In Hindi Film Music many of the music directors have orchestrated WALTZ ‘rhythm’ to compose some beautiful melodies. In this topic reviewing few best songs composed by Laxmikant-Pyarelal on “WALTZ” Cadency.
WALTZ is type of musical ‘rhythm’ created for a ballroom dance in 3/4 time with strong accent on the first beat and a basic pattern of step-step-close.
WALTZ is originated from the Germany in 16th century. WALTZ, from the old German word walzen to roll, turn, or to glide. In simple words to move or glide in a lively or conspicuous manner (to advance easily and successfully).
Technically speaking, a WALTZ is a closed position dance to be performed in triple time. In layman’s terms, this means that the partners both hold and face each other while dancing to a rhythm of hard-soft-soft-hard-soft-soft.
Originally introduced as a ballroom dance, the catchy rhythm, combined with the fact that the partners were allowed to be so close to each other, made the waltz popular within other styles.
Anil Biswas the legendary music director was the first to introduce the WALTZ ‘rhythm’ in Bollywood music, In the year 1940, through the song Hum Aur Tum Aur Yeh Khushi from the film “Alibaba”.
Later many legendary music directors have used WALTZ ‘rhythm’. Listing out few memorable hit songs composed by various music directors to get an idea / feel about WALTZ ‘rhythm’.
Naushad Tara Ri Aara Ri Aara Ri / Suraiya – Mohammad Rafi / “Dastan” 1950.
Husnlal-Bhagatram Abhi To Mein Jawan Hoon / Lata Mangeshkar / “Afsana” 1951.
S D Burman Hum Aap Ki Aankhon Mein / Mohammad Rafi – Geeta Dutt / “Pyaasa” 1955.
Shankar-Jaikishan (Many songs composed on Waltz rhythm) Aaja Ke Intezar Mein / Lata Mangeshkar – Mohammad Rafi / “Halaku”1956. Dil Ki Girah Khol Do / Lata Mangeshkar – Manna Dey / “Raat Aur Din” 1967. Bhanware Ki Gunjan / Kishore Kumar / “Kal Aaj Aur Kal” 1971.
Khayyam Woh Subah Kabhi To / Mukesh – Asha Bhosle / “Phir Subah Hogi” 1958.
O P Nayyar (Many songs composed on Waltz rhythm) Tum Jo Hue Mere Hamsafar / Mohammad Rafi – Geeta Dutt / “12 O’Clock” 1958. Kaisa Jadoo Balam Tune / Geeta Dutt / “12 O’Clock” 1958.
Ravi Ye Raaten Ye Mausam / Kishore Kumar – Asha Bhosle / “Dilli Ka Thug” 1958.
Mukul Roy Mujhko Tum Jo Mil Gaye / Geeta Dutt – Hemant Kumar / “Detective” 1958.
Usha Khanna Hum Aur Tum Aur / Asha – Rafi / “Dil Deke Dekho” 1959.
Kishore Kumar (as music director) Thandi Hawa Yeh Chandni / Kishore Kumar / “Jhumroo” 1961.
Madan Mohan Shokh Nazar Ki Bijaliya / Asha Bhosle / “Woh Kaun Thi ?” 1963.
Chitragupt Ye Parbaton Ke Dayare / Lata Mangeshkar – Mohammad Rafi / “Aulad” 1968.
Kalyanji-Anandji Sama Hai Suhana Suhana / Kishore Kumar / “Ghar Ghar Ki Kahani” 1970.
R D Burman Tera Mujhse Hai Pehle Ka / Kishore Kumar – Sushma Shreshth / “Aa Gale Lag Jaa” 1973.
Rajesh Roshan Ye Raatein Nayi Purani / Lata Mangeshkar / “Julie” 1974.
Laxmikant-Pyarelal too, have extensively used WALTZ “rhythm” in their compositions, including mesmerizing Main Shayar To Nahin (Raj Kapoor’s “Bobby”, 1973) and stupefying Dhadkan Zara Ruk Gayi Hai (Nana Patekar’s “Prahaar”, 1991). Let us review few of the best.
The orchestra arrangements in “Preludes” and “Interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. Listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs you will enjoy it, more.
Wo Hai Zara “SHAGIRD” (1967).
(Singers:- Lata Mangeshkar – Mohammad Rafi. Lyricist:- Majrooh Sultanpuri)
Enthralling “toe stepping” WALTZ ‘rhythm’ generated through the intermixing sound effect of ACOUSTIC GUITAR and a SNARE DRUM, a percussion instrument. Entire song is woven around the glimpses of ACOUSTIC GUITAR. Another beauty of the song is mellifluous overlapping of AALAAPS with words and also AALAAP with AALAAPS, by Lata Mangeshkar & Mohammad Rafi. This overlapped aalaps” can be heard at the end of the song. i) “overlapped aalaps” at 3.22-3.28 and again at 3.48-3.54) ii) “overlapped aalaaps with words” at 3.28 to 3.48, simultaneously both by Lataji and Rafi sab. This beautiful, melodious and sweet song naughtily acted by Saira Banu and Joy Mukherjee
Diye Jalaye Pyar Ke “DHARTI KAHE PUKAR KE” (1969)
(Singer:- Lata Mangeshkar. Lyricist:- Majrooh Sultanpuri)
This awsome “WALTZ” rhythm with melodious tune. The song is beautifully decorated with use of PIANO and mellifluous SYMPHONY style VIOLINS…Lata Mangeshkar is simply outstanding, giving justification for this GEM of composition. The perfect song for DIWALI occasion. The song is filmed on Nivedita (Libi Rana) and Sanjeev Kumar.
