PIANO :: Laxmikant-Pyarelal Symphonious & Enrich Orchestra Arrangements

PIANO :: Laxmikant-Pyarelal Symphonious & Enrich Orchestra Arrangements

The PIANO is an Acoustic, Stringed Musical Instrument Invented in Italy. Bollywood music has utilised PIANO in many of the songs composed by various music directors. 

Person who plays the PIANO is referred to as a Pianist. 

Laxmikant-Pyarelal

There were limited Pianists in the early fifties.  To name a few Pianist,  Mike Machado has worked for many music directors, mainly, C Ramchandra. Pianist Leno Rivera has mostly worked with Shankar-Jaikishan. 

Pianist Leno Rivera

Other Pianists who have contributed for Bollywood are Robert Levin, Tony Pinto, a lady Pianist and the Jazz Pioneer Mrs Lucila Pacheco.

Pianist Leno Rivera

Till 1978, Pianist Mr Mike Machado was very active and have played the Piano for Laxmikant-Pyarelal, R D Burman (‘pyar deewana hota hai’ ….”Kati Patang” 1971), Kalyanji-Anandji etc. 

From 1978 onwards Indian Jazz Icon and a Pianist Mr Tony Pinto have played for Laxmikant-Pyarelal orchestra. 

Pianist Mr Tony Pinto

Most of the Bollywood songs, PIANO is orchestrated with the support of other musical instruments like GUITAR, VIOLINS and SANTOOR. 

Listing out a few hit songs orchestrated with PIANO by various music directors. 

C Ramchandra

— Bholi Surat Dil Ke ….C. Ramchandra – Lata Mangeshkar “Albela” 1951 

Naushad

– Jhoom Jhoom Ke Nacho Aaj …. Mukesh….”Andaz” 1949

— Tu Kahe Agar … Mukesh….”Andaz” 1949

— Milte Hi Aankhen …Shamshad Begum – Talat M. .”Babul”  1959   

Shankar-Jaikishan

— Dost Dost Na Raha ….Mukesh…”Sangam” 1964

— Dil Ke Jharoke Main ….M. Rafi…”Bramhachari” 1968

— Geet Gata Hoon Mein…..Kishore Kumar   “Lal Patthar” 1972

Roshan

— Main Dil Hoon Ek Armaan Bhara….Talat Mehmood..”Anhonee” 1952

S D Burman

— Hum Aap Ki Aankhon Mein ….Rafi – Geeta Dutt   “Pyasa” 1957

— Khwab Ho Tum Ya ….Kishore Kumar …”Teen Deviyan”   1965 

Hemant Kumar 

— Dheere Dheere Machal …Lata Mangeshkar…”Anupama” 1966    

O P Nayyar    

— Aap Ke Haseen Rukh …M. Rafi…”Baharen Phir Bhi Aayegi”     

Chitragupt 

— Dil Ko Lakh Sambhala …Lata Mangeshkar …”Guest House” 1958

Khaiyyam 

— Jeet Hi Lenge Baazi  …Lata – Rafi ….”Shola Aur Shabnam” 1960

— Tum Apna Ranjo Gham ….Jagjit Kaur….”Shagoon”  1964

Salil Chaudhari 

— Koi Sone Ke Dilwala…Mohammad Rafi…..”Maya”…1961

Ravi

— Chalo Ek Baar Phir Se….Mahendra Kapoor ….”Gumrah” 1963

— Kaun Aaya Ke Nigahon ……Asha Bhosle….”Waqt” 1965

— Kisi Patthar Ki Murat Se …..Mahendra Kapoor ….”Humraz” 1967

Kalyanji-Anandji 

— Waqt Karata Jo Wafa...Mukesh….”Dil Ne Pukara” 1967

— Chale The Saath Milkar….M. Rafi….”Haseena Maan Jayegi” 1968

R D Burman

— Pyar Deewana Hota Hai ….Kishore Kumar…..”Kati Patang” 1971

Laxmikant-Pyarelal have used PIANO in many of their compositions, sometimes restricted to 3 to 4 seconds. It is not possible to list out the songs with PIANO. I have tried to select a few famous songs with PIANO orchestrated. 

Jab Jab Bahar Aaye Aur Phool Muskuraye.  “Taqdeer”  1967

(Lyricist:-  Anand Bakshi   Singers:- M. Rafi, , Lata Mangeshkar, Usha Timuti, M. Kapoor)

One of the most lovable songs from the combo of Rafi-LP. Entire song is orchestrated by using PIANO and solo VIOLIN (played by PYARELALji himself) with mellifluous DHOLAK/TABLA ‘rhythm’. This song has many versions, sung by various singers but solo sung by Rafi Saab is the best.  (all of the three versions)

Bar Bar Din Aaye .   “Farz” 1967

(Lyricist:-  Anand Bakshi   Singer:- Mohammad Rafi)

Universally HIT as BIRTHDAY song. Use of PIANO at it’s best. “Prelude” of 54 seconds set up the mood for this beautiful song. Wonderfully orchestrated with VIOLINS, ACOUSTIC GUITAR, PIANO and BONGO  DRUMS in rhythm.Certainly orchestra arrangements have ‘SYMPHONY’ touch. Lyrics  overflowing with Love. A timeless masterpiece. 

