![]() The xylophone adds an additional touch of sweetness to Rehen na rehen hum (Mamta). The same wavy undulations flow gracefully till the very end. Even the musical prelude is graceful and wavy in this song and is woven beautifully into the opening line. My personal favorite is Duniya mein aisa kahan sab ka naseeb hai (Devar). This style created a special sweetness in Lata’s songs for Roshan. Roshan’s compositions for Lata tended to be in the lower ranges of the octave with a lower pitch. If Naushad represents classical and Madan Mohan represents strength, then Roshan represents sweetness in Lata songs. This type of stretching by Madan mohan made Lata’s singing strong and open for most of Madan Mohan’s songs. Madan Mohan stretched Lata’s voice across notes of the octave and brought out the best in her. Madan Mohan composed truly memorable songs that are perhaps Lata’s best songs of all time. Naushad composed many classical and folk based songs and challenged Lata across the entire range of her pitch. The range and type of songs composed by Naushad, Madan Mohan and Roshan for Lata Mangeshkar make for a fascinating study. ![]() The order of the songs in the above playlists may not be in the same order as in the discussion below. The player will continue to play Roshan’s songs in the current window while you are browsing) ( A tip to enhance your listening pleasure: When listening to the songs in the player, if you want to browse further on this site or another one, open a new window for further browsing. Click the play arrow below to enjoy the gems from Roshan. ![]() Skipping songs is possible but is restricted. If you are based in the USA or Canada, you can also enjoy some of these songs on the player below. These 24 are among the finest classical, melodious, sweet and romantic songs of the golden era. In quite a few songs, he excelled in the use of Saarangi.Įnjoy a playlist of 24 songs on the player below. He showed an inclination for instruments that had sweet sounds like the jaltarang, xylophone, flute. He earned the title “King of Qawwalis” for the beautifully composed and popular qawwalis in Dil hi to hai, Barsaat ki raat, Babar and Taj Mahal. He was also well trained in classical music and created truly memorable classical songs in Dil hi to hai, Chitralekha among others. He is now well remembered for very popular songs from Barsaat ki raat, Taj Mahal, Dil hi to hai, Chitralekha, Mamta, Anokhi Raat, Devar, Aarti and many other movies. You can also experience a similar graceful, wavy contour of the tune in the first two lines of the antras in Lata’s Kabhi to milegi (Aarti).įrom the early 50s to late 1960s, Roshan has delivered many songs that are sweet, enchanting and extremely pleasant and soothing. This single song demonstrates what I mean by purity and length and Roshan’s talent and skill in ‘purist’ style of compositions. Listen to the beautiful undulations and the overall wavy effect in the bit (plays for 35 seconds) below. The stress on the syllables adds an additional touch of beauty to the melody. The antra is basically a lengthy one with the shape of the melodic tune flowing in gentle, wavy and graceful undulations downwards as well as upwards. The song Duniya mein aisa kahan sab ka naseeb hai (Devar) is a fine example of Roshan’s ‘purist’ style of composition. Over the years, he stuck to this basic ‘purist’ style of composing songs. His tunes are composed as “lengthy” lines with gradual and graceful movement from one note to another without breaks, jerks or sudden shifts in the octave. Also, like Naushad and Madan Mohan, Roshan does not break up his tunes into smaller bits to make them popular. His songs feature lovely variations in flow, stress on specific notes and a very pleasant weaving together of notes. Roshan follows a ‘pure’ style of composition where elements of classical music like mini tones (murkis or vocal curves of classical music, but extremely controlled and adapted for film music), curves and undulations are built into the tune to create graceful wavy contours in the basic melodic lines. Roshan is another music director who is cast in the same mould as Naushad and Madan Mohan. In top 3 composers of the golden era – part 2, I showcased the soulful and mesmerizing style of Madan mohan. In top 3 composers of the golden era – part 1, I featured Naushad’s immense contribution to the purist style of composition.
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