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.
Originally posted by: madhavir108
👏 👏 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.
Originally posted by: Bhaskar.T
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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