Sunday, November 16, 2008
Wednesday, September 10, 2008
Aankhon Mein Jis Ke Koi To Khwaaab Hai
Khush Tha Wahin Jo Thoda Betaaab Hai
Zindagi Mein Koi Arzooo Kijiye
Phir Dekhiye ……
Hoton Pe Jis Ke Koi To Geeet Hai
Woh Haare Bhi To Us Ki Hi Jeeet Hai
Dil Mein Jo.. Geet Hai Gun Guna.. Lijiye
Yaadon Mein Jis Ke Kisi Ka Naaam Hai
Sapno Ke Jaise Us Ki Har Shaaam Hai
Koi To.. Aaj Se Apna Dil.. Dijiye
Khwab Bhun.. Yeh Zara Geet Sun.. Yeh Zara
Phool Chun.. Yeh Zara...
for more poems-http://escritor.vox.com/
Tuesday, August 19, 2008
2. Sajna, sajna kahe bhul gaye din pyar ke - Chand Mere Aja
3. Insaf ka mandir hai, yeh bhagavan ka ghar hai - Amar
4. Kaise jaun jamunake tir - Devta
5. Laga, chunari men dag - Dil Hi To Hai
6. Jyotse jyot jagate chalo - Sant Gyaneshwar
7. Jo bhaje hari ko sada - Bhajan
8. Tu gangaki mauj - Baiju Bawra
9. Nas nas men agan
10. Jab dil hi tut gaya - Shahjehan
11. Ai diwali, ai diwali - Rattan
12. Tumhare sang main bhi chalungi
13. Do hansonka joda bichhad gayo re - Ganga Jamuna
14. Mere pas ao, nazar to milao
15. Mai to pyarse teri piya mang sajaungi
16. Barasat men, hamse mile tum - Barsaat (old)
17. Dost dost na raha - Sangam
18. Bol radha bol sangam hoga ke nahin - Sangam
19. Mera juta hai japani - Shri 420
20. Ramiya vasta vaiya - Shri 420
21. Mohabbatki dastan
22. Suno chhotisi gudiya ki lambi kahani - Seema
23. Khamosh hai khevanahara mera - Amar
24. Mori chham chham baje payeliya
25. Mere ai dil bata - Jhanak Jhanak Payel Baje
26. Sanvare sanvare - Anuradha (Composed by Ravi Shankar)
27. Nache man mora magan dhik dha dhigi dhigi - Meri Surat Teri Aankhen
28. Apki yaad ati rahi, ratbhar - Gaman
29. Yaha barakha sautaniya ke dvar
30. Tera jana - Anadi
31. Tute na dil Tute na - Andaaz (Old)
32. Ai mere dil kahin aur chal - Daag
33. Mile sur tera hamara - Doordarshan Sangeet
34. Kaise samjhaun bade nasamajh ho - Sooraj
35. Chali gori pi ke milan ko chali
36. Bhor bhaye panghatpe - Satyam Shivam Sundaram
37. Jare, jare ud ja re panchhi - Maaya
38. Dilka khilona haye tut gaya - Goonj Uthi
39. Jay bolo beiman ki - Beiman
40. Tumhe aur kya dun main dil ke sivay - Ayee Milan ki Bela
41. Lage tose naina lage
42. Mein piya teri - Basant Bahar
43. Mithe bol bole - Kinara
44. Mitwa re mitwa purab na jaio - Jawab
45. Heer ( doli chadhke heer) - Heer Ranjha (old)
46. Phir kisi raah guzar par shayad - A Ghazal by Jagjit Singh
47. Meri tanhaiyon tum hi lagalo mujhko sinese - A Ghazal by Jagjit Singh
48. Yeh dil yeh paagal dil mera (awaargi) - A Ghazal by Gulam Ali
49. Beshaq mandir masjid todo - Bobby
50. Bhari duniya men akhir dil ko samajhane kahan jaayen - Do Badan
51. Hato kaheko juthi banao batiyaan - Manzil
52. Mata saraswati sharda vidya dayi dayani - Bhajan
53. Sunai deti hai jiski dhadkan (Zihaal-e-muskeen) - Gulami
54. Jiya jale jaan jale nainon tale - Dil Se...
55. Baaki kuchh bacha to menhagai maar gayi - Roti Kapda aur Makaan
56. Phool gendava na maaro - Dooj Ka Chaand
57. Dhanya bhag seva ka avsar paaya - Sur Sangam
58. Kabhi neki bhi uske ji men gar aa jaye hai mujhse - A Ghazal by Gulam Ali
59. Mukund Madhav hari Hari bol
60. Mile jo kadi kadi, ek zanjeer bane - Kasme Wade
61. Hame tumse pyar kitana - Kudarat
Tuesday, July 29, 2008
Wednesday, July 23, 2008
A thaat is a musical mode in Hindustani music which always has seven notes (excluding the repeated tonic) and is considered the basis for the system of organizing and classifying ragas in North Indian classical music. The notion of thaat, and the ten basic categories, were created by Pt. Vishnu Narayan Bhatkhande in the early decades of the twentieth century.
