Sound of SHEHNAI :: Laxmikant-Pyarelal Enrich Orchestra

Sound of SHEHNAI :: Laxmikant-Pyarelal Enrich Orchestra 

SHEHNAI  Originated from India. Mostly used in North India. It is must in Indian Weddings,  It is especially played when the bride leaves his father’s place but this time it sounds sad. 

Shehnai player,  late Ustad Bismillah and SHEHNAI have become a synonym in India. In the Year 1958 Producer / Director Mr. Vijay Bhatt had made the movie “Goonj Uthi Shehnai”. The film’s story was based on Shehnai Player. Lots of scope for Shehnai. Late Ustad Bismillah Khan have played the Shehnai for the background music as well as for the songs composed by the music director Vasant Desai.

Actually SHEHNAI was not utilized as much as Sitar, Flute, Sarod and Santoor etc in the  Hindi Film Songs. However, many music directors orchestrated SHEHNAI in their songs.

Music Director Ramlal who composed the music for V Shantaram’s “Sehra” 1963, was a very good SHEHNAI player. He played the Shehnai for many hit songs including Raj Kapoor and Laxmikant-Pyarelal classic “Satyam Shivam Sundaram” 1978, ‘rang mahal ke dus darwaze’ rendered by Lata Mangeshkar – Bhupendra Singh. 

Use of SHEHNAI by various music directors. 

Ram Ganguli

Zinda Hoon Is Tarah   “Aag” 1948


Aaye Na Balam Vada Kar Ke    “Shabab” 1954

Pee Ke Ghar Aaj                      “Mother India”  1957

Salil Chaudhari

Jhoome Re Kali Bhanwara     “Naukari”     1954


Chal Ud Ja Re Panchhi          “Patang”   1957

Vasant Desai

Tere Sur Aur Mere Geet   “Goonj Uthi Shehnai”  1958.

N Dutta

Tu Mere Pyar Ka Phool   “Dhool Ka Phool” 1958

C Ramchandra  

Tu Chhupi Hai Kahan     “Navrang”  1959

S D Burman

Chal Ri Sajni    “Bambai Ka Babu”   1960


Aap Ne Yaad Dilaya          “Aarti”  1962


Taqdeer Ka Fasana       “Sehra”  1963


Babul Ki Dua Leti Ja         “Neel Kamal”  1968


Kabhi Kabhi Mere Dil Main   “Kabhi Kabhi”   1976’

Laxmikant-Pyarelal also composed some melodious songs, harmonizing Shehnai, in their enrich orchestra arrangements. Few of the songs are considered for the review. 

Songs Not Reviewed :

Koi Shahari Babu “Loafer” 1973

Ni Main Year Manani “Daag” 1973

Meri Kismat Main “Prem Rog” 1981

Likhanewale Ne Likh Dale “Arpan” 1983

SHEHNAI player late Ustad Bismillah Khan praised of Laxmikant-Pyarelal for the beautiful use of SHEHNAI in the songs ‘Main To Deewana’ and ‘Ram Kare Aisa Ho Jaye’ both from the super musical hit film “Milan”, 1967.

Chori Chori Jo Tum Se Mili      “Parasmani” 1963

(Lata Mangeshkar – Mukesh   /  Farooq Qaisar)

Use of SHEHNAI and MANDOLIN in “Prelude” and all the “interludes” are worth listening to.

Itni Jaldi Kya Hai Gori         “Sati Savitri” 1964

(Lata – Usha – Kamal Barot  / Pandit Bharat Vyas

A wedding and slightly naughty song, beautifully decorated with glimpses of FLUTE, SHEHNAI and DHOLAK. Don’t forget to listen to the MANDOLIN in “Prelude”.

