Saajan Bin Neend Na Aave
Raag: Kedar
Year: 1955
Film: Munimji
Composer: S.D. Burman

The base scale of Yaman (tivra M and all other notes shuddha) when infused with a shuddha m opens up new vistas of improvisation. A number of raagas occupy this space, each capitalizing on a strand of melodic identity from among this trove. Once again, we witness the magic of distinct raagas that use basically the same notes!

One cluster of raagas from this domain are based on the Bihag raaganga. Bihag (tere sur aur mere geet and hamaare dil se na jaanaa), Maru Bihag (tum to pyaar ho and jamuna kinaare ajaa) and Nand (tu jahaan jahaan chalegaa) are some popular ones, as evinced by the film-songs based on these raags.

Another cluster that is often talked about together consists of Chhayanat, Hameer, Kamod and Kedar. All of these utilize the two madhyams in specific ways, with a mellow komal n sometimes thrown in to enhance aesthetic appeal.

Chhayanat is a connoisseurs’ delight, and uses the Nat raagang, characterized by the R G, G M, M P->R kernel. The P->R meend is special (and different from that of Yaman). The tivra M is used sparingly. An arohi komal n makes its appearance via phrases like G M n D P, and is often seen in the mukhada or asthayi of the composition. In the classical world, it is performed by Agra and Gwalior stalwarts. This Pakistani Qawals’ (Farid Ayaz and Abu Mohammed) interpretation of a traditional cheez is very attractive. (Watch on Youtube).

Khemchand Prakash used Chhayanat for the iconic Lata solo- Chanda re jaare jaare in Ziddi. The filmi song template and the western orchestration notwithstanding, it retains the classical flavor testifying to the composer’s genius. A young Lata renders the song with aplomb. The opening bol alaap is enticing, and there are many nuggets such as the delectable push on ‘laage re piya’. The finesse with which she handles the subtle rhythmic variations makes it pure gold. (Watch on Youtube).

The melding of Chhayanat with Bihag gives rise to Nat-Bihag, a staple Agra raag though other gharana singers sing it as well. The traditional bandish ‘Jhan jhan jhan jhan paayal baaje’ (sung here by Ustad Faiyaz Khan; Watch on Youtube) was adapted into a Lata solo by S D Burman for Buzdil. The mukhada is taken exactly but the rest deviates from the original quite a bit. This extended celluloid version has Lata displaying her prowess through numerous variations, specifically using the words ‘jhan jhan jhan’, and the finale of tihai taan on ‘baaje’. (Watch on Youtube).

While there are no Hameer songs by Lata, Kamod is represented through yet another Roshan adaptation of a traditional composition. While the raaga uses the same notes (with tivra M being subdued, mostly appearing only through the phrase M P D P, G m R S), it acquires its unique flavor through the (m) R R P and G m P G m R S sangatis. The traditional cheez ‘mai ri jaane na doongi’ is recast as the Chitralekha song ‘e ri jaane na doongi’. It is a very clean and through-composed song. A few sargam taans notwithstanding, the main focus is on pure melody. The comparison with the original bandish is fascinating since it is not an exact copy! (Watch on Youtube).

Kedar is a major and ancient raag that employs the same notes. S m~ G P, M P M P D→m, m R S are typical melodic gestures of Kedar. Note the special meend from D to m, caressing both P and M on the way. It pretty much establishes the raag. Kedar is a mehfil kaa raag, so a full rendition such as that of Kishori Amonkar is recommended. But this short recording of the self-composed ektaal cheez by Bade Ghulam Ali is fabulous. (Watch on Youtube).

On the film music front, there are some nice examples. The Lata-Manna Dey duet ‘kanha jaa re’, composed by Chitragupta for Tel Malish Boot Polish, has its calling card in Lata’s lingering jaa~~  (Watch on Youtube). The Lata solo, ‘mil jaa re o jaan-e-jaanaa’ from S. D. Burman’s Benazir gives the impression of being inspired by an instrumental gat. (Watch on Youtube).

Naushad used Kedar for this plea to the almighty in his tour de force Mughal-e-azam. It is a meticulously composed song, using stock phrases of the raag to the fullest, never deviating from the core aesthetic. Very little orchestral or melodic embellishment is used, or indeed, needed. This is home ground for Lata and she delivers. The few harkats such as the murkis at the opening ‘bekas’ are finely chiseled. In my mind, the opening couplet which serves as an alaap is the main hook of this lovely song. (Watch on Youtube).

S.D. Burman adapted a traditional Kedar bandish (you can hear a version of it by Rajan-Sajan Mishra) for the delicate song-Saajan Bin Neend Naa Aave in Munimji. It opens with an avarohi taan down from the taar shadja. It is sung like a bandish. The three variants of ‘kaise kahun main’ leading back to the main mukhada is the defining phrase of the song, much like in the original bandish. The sargam and short taan at the beginning of the first antara, and the taan that launches the second antara are nicely done. The tiny variations and murkis strewn throughout the song are tasteful. Most importantly, the raaga mood remains intact.