They follow the same scale, although occasionally Adana uses the shudh version of ‘ni’. I look forward to many more in the comments by learned readers of Songs of Yore.Ī few words now about Adana. That brings me to the end of the list of ten songs in Darbari. There is entreaty, prayer and pathos, but it is all rendered with a sense of dignity. Nain heen ko raah dikha prabhu by K L Saigal from Bhakt Surdas (1942), music by Gyan DuttĪlthough Saigal departs from Darbari in the last lines of the second stanza, overall this song preserves the mood of Darbari much better than the two Mukesh songs I have mentioned in the opening paragraph. With these opening thoughts let me now present my choice of ten songs in Darbari.ġ. One has to be very careful about the movement, otherwise one risks straying into the territory of Asavari, Desi and a host of Malhars. Darbari, on the other hand, has the same scale as Asavari/Jaunpuri. Once you get the notes right, whatever you do will sound like Malkauns. As I had mentioned in the earlier article, Malkauns allows a great freedom of interpretation. There is one very important difference, however, in the way the two ragas use their scales. You add the missing notes‘re’ and ‘pa’ to the scale of Malkauns, and you have the scale of Darbari. Malkauns uses only five notes, Darbari uses all seven. Readers of Songs of Yore would have seen my earlier post on Malkauns. Let me now touch briefly upon the technicalities of the raga. Composers would be better off using a raga like Todi for such songs. In my humble opinion it is not meant for the kind of wailing and whining these three songs represent. There has to be a certain gravitas about it. As the name suggests, Darbari has a royal aura about it. Let me cite just three examples: O duniya ke rakhwale from Baiju Bawra, Dil jalta hai to jalne de from Pehli Nazar and Teri duniya mein dil lagta nahin from Baawre Nain – all three are very good songs but the mood they depict is not what Darbari is meant for. The songs are good, some of them are great, but few of them really do justice to Darbari. Having written about Yaman and Pahadi earlier and having enjoyed the experience, I was looking forward to doing this post on Darbari, but my enthusiasm waned considerably after I compiled a list of songs in Darbari in preparation for this article. – AK)ĭarbari – along with Bhairavi, Yaman and Pahadi – is one of the most commonly used ragas for film music.
#MALARE MOUNAMA SONG RAGAM SERIES#
Continuing a great beginning to 2014, I present this guest article by Subodh, his 7th in the series on the film songs based on classical ragas. Subodh’s explanation of its difference with ragas in close proximity, such as Adana, is scholarly. It is interesting to note that while the raga itself has gravitas, the word ‘Darbari’ meaning a ‘courtier’ lends itself to some pejorative connotation, giving rise to some interesting trivia and anecdotes. But if the outcome is this superb piece, we don’t mind his prolonged preparations. ( It has now become routine for Subodh to surpass the outstanding.
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