khushbu Mein Basey Khat Main Jalaata Kaisey,
Jinko Duniya Ki Nigahon Se Chupaaye Rakhaa,
Jinko Ik Umr Kalejey Se Lagaaye Rakhaa,

Jinka Har Lafz Mujhe Yaad Tha Pani Ki Tarah,
Yaad They Mujhko Jo Paigaam-e-zubaani Ki Tarah,
Mujh Ko Pyarey They Jo Anmol Nishaani Ki Tarah.

Tuune Duniya Ki Nigahon Se Jo Bachakar Likhey,
Saalahaa-saal Mere Naam Baraabar Likhey.
Kabhi Din Mein Toh Kabhi Raat Mein Uthkar Likhey

Tere Khushbu Mein Basey Khat Main Jalaata Kaisey?
Pyar Mein Duubey Huye Khat Main Jalaata Kaisey?
Tere Haathon Ke Likhey Khat Main Jalaata Kaisey?

Tere Khat Aaj Main Ganga Mein Bahaa Aayaa Hoon,
Aag Behetey Hue Paani Mein Lagaa Aayaa Hoon.

Album : Live With Jagjit Singh
Video : Revival Jagjit Singh

Anil Vohra

This is another masterpiece. The credit goes to Chitraji for her marvellous rendition of “Mitti da bawa” in the earlier part (late 70s or early 80s)  of their musical journey. Jagjitji later took it up, especially around late 90’s and early 2000s onwards.

I have not heard this particular geet being sung in between this duration. Chitraji’s rendition is slow, rhythmic and depicting the pain, a woman would undergo under such conditions.

Jagjit ji’s rendition is very soulful and painful. It is amazing how he portrays it. I have heard many a versions of this geet now, but the two that stand out are the one in Sa Re Ga Ma Pa, semi-finals in 1998 and the one in 2001, Life Concert. From this time onwards, he started to merge it with “Aakaash ka suna pan….” so that the effect on the audience does not become too heavy.

Here is a screen capture of the Life Concert 2001, during the rendition of this particular geet. Along with Chitraji, I am sure it is Monica alongside her.

Chitraji with Monica(?) during the rendition of Mitti da bawa 2001

Chitraji with Monica(?) during the rendition of Mitti da bawa 2001

Lastly, the lyrics of the song, along with the translation. This translation was posted around 2 years ago by Rohit, in Orkut.

Kite Ta Lawa Taliya[I am bowing trees somewhere]
Weh Pata Waliya[with leaves on it]
Weh Mera Patla Mahi[Patla=skinny]
Kite Ta Lawa Shetut
Weh Menu Smaz Na Aawe

Mitti Da Bawa Main Banani Ha[I am making a Child of Mud]
Weh Zhaka Pandi Ha[Putting Shirt on it]
Weh Uthe Dendi Ha Khese[Putting Sheat on it]
Na Ro Mitti Deya Baweya
Weh Tera Pyo Pardeshi[pyo=father]

Mitti Da Bawa Nayiyo Bolda,
Weh Nayiyo Chalda[Chalda= Walking]
Weh Nayiyo Denda Hai Hungare[Hungara= Calling]
Na Roo Mitti Deya Baweya
Weh Tera Pyo Banjara

Mere Jaiyan Lakh Goriyan Weh (There are scores of women like me)
Tanni Doliyan Weh ( I am not sure about this line, I feel this is kanni doriyaan – meaning hard of hearing, just a symbol of ordinariness)
Godi Baal Hindole ( They have akid in their rocking lap)
Hans Hans Dendiyan Loriyan Weh ( Smiling they sing lullabies to their kids)
Mere Ladan Sapole (Snakes Bite me – I feel jealous)

In Punjab, childless mothers are often advised by elders to plant either FALDAAR or CHAYADAAR trees to cut the curse of childlessness.