Patthar Ke Sanam Tujhe     “Patthar Ke Sanam”  1967

(Lyricist:-  Majrooh Sultanpuri  Singers:- Mohammad Rafi )

35 seconds of “prelude’ starts with PIANO, followed by VIOLINS. Interludes are orchestrated with symphony VIOLINS. Interludes are decorated with the sound of PIANO overlapped by symphony style VIOLINS. In every ‘antara’ PIANO is awesomely used as a filler. 

Hui Sham Unka Khayal Aa Gaya      “Mere Hamdam Mere Dost”  1968

(Lyricist:-  Majrooh Sultanpuri  Singers:- Mohammad Rafi )

हुई शाम उनका खयाल आ गया  an intoxicated & addict song. 

Laxmikant-Pyarelal at their melodious best, with Majrooh Sultanpuri & Mohammad Rafi. 

“Prelude” is full of SAXOPHONE and PIANO with other western instruments, sets the mood of the song. A mesmerizing composition and mellifluous orchestra arrangements. Entire song is woven around the glimpses of SAXOPHONE, ACOUSTIC GUITAR & CLARINET. In all the “interludes”. Overlapping sound effect of SAXOPHONE/CLARINET with PIANO is just brilliant. VIOLA , GUITAR, CELLOS & VIOLINS are also brilliantly executed in the entire song. Another beauty of the song is it’s “ rhythm” DHOLAK / TABLA are used only in “antara”…all the “interludes:” are composed in western style, without any rhythm but ear-pleasing. An addict song for me. One of the finest composition from Laxmikant-Pyarelal …MOHAMMAD RAFI is simply outstanding.

Jo Unki Tamanna      “Intequam”  1969

(Lyricist Rajendra Krishnan  Singer Mohammad Rafi)

A classic song on PIANO. Just close your eyes and feel the fragrance & elegance of the eternal voice of Rafi Saab.  Beautifully orchestrated on PIANO with mesmerizing DHOLAK rhythm. The “interludes” have been designed by instrumenting solo VIOLIN, SYMPHONY style VIOLINS and PIANO. Sanjay Khan looks smart. Sadhana and Anju Mahendru look charming. 

Diye Jalaye Pyar Ke     “Dharti Kahe Pukar Ke”   1969                                                     

(Lyricist Majrooh Sultanpuri  Singer Lata Mangeshkar)

Diwali Special from Laxmikant-Pyarelal.

This awesome “WALTZ” rhythm with a 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.

Bade Bewafa Hai Ye    “Roop Tera Mastana”  1972

(Lyricist:-  Asad Bhopali  Singer:- Mohammad Rafi)

A GEM from Mohammad Rafi & Laxmikant-Pyarelal.

VIOLINs & CELLOs are wonderfully intermixed with PIANO in mind-boggling SYMPHONY style, an enrich orchestra arrangements throughout the song and a fabulous rendering by RAFI saab in very ‘romantic’ way. 

Long ‘prelude” of 1 minute and 11 seconds (full of ‘SYMPHONY’) with Rafi Saab’s “aalap”and ‘humming’ + ‘pause’ mesmerizes.

“Interludes” are mellifluously crafted with PIANO, VIOLINS & CELLOs. Again the “mukhada” has TABLA/DHOLAK rhythm. All the “interludes” rhythm have BONGO DRUMS. Rafi Saab’s & Laxmikant-Pyarel’s various ‘pauses’ is an added feature of this song. 

Tere Ishq Ka Mujh Par        “Nagin” 1976.       

(Lyricist:-  Asad Bhopali  Singer:- Mohammad Rafi)

15 seconds of ‘prelude’ starts with ‘intoxicated’ AALAPS and HUMMING by Ashaji > ‘pause’ of 5 seconds > highlighting the sterling DHOLAK rhythm and finally ‘stroke’ of IRANI SANTOOR.

Brilliant take off by Rafi Saab,..तेरे इश्क का मुझ पे.

First ‘interlude’ with change of ‘rhythm’ pattern, orchestrated with PIANO intermixed with GHUNGROO BELL followed by VIOLINS and IRANI SANTOOR.

Second ‘interlude’ is awesomely instrumented with excellent, long extended time for solo GUITAR and finally, IRANI SANTOR.

At the end of each ‘antara’, IRANI SANTOOR synchronized with GUITAR, is wonderfully used as a ‘filler’.

The song is filmed on Sunil Dutt & Rekha.

