The ‘Jaunpuri’ Magic!

Continuing our overview of the early-morning repertoire, we look at one more magical raag...

What’s common between the songs ‘Jab dilko satäye gam’ (Lata Mangeshkar, Film: Sargam), ‘Jäye to jäye kahän’ (Talat Mehmood, Film: Taxi Driver) and the AR Rehman number ‘Pal pal hai bhäree’ (Alka Yagnik, Film: Swades)? Well, apart from the fact that all these are extremely hummable melodies, they are all based on Raag Jaunpuri. A few more examples like the famous Talat Mehmood song ‘Meri yäd mein tum na’ (Film: Madhosh), or Marathi bhajan ‘Tuze roop chitti räho’ (Sudhir Phadke) and what you have is a range of melancholy emotions expressed by this early morning raag.

Belonging to the Äsävari family, this is a sampoorna raag using all seven notes in the octave with Gandhär, Dhaivat and Nishäd (third, sixth and seventh notes, resp.) being komal (minor). The typical ascent of this raag leaves Gandhar out but takes in all the seven notes in the descent. Although this was a popular melody earlier, Jaunpuri (also known as Jeevanpuri) was not considered to be a major raag and was subsequently relegated to relatively lesser importance. However, artists from Kirana and Jaipur tradition still seem to revel in the beauty of this raag and include it in their performances. Instrumentalists somehow do not seem to take to this raag passionately (Ustäd Bismillah Khan, Amjad Ali Khan are some noted exceptions) and music lovers, therefore, rarely come across a presentation of this raag in an instrumental music concert.

Nashikites may remember Gän-Saraswati Kishori Amonkar’s memorable presentation of Jaunpuri at the early morning Pädwä-Pahät concert last year (a link to this recording is available elsewhere on this page). The traditional compositions sung by Kishori-tai were reminiscent of hardcore Jaipur training she received from her illustrious mother Late Smt Mogubai Kurdikar. Similarly, Pt Shankar Abhyankar, noted sitar-player and composer, has also composed a couple of sparkling bandishes in Jaunpuri. Whatever the composition, Jaunpuri has never failed to invoke its magic!

Although heard more in its melancholy mood, Jaunpuri can also express itself differently. Who can forget the impish yet romantic song ‘Chale jänä nahi’ by Lata Mangeshkar (Film: Badi Bahen), or not overwhelmed by the anger in ‘Mätä na tu vairini’ sung by Sudhir Phadke in his immortal Geet Rämäyan? Whether you subscribe to the belief or not, this ‘Jaunpuri’ magic never fails to cast its spell on the listeners!

Do Musical Notes Have Colour?

There have been two diverse but well qualified opinions about the moods that musical notes can generate. One side advocates the premise that musical notes have no colour, so to say, but take on the shades lent to it by words it accompanies. There’s also a divergent school of thoughts saying that notes are eminently capable of creating moods independent of words.

Whatever side one takes, there’s no doubt when you hear songs like ‘Dil ek mandir hai’ (Lata, Film: Dil Ek Mandir) or ‘Keh do koi nä kare yahä pyär’ (Rafi, Film: Goonj Uthi Shehnäi), you take on a sad, melancholy mood. Raag Jogiyä, which both these songs belong to, tends to project this mood with its typical framework. Jogiyä, belonging to Bhairav Thät, uses the complete octave and is usually sung in the early morning zone. The specialty of this matrix is its vistär in the upper range of the octave and unbroken descent from Komal Rishabh (in taar – higher – octave) through all minor notes, finally coming to rest on the Pancham (fifth note). This aaläp tends to take on the form of an intense call of a sad, hurt mind.

Most of the composers in popular music have used Jogiyä in their work extensively, more so in the background score than in songs. Just imagine death of an important character in a movie and you are sure to hear intense notes of Jogiyä on a violin or taar-shehnai in the background. We also associate these notes with the music played by national television / radio network during the period of national mourning.

Apart from the famous songs mentioned above, there are a few more extremely popular songs in Jogiyä like ‘Rät bhar kä hai mehmän andherä’ (Rafi, Film: Sone Ki Chidiyä) or ‘He Natraj’ (Film: Sangeet Samrat Tänsen). Marathi repertoire also has some beautiful compositions like ‘Nako jäu Rämräyä’ from Sudhir Phadke’s ‘Geet Ramayan’. But the most popular, perhaps, amongst all Maharashtrians is the immortal Bal Gandharva nätyageet ‘Vad jäu kunälaä sharan’ (Sangeet Saubhadra) from the golden age of Marathi Nätyasangeet. Asha Khadilkar, amongst contemporary singers, also presents this composition beautifully to a rousing applause.You can debate to the world’s end whether musical notes have any inherent moods or not. But it is more or less certain that Raag Jogiyä certainly wears colour blue on its sleeve permanently!

The Sweet Melancholy…

Most of the songs in this matrix are sad or melancholy. Take a few examples – ‘Milkar judä huye’ (Jagjit-Chitra Singh), ‘Jhoothe nainä bole’ (Asha Bhonsale, Film: Lekin), ‘Mein to ek khwäb hun’ (Mukesh, Film: Himalay Ki God Mein) or that immortal Marathi song from Asha Bhosale ‘Rämä Raghunandanä. Raag Todi, however, does not always project a gloomy mood. There are a few notable exceptions where songs have been full of zest, like ‘Bheeni bheeni bhor äyi’, from the non-film album ‘Dil Padosi Hai’ by RD, Asha and Gulzar.