I feel Tahlee[Taliya] here doesnt mean branch, in fact it is a very thickly leaved tree known for its cool shade and strong wood.
& Shehtoot as u all know is known for its small sweet fruit.
So the girl in the song says she doesnt understand ke woh kahaan kahaan par ja kar kaun kaun se paudhe lagaaye so that uski curse kat jaaye…

1966-75 : Rare Gems – Jagjit Singh Chitra Singh

Click on images for bigger image!!

Music By Jagjit Singh Sung by Jagjit Singh Chitra Singh

Commentary by Jagjit Singh
Doston, zehan ke kisii kone se jhaank rahiin hain kuchh aisii Gazalen jo aap hii nahin, main bhii bhuul chukaa huun

ho sakataa hai aap mein se kuchh logon ne inhen sunaa bhii na ho kyuun ki ye HMV kaa vo Khazaanaa hai jo aaj se pachiis saal pahale alag-alag LPs par ‘release’ huaa thaa aur ab ‘cassette’ aur ‘CD’ kii shaql mein aap tak pahunch rahaa hai

aaiye unhiin bhuulii-bisarii yaadon ko aavaaz den aur sune un Gazalon kii gun-gunaatii aahat….

  1. Ab To Ghabraake Ye Kehte Hain Ke Mar Jaayenge Mar Ke Bhee Chain Naa Paaya To Kidhar JaayengeLaaye Jo Masth Hain Turbat Pe Gulaabi Aankhen
    Aur Agar Kuch Nahin Do Phool To Dhar Jaayenge

    Hum Nahin Wo Jo Karen Khoon Ka Daawa Tujhse
    Bal Ke Poochega Khuda Bhee To Mukar Jaayenge

  2. Ajab Apna Haal Hota Jo Wisaal-e-yaar Hota Kabhi Jaan Sadke Hoti Kabhi Benisaar HotaNa Maza Hai Dushmani Mein, No Hai Lutf Dosthi Mein
    Koi Ghair-ghair Hota Koi Yaar-yaar Hota

    Ye Maza Tha Dillagi Ka, Ke Baraabar Aag Lagti
    Na Tumhe Qaraar Hota Na Humen Qaraar Hota

    Tere Waade Par Sitamgar Abhi Aur Sabr Karte
    Agar Apnee Zindagee Ka Hume Aitbaar Hota

  3. Apna Gham Bhool Gaye, Teri Jafa Bhool Gaye Hum To Har Baat Mohabbat Ke Siwa Bhool Gaye – Music by C.K. Chauhan
    Hum Akele Hi Nahin Pyaar Ke Diwaane Sanam
    Aap Bhi Nazren Jhookaanen Ki Adaa Bhool GayeAb To Socha Hai Ke Daaman Hi Tera Thaamenge
    Haath Jab Humne Uthaaye Hain Dua Bhool Gaye

    Shukr Samjho Ya Ise Apnee Shikaayat Samjho
    Tumne Wo Dard Diya Hai Ke Dawa Bhool Gaye

  4. Bus Ke Dushwaar Hai Har Kaam Ka Aasaan Hona Aadmee Ko Bhee Muyassar Naheen Insaan HonaKee Mere Qatl Ke Baad Usne Jafa Se Tauba
    Haay Us Zood_pashemaan Ka Pashemaan Hona

    Haif Us Chaar Girah Kapde Ki Qismat ‘ghalib’
    Jis Ki Qismat Mein Ho Aashiq Ka Girebaan Hona

  5. Dhuaan Utha Thaa Diwaane Ke Jalte Ghar Se Saari Raat Lekin Wo Khaamosh Rahe Duniya Ke Dar Se Saari Raat
    Raat Yun Jalte Dil Par Teri Yaadon Ki Barsaat Huyee
    Jaise Ik Pyaase Ki Chitha Par Barkha Barse Saari RaatSaari Raat To Sapne Dekhe Subah Ko Ye Mehsoos Hua
    Humne Apna Sar Takraaya Ik Pathhar Se Saari Raat
  6. Dil Ko Kya Ho Gaya Khuda Jaane Kyoon Hai Aisa Udaas Kya JaaneKeh Diya Maine Haal-e-dil Apnaa
    Isko Tum Jaano Ya Khuda Jaane

