Laxmikant-Pyarelal & Tuneful Use Of Harmonium
The use of HARMONIUM in Hindi Film Music is comprehensive right from the Music Directors composing the songs. Music Directors first, demonstrate the song to the singers with use of HARMONIUM. Many actors/actresses are seen playing HARMONIUM in the film.
Many music directors have composed some beautiful melodies orchestrating the HARMONIUM. Listing out a few ‘gems’ of the songs composed by various music directors.
Shukriya Aye Pyar Tera Talat Mehmood “Aaram” 1951
Husn Walon Ko Na Dil Do Talat Mehmood “Babul” 1959
O P Nayyar
Leke Pehla Pehla Pyar Rafi – Shamshad “CID” 1956
Bahut Shukriya Badi Meharbani Rafi – Asha “Ek Musafir Ek Haseena” 1962
Kajra Mohabbat Wala Asha – Shamshad “Kismat” 1968
Jane Kahan Gayi M. Rafi “Dil Apna Aur Preet Parai” 1960
Chalat Musafir Moh Liya Manna Dey “Teesari Kasam” 1966
Na To Carvaan Ki Talash Manna Dey-Asha-Rafi “Barsat Ki Raat 1960
Bar Bar Tohe Kya Lata “Aarti” 1962
Nigahe Milane Ko Jee Asha “Dil Hi To Hai” 1963
Sakiya Aaj Mohe Nind Asha “Sahib Bibi Aur Ghulam” 1962
Deewane Hai Deewanon Ko Rafi-Lata “Zanjeer” 1973
R D Burman
Chunari Sambhal Gori Lata-Manna Dey “Baharon Ke Sapne” 1967
Ek Chatur Naar Kar Ke Kishore-Manna Dey-Mehmood. “Padosan” 1968
Jeena To Hai Usika Rafi “Adhikar” 1971
Hai Agar Dushman Rafi-Asha “Hum Kise Se Kam Nahin” 1977
Raz Ki Baat Keh Doo Asha – Rafi “Dharma” 1973
Ye Mana Meri Jaan Rafi “Haste Jakham” 1973
Laxmikant-Pyarelal have also composed many songs with the prominent use of HARMONIUM. The song composed by the duo “payal ki jhankar raste raste” from the film “Mere Lal”, 1966, still considered to be the best song on HARMONIUM.
Sonik Verma (On Harmonium) with Pyarelalji (on Piano)
Also included a very famous Marathi Song ::Bai Mee Vikat Ghetala Sham :: The song is composed and rendered by Sudhir Phadke with Asha Bhosle, for the film “Jagachya Pathivar” 1960. It is written by G D Madgulkar.
In most of the songs the HARMONIUM is played by Shyamrao Kamble and Sonik Verma, blind musician, of the music director pair of Sonik-Omi.
Payal KI Jhankar Raste Raste “MERE LAL” 1966 Lata Mangeshkar / Majrooh Sultanpuri.
Duniya Ne Sunli Hai “SHARAFAT” 1970 Lata Mangeshkar / Anand Bakshi
An extremely melodious ‘mujra’, filmed on Hema Malini. The song is awesomely woven around the glimpses of HARMONIUM, as a filler, in surround sound and also in ‘interludes’. Interludes are orchestrated with HARMONIUM, VIOLINS, SAROD, SITAR and FLUTE. The rhythm of DHOLAK / TABLA is synchronised with GHUNGROO BELLS.
Sanam Tu Bewafa Ke Naam Se “KHILONA” 1970 Lata Mangeshkar / Anand Bakshi
Mellifluously orchestrated with prominent use of HARMONIUM, in ‘interludes’ as well as the ‘filler’, at the end of the “antara”. One of the finest Mujra songs of Hindi Cinema. Wonderful ‘prelude’ of 32 seconds, full of DHOLAK rhythm synchronised with VIOLINS and SITAR. Spectacular take off by Lata ji, at the same time 20 seconds ‘pause’ in the orchestra gives additional flavor to this resonant composition. The rhythm of the song is from DHOLAK / TABLA, intermixed with the CLAPPING and GHUNGROO BELLS. All the ‘interlude’ are excellently orchestrated with traditional musical instruments NADASWARAM, SAROD, SARANGI, MANDOLIN, SITAR, VIOLINS and HARMONIUM. Filmed on Mumtaz.
Hamin Kare Koi Surat “EK NAZAR” 1972. Lata / Majrooh
A typical MUJRA song, Orchestrated with SARANGI, SANTOOR, FLUTE, SAROD, VIOLINS and beautiful display of HARMONIUM. Filmed Jaya Bachchan – Amitabh Bachchan.
