10 comments on “Pancchi in Raag Bhopali

  1. ahhh, such a lovely piece and such a heartbreaking movie. as her father’s son she briefly gets to spread her wings but then she must live as her mother’s daughter. one of the things i love about bollywood films is this social aspect.

  2. One of the bird songs that I remember often does not seem to fit here, birds appear only once I think. It is a Rafi song from ‘Bhabhi’. There ia also a nice version by Talat. The tune is also used in Telugu (Ghantasala in Kuladaivam, 1960) which is also very popular. Possibly there are versions in other languages too like the famous Kismet bird song without birds.

  3. Ann, thanks for the comment. The film sounds interesting. Actually, I haven’t seen it; I merely found the song. I have seen about ten Shantaram films (or even more, if there are any that I’m not remembering at the moment), but this isn’t one of them. But I am going to get it some time soon.

    Swarup, thanks for the recommendation, but I am not sure what you mean by the Rafi song often not seeming to fit “here.” How could it? Is it in Raag Bhopali? (That’s how it would fit here in this post.) It wouldn’t belong to the post A Girl and Her Birds, either. I never did a post just of bird songs in general – that’s on another blog. :)

  4. I just don’t understand all these things about the ragas!
    I think I just don’t have the ear for that. :-(

    Re.: pankh hoti to ud aati re.
    How could I forget that song? Like it a lot. It was shown on DD quite often,w hen I was small. And I used to wonder why is she calling upon Russia. No I didn’t wonder since Indo-Soviet friendship was a well-known fact! :-)

  5. “I just don’t understand all these things about the ragas!
    I think I just don’t have the ear for that. :-(”
    I think that as one listens to more songs, one sees similarities and wonders where they come from. Many film songs from classical ragas with suggestions about the mood, time of the day and so on. I understand that the predominant mode until Ghulam Haidar started introducing folk tunes (that is what I read in Upperstall articles) and people like S. Rajeswara Rao started introducing western tunes and others like O.P. Nayyar just played it by the ear. May be tying to find the raga is a natural tendency to classify. I was coming to a stage where I could discern Bhairavi and Malkauns but then decided that I enjoyed songs as they were and did not want classifications. Moreover some composrs mix up ragas ( I heard Shankar Jaikishan did it in ‘Lapak Jhpak’) or use it in context different from the original. But I guess different people react differently.

  6. I am really only in the elementary stage of learning about raags myself. I have always enjoyed music labeled “raga” or “raag,” but I am pretty new to the effort of discerning one from the other or spotting when a piece of music comes from a raag and figuring out which one. The instruction video that I posted above is informative, but for a general introduction to raags and what they are and how they are used, I have gotten more from snippets of the excellent lectures by Dhanashree Pandit-Rai. Swarup, I am thinking most of the excellent clip that you posted in comments to a recent post of mine a while back:


  7. However, some like Ramachandra Guha, feel classical music is one of the few areas in which the subcontinent achieved greatness. There are stories of established musicians going off to new masters for years to train and some are supposed to have achieved their best in their seventies. Even if one is not interested in classical music, there is a wonderful book by Sheila Dhar “Raga’n Josh” which gives glimpses of that and her own efforts. It is one of the best books that I have read which expresses Indian things in English; I think that some of the chapters are available at google books (links can be got from my blog, searching for Sheila Dhar). At the other extreme of erudition is this article on ‘Lapak Jhapak’ goung back to the frog hymn in Rigveda

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