    Jaante-jaante Hi Jaanega
    Mujhme Kya Hai Abhi Wo Kya Jaane

    Tum Na Paaoge Sada-dil Mujhsa
    Jo Tagaful Ko Bhi Hayaa Jaane

  7. Ishq Fana Ka Naam Hai, Ishq Mein Zindagee Na De Jalwa-e-aaftaab Ban, Zarre Mein Roshni Na De
    Shauq Ko Rehnuma Bana Jo Ho Chuka Kabhi Na De
    Aag Dabi Huyee Nikaal Aag Bujhi Huyee Na DeTujhko Khuda Ka Waasta Tu Meri Zindagee Na De
    Jiski Sehar Bhee Shaam Ho Uski Siyaah Shabi Na De
  8. Jab Bhi Aati Hai Teri Yaad Kabhi Shaam Ke Baad Aur Badh Jaati Hai Afsoorda-dili Shaam Ke Baad
    Ab Iraadon Pe Bharosa Hai Na Tauba Pe Yakeen
    Mujhko Le Jaa Re Kahan Tashna_labi Shaam Ke BaadYun To Har Lamhaa Teri Yaad Ka Bojhal Guzraa
    Dil Ko Mehsoos Hui Teri Kami Shaam Ke Baad

    Yun To Kuch Shaam Se Pehle Bhi Udaasi Thee ‘adeeb’
    Ab To Kuch Aur Badhi Dil Ki Lagi Shaam Ke Baad

  9. Kab Se Hoon Kya Bataaoon Jahaan-e-kharaab Mein Shab Haaye Hizr Ko Bhi Rakhoon Gar Hisaab Mein
    Taakhir Na Intezaar Mein Neend Aaye Umr Bhar
    Aane Ka ‘ehed Kar Gaye Aaye Jo Khwaab MeinQaasid Ke Aate Aate Khat Ik Aur Likh Rakhoon
    Main Jaanta Hoon Jo Wo Likhenge Jawaab Mein
  10. Mujhe De Rahe Hain Tasalliyaan Wo Har Ek Tazaa Payaam Se Kabhi Aake Manzir-e-aam Par Kabhi Hat Ke Manzir-e-aam Se
    Na Garaz Kisi Se Na Waastha Mujhe Kaam Apne Hi Kaam Se
    Tere Zikr Se, Teri Fikr Se, Teri Yaad Se, Tere Naam SeMere Saaqiya Mere Saaqiya Tujhe Marhawa Tujhe Marhawa
    Tu Pilaaye Jaa Tu Pilaaye Jaa Isi Chashm-e-jaam-wa-jaam Se

    Teri Suboh Aish Hai Kya Bala Tujhe Ae Falak Jo Ho Hausla
    Kabhi Kar Le Aa Ke Mukaabala Gham-e-hijr-e-yaar Ki Shaam Se

  11. Os Pade Bahaar Par Aag Lage Kanaar Mein Tum Jo Nahin Kanaar Mein Lutf Hi Kya Bahaar Mein
    Uspe Kare Khuda Rahem Gardish-e-rozgaar Mein
    Apnee Talaash Chodkar Jo Hai Talaash-e-yaar MeinHum Kahin Jaane Waale-e-ahed Daaman-e-ishq Chodkar
    Zeest Tere Huzur Mein, Maut Tere Dayaar Mein
  12. Patha-patha Boota-boota Haal Hamaara Jaane Hai Jaane Na Jaane Gul Hi Na Jaane Baag To Saara Jaane Hai
    Chaara Gareebi Maariye Dil Ki Rasm-e-shehar-e-husn Naheen
    Warna Dilbar Ae’ Naadaan Bhi Is Dard Ka Chaara Jaane HaiMehar-o-wafa-o-lutf-o-inaayat Ek Se Waakif Inmein Nahin
    Aur To Sab Kuch Tanz-o-kinaaye Ranjo Ishaara Jaane Hai
  13. Phir Kuchch Is Dil Ko Beqaraaree Hai Seena Zoya-e-zakhm-e-kaaree Hai
    Phir Jigar Khodane Laga Naakhun
    Aamad-e-fasl-e-laala Qaaree HaiPhir Usee Bewafaa Pe Marte Hain
    Phir Wohee Zindagee Hamaaree Hai