Roothe Rab Ko Manana “MAJBOOR” 1974 Asha-Rafi / Anand Bakshi
Street song nicely composed on Harmonium. It has a similar situation like ‘Zanjeer’ son. . Filmed Amitabh Bachchan – Parveen Babi
Yashomati Maiya Se “SATYAM SHIVAM SUNDARAM” 1977 Lata Mangeshkar-Manna Dey / Pandit Narendra Sharma
Fascinating 34 seconds ‘prelude’ awesomely instrumented with TANPURA, FLUTE and HARMONIUM. It has captivative DHOLAK rhythm which will ‘swing’ your neck. FLUTE is sumptuously used in the ‘interlude’ which gives you an ear-pleasing effect. Filmed on child artist, then, Padmini Kolhapure and Kanhaiyalal.
Aadmi Musafir Hai “APNAPAN “ 1977 Rafi-Lata / Anand Bakshi
Doctrine worded, each and every line. Anand Bakshi writes क्या साथ लाये क्या छोड़ लाये ! रस्ते मैं हम क्या छोड़ लाये ! मंज़िल पे जाके याद आते है ! Laxmikant-Pyarelal’s composition is simply superb. 32 seconds of ‘prelude’ is composed by GHUNGROO BELLS, VIOLINS and HARMONIUM.The ‘rhythm’ has DHOLAK synchronized with GHUNGROO BELLS. Interludes are instrumented with SANTOOR, FLUTE, CLERANATE, VIOLINS and HARMONIUM.
Tere Haathon Mein Pehna Ke “JAANI DUSHMAN” 1979 Asha-Rafi / Verma Malik
Mesmerizing composition. “Prelude” of 40 seconds. SHEHNAI and NADASWARAM are awesomely intermixed followed by VIOLINS in SYMPHONY style then “folkish” DHOLAK rhythm and then glimpses of HARMONIUM. All the “interludes” are also orchestrated with the above musical instruments in addition it has a “CLAPPING” in the “rhythm”. Filmed on Jeetendra – Neetu Singh.
Jane Hum Sadak Ke Logon Se “ASHA” 1980 M. Rafi / Anand Bakshi.
HARMONIUM is wonderfully synchronised with the ‘rhythm’ of MATKI and DHOLAK. The song is filmed on Jeetendra – Reena Roy.
Chana Jor Garam Laya “Kranti” Rafi-Kishore-Lata-N. Mukesh / Santosh Anand.
Beautiful display of HARMONIUM in ‘prelude’, तुम तुम तररारा तुम तुम तरम how beautifully rendered by Lata – Kishore, synchronising with TANPURA. The HARMONIUM is also used as ‘filler’ in ‘mukhada’. First ‘interlude’ is full of HARMONIUM. The song is filmed on Hema Maliini Shatrughn Sinha, Manoj Kumar
Mere Dil Se Dillagi Na Kar “WOH SAAT DIN” 1983 Sahabbir – Anuradha
Beautiful Display of HARMONIUM in ‘prelude’ the song has an awesome DHOLAK rhythm intermixed with HARMONIUM. It is filmed Anil Kapoor-Padmini Kolhapure.
Mujhe Aaj Kuch Na Kehna “AKAYLA” 1991 Sudesh – Alka Yagnik / Anand Bakshi.
Once again a beautiful display of HARMONIUM in ‘prelude’. Sudesh Bhosle sounds fresh. Filmed on Amrita Singh – Amitabh Bachchan
Tu Naja Mere Badshah “KHUDA GAWAH” 1992 Alka Yagnik-Mohammad Aziz/ Anand Bakshi
Spectacularly rendered by M. Aziz and Alka Yagnik. Wonderful use of HARMONIUM with RUBAB (An instrument from Afghanistan). ‘Prelude’ of 55 seconds mesmerizes the listeners. CLAPPING, RUBAB and HARMONIUM orchestrated awesomely with unusual DHOLAK and THALI rhythm, Alkaji’s sweet AALAPS. HARMONIUM is remarkably utilized as a feeler in mukhada as well as in Antara. First ‘interlude’ instrumented with RUBAB, FLUTE and HARMONIUM. Second ‘interlude’/’postlude’> solo VIOLIN, CLAPPING and RUBAB. Filmed on Amitabh Bachchan and Sridevi.
Bai Me Vikat Ghetla Sham. “JAGACHYA PATHIVAR’ 1960 Sudhir Phadake – Asha Bhosle.
Ajay Poundarik , Atlanta (Georgia), USA.
Dillagi ne di hawa From Dostana
SIR ! IT IS ACCORDION and not HARMONIUM
संगीतकार रौशन की बहुत ही खूबसूरत धुन पर लता जी के सुमधुर कण्ठस्वर में एक मुजरा है फिल्म ‘देवर’ से —-“रूठे सइयाँ हमारे सइयाँ क्यूँ रूठे…”
Sir, one missed so g from film SATYAM SHIVAM SUNDARAM though another is mentioned. SUNI JO UNKE AANE KI AAHAT – GARIB KHANA SAJAYA HUMNE. LOVELY PICTURIZATION FOR A PUBLIC FUNCTION.
Mr. Chopra ! The song is excellent. But it is not HARMONIUM. Laxmikant-Pyarelal has used ORGAN which you will find in most of the CHURCHES.