Main Hardam Kisi Ko Dhundhata Hoon. “RAASTE KA PATTHAR” (1972)
(Singers:- Mukesh – Asha Bhosle. Lyricist:- Anand Bakshi)
A melodious duet beautifully orchestrated in WALTZ ‘rhythm’. The song has wonderful BONGO DRUM rhythm. The ‘interludes’ are mellifluently instrumented with SYMPHONY style VIOLINS, GUITAR. The WHISTLE sound, synchronized with Mukesh rendering supported by Asha Bhosle, is simply ear-pleasing. Amitabh Bachchan dancing on Waltz ‘rhythm’ with Laxmi Chhaya.
Dilbar Jani “HAATHI MERE SAATHI” (1971)
(Singers:- Lata Mangeshkar-Kishore Kumar. Lyricist:- Anand Bakshi)
The “prelude” is full of WHISTLE, SANTOOR. Rich Orchestra also has SAXOPHONE, FLUTE. The entire song has ACOUSTIC GUITAR as “base” for the rhythm. The song is filmed on Rajesh Khanna – Tanuja.
Hum Aur Tum “DAAG” (1973)
(Singers:- Lata Mangeshkar-Kishore Kumar. Lyricist:- Sahir Ludhianvi)
This romantic song is completely woven around the WALTZ rhythm based ACOUSTIC GUITAR as well BONGO DRUMS. Another beauty of this song is it’s ‘interludes’. Both the ‘interludes’ have different tunes. First ‘interlude’ full of ‘aalaps’ by Kishore and Lata with glimpses of VIOLINS. In second ‘interlude’ the VIOLINS are decorated in ‘Waltz’ style with beautiful “pauses”. Even Lataji and Kishorji have also rendered the ‘pauses’ in the songs. Rajesh Khanna-Sharmila Tagore look fanciful.
Main Shayar To Nahin “BOBBY” (1973)
(Singer:- Shailendra Singh. Lyricist:- Anand Bakshi)
Truly a mesmerizer. Mellifluously decorated the WALTZ style orchestra for this lovely song. Use of VIOLINS, IRANI SANTOOR, GUITAR, ACCORDION as well as VIOLA are brilliantly executed in the “prelude”, all the “interludes” and also in “postlude”…The ‘overlapping’ sound effect of IRANI SANTOOR and SYMPHONY style VIOLINS in the first ‘interlude’ is mind-boggling. Rishi Kapoor and Aruna Irani can be seen dancing in waltz style, specially in the “interludes, in the song. Brilliantly filmed by Raj Kapoor as a director.
Chanchal Sheetal “SATYAM SHIVAM SUNDARAM” (1978)
(Singer:- Mukesh. Lyricist:- Anand Bakshi)
This angelic western style composition is gorgeously orchestrated in SYMPHONY style orchestra arrangements by utilizing WALTZ rhythm. Throughout the song use of SYMPHONY style VIOLINS, in the “surrounds”, sounds delightful. Apart from that the instruments like IRANI SANTOOR, solo VIOLIN, VIOLAS and CELLOS are sweetly orchestrated in the “prelude’ as well as “interludes”. Shashi Kapoor – Zeenat Aman looks awesome.
Shabnam Ka Ye Qatra Hai “SHARARA” 1984
(Singer:- Lata Mangeshkar. Lyricist:- Anand Bakshi.
Beautiful WALTZ a sheer Magic from Lata Mangeshkar and Laxmikant-Pyarelal. ‘Prelude’ of 98 seconds, full of solo VIOLIN and awesome AALAP and HUMMING rendered by LATAji, hypnotizes. ‘Interludes’ are mellifluously orchestrated with Symphony VIOLINS, FLUTE and Lataji’s AALAP and Humming. In particular third ‘interlude’ is full of solo VIOLIN and Lataji’s AALAPs and CHORUS overlapped with Symphony VIOLINS. The song is filmed on Hema Malini and Raj Kumar.
Tumhe Apna Saathi Banane Se “PYAR JHUKTA NAHIN” (1985)
(Singers:- Lata Mangeshkar-Shabbir Kumar. Lyricist:- Asad Bhopali)
This sweet duet has melodiously WALTZ ‘rhythm’ in the “interludes”. It is orchestrated in SYMPHONY style VIOLINS, CELLOs, ACCORDION and GUITAR. Filmed on Mithun Chakraborty – Padmini Kolhapure
Dhadkan Zara Ruk Gayi Hai “PRAHAAR” (1991)
(Singer:- Suresh Wadkar. Lyricst:- Mangesh Kulkarni)
A stupefying composition, cursive rendering and resonant orchestra arrangements in “prelude’, ‘interlude’ and ‘postlude’, as well. In first ‘interlude’ solo VIOLIN (played by late Aadesh Shrivastava) is awesomely synchronised with surround sound of CELLOs. The second ‘interlude’ also have solo VIOLIN and intermixed with SYMPHONY style VIOLINS and PIANO. Those who like SYMPHONY orchestra will certainly enjoy third ‘interlude’. The ‘postlude’ is full of PIANO. The “pauses” given in between the song giving additional flavor. The song is filmed on Madhuri Dixit, Gautam Joglekar and Aadesh Shrivastava.
Ajay Poundarik. Vadodara (Gujarat)