 Aap Ke Anurodh Pe…. “Anurodh”  1977   

 (Lyricist:-  Anand Bakshi   Singer Kishore Kumar 

Hypnotizing orchestra from Laxmikant-Pyarelal  and stupefying rendering by Kishore Kumar. This mellifluous song is composed on Raag “Yaman Kalyan”. 13 seconds of ‘prelude’ enthrals with the sounds of VEENA and PIANO. Cool and calm rendering by Kishore Kumar with fascinate TABLA / KONGA Drum ‘rhythm’. First ‘interlude’ orchestrated with VEENA and SANTOOR. Second ‘interlude’ is decorated with PIANO and VEENA and also used as a ‘filler’ in  the second ‘antara’. Third ‘interlude’ is executed with SITAR and SAROD supported with soft surround VIOLINS. One of the best songs from the KK-LP combo. 

Bane Chahe Dushman Zamana        “Dostana”  1981      

 (Lyricist  Anand Bakshi   Singers Mohammad Rafi – Kishore Kumar)

This popular song has been orchestrated with PIANO, in particular for “Postlude”. 

Zindagi Har Kadam Ek Nayee Jung           “Meri Jung” 1985

(Lyricist  Anand Bakshi   Singers Lata Mangeshkar – Nitin Mukesh)

The song has two versions. Both the versions are woven around the glimpses of PIANO tune throughout the songs. This PIANO tune is a signature tune for the film.

The first version is considered for the review. “Prelude” of 56 seconds, beautifiully crafted  ‘tune’ on PIANO, Lataji’s AALAPS, HUMMING and HUMMING from Nitin Mukesh. The ‘beauty’ of the first interlude is PIANO sound synchronized with the natural sound of PARROT. Second as well as third interludes are tunefully overlapped with sounds of PIANO and symphony style VIOLINS and CELLOs. The song has melodious BONGO Drum ‘rhythm’. The song is filmed on Girish  Karnad and Nutan. 

Ai Mere Khawabon Ke           “Meri Jung” 1985

(Lyricist  Anand Bakshi   Singer Anuradha Paudwal)

Mere Liye Zindagi     “Mera Jawab”  1985 

(Lyricist  Santosh Anand   Singers Anuradha Paudwal – Manhar)

Awesomely orchestrated 55 seconds of ‘prelude’ with PIANO, ACOUSTIC GUITAR, VIOLINS and FLUTE. Second and third interludes, PIANO is awesomely instrumented with ACOUSTIC GUITAR, MANDOLIN, VIOLINS and solo VIOLIN. ‘Postlude’ sounds melodious with solo VIOLIN. Filmed by Jackey Shroff and Meenakshi Sheshadri.

Teri Bewafai Ka Shikawa Karoo To     “Ram Avtar” 1988

(Lyricist:-  Anand Bakshi   Singer Mohammad Aziz)

Melodious song with excellent as well as delicate use of PIANO, in ‘prelude’ as well as all the three interludes. In the second and third interlude PIANO is beautifully overlapped with the sound of SANTOR. Filmed on Anil Kapoor – Sridevi 

Kehna Na Tum Ye Kisise    “Pati Patni Aur Tawaif”  1990

(Lyricist:-  Anand Bakshi   Singers Mohammad Aziz – Salma Agha)

An extremely melodious duet. ‘Prelude’ is full of GUITAR, VIOLINS and the SAXOPHONE. Enjoy mind-boggling solo PIANO in the first interlude. Second interlude is wonderfully orchestrated with SAXOPHONE, with surround songs of VIOLINS. Third interlude is decorated with MANDOLIN as well as SAXOPHONE. Another beauty of this song is the overlapping sound effect of the rendering from Mohammad Aziz and Salma Agha. filmed on Salma Agha – Mithoon Chakarawrthy  

Dhadkan Jara Ruk Gayi Hai     “Prahar”  1991

(Lyricist Mangesh Kulkarni  Singer Suresh Wadkar)

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. 

Adnan Sami as Pianist playing Laxmikant-Pyarelal composition on Piano

Ajay Poundarik Atlanta (Georgia) USA. 20/11/2020

ON PUBLIC DEMAND Lata Mangeshkar / Laxmikant-Pyarelal / Anand Bakshi     “MANCHALI”  1973

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ajaypoundarik

I am a Mechanical Engineering Graduate. Boiler Proficiency Engineer. Deeply In Love With Hindi Film Music When I Was Eight Years Of Age, Since 1963. I Have A Liking For All Contemporary Music Directors Compositions. I Am A Fan Of Laxmikant-Pyarelal Music. I Have Grown-Up By Listening To Laxmikant-Pyarelal Music. I Like Test Cricket Only. Worked In The Capacity Of General Manager For The Fields Of Project Implementation, Facility Management, Construction Management and Plant Maintenance In INDIA, NIGERIA & AFGHANISTAN.

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