Todi is one of the ancient melodies from Indian classical tradition and has been sung and played by almost all greats from all traditions. A sunrise raag, Todi employs six notes from the octave and, barring Madhyam (teevra) and Nishäd (flat), all the notes are minor. This also brings in a peculiarity where komal rishabh (minor second note) is extremely minor, almost a quarter note below its normal frequency. This is the perfect example of the use of shrutis in Indian music. Gän-Saraswati Pt. Kishori Amonkar treated us all to a heavenly Todi at an early morning Diwäli concert a few years back. The concert has fortunately been preserved for posterity and is available for your listening pleasure as a 2-part link elsewhere on this page! Do enjoy and post your feedback on how you like the selection.

A number of variants of Todi are in vogue. Miyän-ki-Todi, Gujari Todi, Abiri Todi, Jaywanti Todi have all sprung from Todi matrix and have subtle differences amongst themselves. Bilaskhani Todi, although closer in construction to Raag Bhairavi and Raag Asävari, is also one of the most popular yet difficult to present variant and Biläskhän (Mian Tänsen’s son) has been credited for its creation. A recording by Vijay Koparkar demonstrating shades of differences between Bilaskhani Todi and Bhairavi is available as a link for your listening pleasure. There also are some other interesting combinations of other raags with Todi, for instance Khat-Todi, Bhoopal-Todi, Asävari-Todi. Pt Bheemsen Joshi’s ‘Komal-Rishabh-Asävari-Todi’ has been popular since ages and Todi takes on a very different introspective, even aggressive, mood in his presentation.

Although simple in nature, Todi has always been a challenge to music directors. Accomplished composers like Pt Hridaynath Mangeshkar, Naushad, Sudhir Phadke have given memorable songs in this matrix. ‘Jai jai kartär tori’ from ‘Baiju Bawarä’ testifies to Naushad’s command, while Sudhir Phadke’s magnificent use of chorus in the ‘Geet Rämäyan’ song ‘Thämb Sumantä’ highlights Todi’s intensity in the upper range of the octave. Ghazal-maestro Jagjit Singh also seems to be enamored by Todi’s magic with almost half-dozen compositions in this raag. My personal favourite, however, is ‘Are are Dnyänä zäläsi päwan’ (Miyän-ki-Todi), from Sant Dnyäneshwar’s pen sung by Lata Mangeshkar. The words speak of an enlightened mind after intense introspection, light at the end of the tunnel really! Likewise, let Todi bring us light, both literally and figuratively!

The Early Morning Ambience – Raag Bhatiyär

Remember that soulful, haunting jingle for the National Literacy Mission – ‘Poorab Se Soorya Ugä’? Early morning ambience with soft sunlight filtering through trees and windows, chirping birds and temple bells signify the arrival of the day। The night has surely ended and your mind has gained strength from the reassurance of the daylight that has just announced its arrival. Raag Bhatiyär excels in this twilight zone. Literacy mission’s famous jingle (link to this short-sweet composition is available under 'For Your Listening Pleasure...'), composed by Ashok Patki, brings out the end of uncertainty and beginning of hope with the notes of Bhatiyär!

Raag Bhatiyär, from the early morning twilight slot, belongs to the Maarwä Thaat (category) and uses all seven notes in the scale with Re (Second Note) being komal (minor). Alongwith flat Ma (fourth note in the scale), it also sparingly uses teevra (sharp) Ma in the ascent. The essence of this melody is its expansive treatment in the upper half of the octave where it shines with intricate taan-patterns around dhaivat and komal rishabh. Being an ancient melody, most of the accomplished singers / vocalists, especially from Agra, Gwalior, Kirana gharanäs, have shown their affinity towards Bhatiyär. Late Smt. Manik Varma’s recording of this raag is still popular almost forty years after its release. Much as I would have loved to share this recording with you, it was simply a technical challenge I could not surmount! Instead, you can listen to another quality recording of Bhatiyär by Sanjeev Abhyankar!

Bhatiyär also gels well with other melodies in combination. Some of the melodious and famous jod-raags and mishra-raags like Sohani-Bhatiyar, Triveni (using Lalat-Bhatiyär-Bibhas combination), Bhairav-Bhatiyar, etc. have been composed by creative minds like Pt Kumar Gandharva and others. Triveni has been immortalized by Pt Jitendra Abhisheki in ‘Tejonidhi Lohagol’, one of the most popular compositions from the landmark Marathi play ‘Katyär Kalajät Ghusali’ sung by inimitable Pt Vasantrao Deshpande।

Apart from the jingle mentioned above, music-lovers may remember the soulful Manna Dey – Lata Mangeshkar number ‘Ek Ritu Aaye Ek Ritu Jaaye’ where the opening lines of the song are composed in Bhatiyar. Marathi music has made the most of this soulful, expressive melody with several songs based on this raag. The first that comes to mind is Pt Jitendra Abhisheki’s composition ‘Arthashoonya Bhase Maj Ha’ from the play ‘Yayäti Aani Devayani’. Panditji’s disciple Ramdas Kamat also sung ‘Wäte Bhalyaa Pahäte’, a romantic composition in this raag. Mention must be made here that the lyricists of both these Bhatiyär compositions have had close ties with Nashik.

Recently, Padmaja Phenany-Joglekar has also used Bhatiyär very effectively to welcome the God of Light in ‘Yä Ho Yä ho Sooryanäräyan’! Likewise, go on; welcome the day with this timeless melody!

P.S.: Just as I published this refreshed post, dear friend Sonal Athnikar shared her precious recording of Smt. Manik Varma's Bhatiyär with me. So here it is for your listening pleasure - a taste of 'Khändäni Kiränä Gäyaki' in Manik-tai's sonorous voice courtesy Sonal...!