A thaat is a specific set of notes or swara. The idea for Thaat or mode originated in the Carnatic music tradition, where it was described as mela around 1640 A.D. by the musicologist Venkatamakhi. Bhatkhande visited many of the gharanas or traditions of Indian Classical music, and conducted a detailed analysis of the Indian Raga system, to come up with this set of ten thaats - this reflected a tradeoff between the degree of fit between a raga and its thaat, and the keeping the number of basic thaats small.
Each thaat contains a different combination of altered (vikrt) and natural (shuddha) notes. The flatting or sharping of pitches always occurs with reference to the interval pattern in Bilawal thaat. It is important to note that, as in the Western church modes, each thaat is a series of intervals, not a series of notes. That is, one can arbitrarily designate any pitch as Sa (the tonic) and build the series from there.
There are ten generally accepted thaats:
1. Bilawal (=Ionian mode): S R G m P D N S'
2. Khamaj (=Mixolydian mode): S R G m P D n S'
3. Kafi (=Dorian mode): S R g m P D n S'
4. Asavari (=Aeolian mode): S R g m P d n S'
5. Bhairavi (=Phrygian mode): S r g m P d n S'
6. Bhairav: S r G m P d N S'
7. Kalyan (=Lydian mode): S R G M P D N S'
8. Marwa: S r G M P D N S'
9. Poorvi: S r G M P d N S'
10. Todi: S r g M P d N S'
Bhatkhande applied the term thaat only to scales which fulfill the following rules:
1. A thaat must have seven notes
2. The notes must be in sequence S R G M P D N (whether suddh or vikrid position - both versions af a single note are not allowed
3. A thaat does not have separate ascending and descending lines (as do ragas)
4. A thaat has no emotional quality (ragas, by definition, have)
5. Thaats are named after a prominent raga in order to make then easy to remember
Tuesday, July 22, 2008
The origins of Indian classical music can be found from the oldest of scriptures, part of the Hindu tradition, the Vedas.
Samaveda, one of the four Vedas, describes music at length. Indian classical music has its origins as a meditation tool for attaining self realization. All different forms of these melodies (Ragas) are believed to affect various "chakras" (energy centers, or "moods") in the path of the Kundalini. However, there is little mention of these esoteric beliefs in Bharat's Natyashastra, the first treatise laying down the fundamental principles of drama, dance and music. The Samaveda, one of the four Vedas, created out of Riga-Veda so that its hymns could be sung as Samagana, established its first pop.
Indian classical music has one of the most complex and complete musical systems ever developed. Like Western classical music, it divides the octave into 12 semitones of which the 7 basic notes are Sa Re Ga Ma Pa Dha Ni Sa, in order, replacing Do Re Mi Fa So La Ti Do. However, it uses the just intonation tuning (unlike Western classical music which uses the equal temperament tuning system).
Indian classical music is monophonic in nature and based around a single melody line which is played over a fixed drone. The performance is based melodically on particular ragas and rhythmically on talas.
The two main streams of Indian classical music are:
• Hindustani classical music, originally from North India
• Carnatic music (Karnataka Sangeetham), originally from South India
Ancient texts give fundamental rules of Indian music but modern writings of Pt. Omkarnath Thakur, Prof. Lalit Kishore Singh, Dr. Lalmani Misra, Acharya Brahaspati, Thakur Jaidev Singh, Prof. R.C. Mehta, Dr. Premlata Sharma, Dr. Subhadra Choudhary, Dr. Indrani Chakravarty, Dr. Ashok Ranade, Aban E. Mistry etc. have given a scientific basis to Indian music system. Besides these, scholars from other streams have also written about music. There are a number of biographies of Indian musicians although some critics feel that Indian litterateurs have not paid due attention to Indian classical music.