    Be_khudee Be_sabab Naheen ‘ghalib’
    Kuchch To Hai Jiskee Pardaadaaree Hai

  14. Aankh Ko Jaam Samajh Baitha Tha Anjaane Mein Saaqiya Hosh Kahan Tha Tere Diwaane Mein – Music by C.K. ChauhanJaane Kis Baat Ki Unko Hai Shikaayat Mujhse
    Naam Tak Jinka Nahin Hai Mere Afsaane Mein

    Dil Ke Tukdon Se Teri Yaad Ki Khushboo Na Gayee
    Hue Main Baaqi Hai Toote Huye Paimaanon Mein

    Dil-e-barbad Mein Umeed Ka Aalam Kya Hai
    Timtimathi Huyee Ik Shamma Hai Veeraane Mein

  15. Shaheron Shaheron Aaj Hai Tanhaa Dil Par Gehra Daag Liye Galiyon Galiyon Ho Gaye Ruswaa Dil Par Gehra Daag LiyeAaj Gulistaan Mein Failee Hai Khusboo Teri Yaadon Kee
    Mausam-e-gul Hai Hum Hain Tanha Dil Par Gehra Daag Liye

    Rote Dhote Jee Ko Jalaate Manzil-e-shab Tak Aa Pahunche
    Chere Par Hai Gard-e-tamanna Dil Par Gehra Daag Liye

    Dhoondne Unko Shaher-e-buta Mein Aaj Gaye The’ Hum Bhi ‘adeeb’
    Aankh Mein Lekar Gum Ka Dariyaa Dil Par Gehra Daag Liye

  16. Uski Hasrat Hai Jise Dil Se Mita Bhee Na Sakoon Dhoondne Usko Chala Hoon Jise Paa Bhee Na SakoonMeharbaan Hoke Bula Lo Mujhe Chaaho Jis Waqt
    Main Gaya Waqt Naheen Hoon Ke Fir Aa Bhee Na Sakoon

    Daal Kar Khaak Mere Khoon Pe Qaatil Nikaah
    Kuch Ye Mehndi Naheen Meri Ke Chupaa Bhi Na Sakoon

    Zauf Mein Taa Maye Agiyaar Ka Shikwaa Kya Hai
    Baat Kuch Sar To Naheen Hai Ke Utha Bhee Na Sakoon

    Zabt Kambakht Ne Aur Aake Gala Ghonta Hai
    Ke Use’ Haal Sunawoon To Suna Bhee Na Sakoon

    Zaher Milta Hee Nahin Mujhko Sitamgar Warna
    Kya Kasam Hai Tere Milne Ki Ke Khaa Bhee Na Sakoon

    Uske Pehloon Mein Jo Le Jaake Sulaa Doon Dil Ko
    Neend Aisi Use’ Aaye Ke Jagaa Bhee Na Sakoon

  17. Wo Jo Hum Mein Tumme Qaraar Tha Tumhe Yaad Ho Ke Na Yaad Ho Wo Hi Aani Waala Nebaahta Tumhe Yaad Ho Ke Na Yaad Ho
    Wo Naye Gile Wo Shikaayate Wo Maze-maze Ki Hikaayaten
    Wo Har Ek Baat Pe Roothna Tumhe Yaad Ho Ke Na Yaad HoKoi Baat Aisi Agar Huyee Jo Tumhaare Jee Ko Buree Lagi
    To Bayaan Se Pehle Hi Bhoolna Tumhe Yaad Ho Ke Na Yaad Ho

