#414
Song:
o tiir chalaane waale zaraa, aa saamne aakar tiir chalaa
tuune mujhe chhupkar luut liya, aa saamne aakar tiir chalaa
tiir chalaa, tiir chalaa, tiir chalaa
Film:
Naghma (1953)
Singer:
Talat Mahmood
Music:
Nashad
Lyrics:
Nakshab
*ing:
Ashok Kumar, (?)
A long-time personal favorite of mine. Nashad must have suffered
a slight
identity crisis, his name being subsumed (in sequence) by
that of... who-else.
(the non-malicious Salieri to the Naushadian Mozart ? :-)
The Bara-Dari CD
too cruelly credits him as Naushad, poor fish.
The first song I heard from this sadly lesser-known composer
was the
obvious "tasviir banaata huu.n" by Talat from Bara Dari,
about seventeen
years ago... and pretty much every song of his I've heard
since then
(which is not too many, unfortunately) has been consistently
good... mostly
scattered songs from Naghma, Jawab (1955), etc. Any more
input on his output
is greatly welcome. (Eeks. That word placement was unintentional)
One of the things that enhances the inherent melody in this
song is
the sequential use of both the shuddha and komal rishabh,
in the
three "tiir chalaa"s :
ti-ii-ra cha-la-aa aa-aa ti-ii-ra cha-laa-aa-aa-aa
ti-ii-ra cha-laa
| | | | |
| | | | | | | |
| | | | | | | |
sa-re-ga ma--ga-ma ga-re ga-re-ga ma--ga--re-sa-ni
sa-re-ga re--sa
| |
|
(komal) (komal)(komal)
(all others are shuddha)
Apparently, this usage is common in Bhairavi-based tunes
(gleaned this
from a recent musical exchange with Dr Panda), e.g. in "tuu
ganga ki mauj
mei.N", the "mi" in "ho rahegaa MIlan"...
The other thing I like in this song is the imploring note
in the "tiir
chalaa"s preludes; interesting ambivalence... the tune suggests
a beseeching
attitude, the words suggest a confrontational one and both
suggest a misplaced
masochism, a "get it over with" attitude :-) I'd like to
see how it is
picturized.
..Hrishi