    Jise Aap Ginte The Aashnaa Jise Aap Kehte The Baawafaa
    Main Wohi Hoon ‘momin’-e-mubtila Tumhe Yaad Ho Ke Na Yaad Ho

  18. Ye Kiska Tassavvur Hai, Ye Kiska Fasaana Hai Jo Ashk Hain Aansoon Mein Takbeeh Ka Daana Hai
    Aankhon Mein Nameen Si Hai Chup-chup Se Wo Baithe Hain
    Nazook Si Nighahon Mein Naazook Sa Fasaana HaiYe Ishk Naheen Aasaan Itna To Samajh Leeje
    Ik Aag Ka Dariyaa Hai Aur Doob Ke Jaana Hai

    Ya Wo The’ Khafa Humse, Ya Hum Hain Khafa Unse
    Kal Unka Zamaanaa Tha, Aj Apna Zamaana Hai

I know some ghazals are missing, which were not on the CD but were released on Two sets of Cassettes. I know members of this pdjs group will put those ghazals to complete this Rare Gems album.
Anil Vohra

Another CC reproduction of my earlier blog. In this we determine the beher, using the rules defined earlier. We use 2* to denote a flexible syllable. It can be scanned as 2 or 1 as required by the meter.

Another ghazal, and it’s beher analysis. This one is by “Bekhud Dehlvi”, a poet of the patronage of “Daag”. His real name was Sayed Wahiduddin Ahmed.

This time I will present the ghazal first and then give the syllabic breakdown.

कह साक़ी बहार आने के दिन हैं,
जिगर के दाग़ छिल जाने के दिन हैं|

अदा सीखो अदा आने के दिन हैं,
अभी तो दूर शर्माने के दिन हैं|

गरीबाँ ढूंढते हैं हाथ मेरे,
चमन में फूल खिल जाने के दिन हैं|

घटाए ऊदी ऊदी कह रहीं हैं,
मय--अंगूर खिचवाने के दिन हैं|

Now for the syllabic breakdown:

(1) कह(2) साक़ी(22*) बहा(12)_आने(22*) के(2*) दिन(2) हैं(2),
जिगर(12) के(2*) दाग़(21) छिल(2) जाने(22*) के (2*) दिन(2) हैं(2)|

Notice in the matla above, the ‘R’ of ‘bahaar’ merges with ‘AA’ of ‘aane’, to become ‘Raane’. If you hear JS in the album recording, he always pronounces ‘Raane ke din hain’ giving him that extra beat to drag it and make it sound awfully well. Obviously, in the concert version, the rythmic beat is not required and you will notice he pauses at will, between ‘bahaar’ and ‘aane’ in that version. When a consonant(C) is followed by a long vowel (V), the consonant can be merged to the vowel allowing an extra syllable.

अदा(12*) सीखो(22*) अदा(12*) आने(22*) के(2*) दिन(2) हैं(2),
अभी(12*) तो(2*) दूर(21) शर्माने(222*) के(2*) दिन(2) हैं(2)|

’sharmaane’ is scanned as ’shar(2)maa(2)ne(2*)’

गरीबाँ(122*) ढूंढते(212*) हैं (2*) हाथ(21) मेरे(22),
चमन (12) में (2*) फूल (21) खिल (2) जाने (22*) के(2*) दिन(2) हैं(2)|

घटाए(122*) ऊदी(22*) ऊदी(22*) कह(2) रहीं (12*) हैं(2),
मय-(12*)-अंगूर(221) खिचवाने (222*) के(2*) दिन(2) हैं(2)|

‘Angoor’ is scanned as ‘Ang(2)-goo(2)-r(1)’ and ‘Khichwaane’ as ‘Khich(2)waa(2)ne(2*)’

The ghazal is a 11 syllable beher: hazaj musaddas mahzuuf, with the pattern as 1222-1222-122.

You can check all the sher fit the beher exactly

Beher in Ghazals

I wrote this article sometime back in my personal blog. I think it will be useful here. So a CC reproduction of the same. Hope it will be informative.

Well this one is close to my heart. I have a long standing desire to learn the metric system in which ghazals are written. Initially I had interest in learning the English metric system, but I found that as a “top-up” (or an icing on the cake) rather an established system.

Over the years I have read whatever I could lay my hands over. My inability to read the Arabic script hampers the learning in a big way. I am in the process of remedying that too! But it is quite possible to have a more than passable knowledge of it, if one knows to read and write in Devanagari/Hindi.

Before proceeding note: I am learning, so don’t take anything as final. As and when I learn, I will correct myself.

So, let us start. First some symbols: C=Consonant; v=short vowel [अ,इ and उ] V=long vowel[आ ई ऊ ए ऐ ओ and औ] This is a standard set of symbols used almost everywhere where Urdu metric system is taught.

Words are combination of syllables. Generally there can be one, two or three syllable words. Four syllable words and above are rare in ghazal constructs. A syllable will consist of combination of the above. The following can occur:
Cv, CvC, CVC, CvCC and CV.

Now, each of the above syllable constructs have an associated weight. We normally follow the “short” (denoted by 1) and “long” (denoted by 2). This as per the famous “L”, “Ga” system of Hindi prosody. Following are the weights of each syllable constructs.
1. Cv = 1 [कि, न]
2. CvC = 2 [हम, तुम, इस, घर]
3. CVC = 2 + 1 [काम, मोड़, प्यार, शोर]. However if CVC construct appears as the last construct in a ‘misra’ (the one line of a sher), it is scanned as 2 only.
4. CvCC = 2 + 1 [हुस्न, मित्र]
5. CV = 2 or 1. This is a flexible construct. Like 3, above it will be scanned as 2 always at the end of a ‘Misra’. ‘Misra’ never ends in a 1. However, if CV occurs in a single syllable word (and in between in a ‘Misra’), like in [को, का, की, वो] it can be scanned as 2 or 1. Similarly, if CV construct appears as the last syllable in a multi-syllable word, it can be scanned as 2 or 1. Otherwise it is mostly scanned as 2.

Once the entire misra has been scanned in this manner, one needs to find the ‘behar’ of the ghazal. Urdu prosody has defined set of ‘behars’. There is a famous book by Pritchett, on this topic here: Urdu Meter HandBook, and it lists around 37 most common ‘behars’. Any ‘behar’ not on this list is extremely rare.

In this list “1″ is denoted as “-” and “2″ is denoted as “=”. Rest all assumptions are same as discussed above.

Next post, I shall present a ghazal. I will then scan each sher in that ghazal using the rules above, and then determine the ‘behar’ of the ghazal.

This Song of Shiv kumar Batalvi is sung by many artistes like Jagjit Singh, Hans Raj Hans, Jagjit Singh Zirvi (Punjabi Ghazal Artiste) and may be by many others.

This version by Jagjit Singh remains eternal and signature of his excellent work. Haunting Melody, according to many people this is his one of his best compositions till date.

I got this video (can’t say video, but a slideshow) on youtube, found worth to put it on this blog.

Since Niranjan ji has started this blog with the early work of Jagjit Singh like “Raat gayee kar Tara Tara,” me stretching the cord to “Shikra”

These two songs “Raat Gayee kar Tara Tara” is a beautiful masterpiece and “Shikra” have become a folk song in all these decades after being recorded.

Ghamaan Di Raat Lambi Ne,
Ja Mere Geet Lambey Ne,
Na Bhedi Raat Mukdi Hai,
Na Mere Geet Mukde Ne,

Anil Vohra

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