Mubarak Ho Sabko Sama Ye Suhana      “Milan”  1967

(Mukesh / Anand Bakshi )

Singer Mukesh is simply the best choice for this song. Sad songs starts with ‘zero’ prelude. Ravishing DHOLAK rhythm, intermixed with DUFF, at some places. FLUTE is awesomely used as filler in the mukhada. First ‘interlude’ MANDOLIN, beautifully orchestrated followed by superb display of symphony style VIOLINS. Second ‘interlude’ starts with VIOLINS, later tunefully  intermixed with SHEHNAI. Third ‘interlude’ beautiful display of FLUTE. First and third  ‘antaras’ are melodiously filled with FLUTE. The second  is filled with SHEHNAI. ‘Postlude’ of 12 seconds is synchronization of FLUTE, MANDOLIN and SHEHNAI, sounds well. Filmed on Sunil Dutt and Nutan.

Khushi Ki Woh Raat Aa Gayi     “Dharti Kahe Pukar Ke”  1969 .                                          (Mukesh / Majrooh Sultanpuri)       

One of the excellent songs on SHEHNAI. “Prelude” of 57 seconds mesmerizes. It is awesomely orchestrated with SHEHNAI and FLUTE with astounding  DHOLAK rhythm. Second ‘interlude’ is superbly orchestrated with synchronization of SHEHNAI and SITAR.The postlude is full of SHEHNAI. Filmed on Jeetendra. 

 Jawani O Diwani Tu Zindabad     “Aan Milo Sajna” 1971 (Kishore Kumar  / Anand Baksh)i

Kishore Kumar-Rajesh Khanna at it’s best. Enchantingly orchestrated 39 seconds ‘prelude’ with MANDOLIN, SHEHNAI / NADASWARAM and VIOLINS. All these musical instruments are once again used, with different tune, in the interludes. DHOLAK rhythm is fantastic, in particular the “pick-up” at 0.56/0.57.

Hathon Mein Mehandi        “Uphaar” 1971

Lata Mangeshkar  /  Anand Bakshi

The perfect wedding song, sweet and melodious, as well. Excellent “prelude”, starting from 0.41 to 1.14 This song is a ‘folk’ showing traditional Rajasthani “ KATHPUTLI”. HAND DRUMS and the “BOLI” / “SHRUTTI” (This is a musical instrument made of two thin and small bamboo strips which have a reed in between and produces a sharp sound by blowing air in and out on it) are beautifully decorated in the orchestra to give the traditional “FOLK” touch. Lata Mangeshkar has brilliantly synchronized her voice with Laxmikant-Pyarelal’s orchestra arrangements.

Shehnai Baje Na Baje     “Shor”  1972

(Lata Mangeshkar / Verma Malik)

Lata Mangeshkar’s “humming” “aa oomm  oomm aa oomm oomm” and few string instruments in the “prelude” of the song are beautifully synchronized with “Jaya Bhaduri”s swinging action. The “Dholak” rhythm is absolutely “ear-pleasing”. Interludes are orchestrated with SHEHNAI and RUBAB.

Rang Mahal Ke Dus Darwaze   “Satyam Shivam Sundaram”  1978

(Lata Mangeshkar – Bhupendra Singh / Vitthalbhai Patel)

SHEHNAI is prominently, efficaciously and mellifluously orchestrated in “Prelude”, “Interlude” and “Postlude” and also as a ‘filler’ in ‘antara’. At some places SHEHNAI is wonderfully synchronized with male singer Bhupendra Singh rendering.

Chalo Re Doli Uthao        “Jaani Dushman”  1979

(Mohammad Rafi  / Verma Malik)

One of the finest compositions on SHEHNAI. ‘Prelude’ CHORUS Humming. SHEHNAI used in interlude is wonderful. Filmed on Jeetendra, Neetu Singh, Shatrughn Sinha

Tere Haathon Mein Pehna Ke    “Jaani Dushman”  1979

(Mohammad Rafi – Asha Bhosle  / 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.

Ladaka Tumhara Kunwara Rah Jata   “Krodhi”  1980

(Kishore Kumar – Lata Mangeshkar  /  Anand Bakshi)

Tere Mere Beech Main   “Ek Duje Ke Liye” 1981

(Lata Mangeshkar – S P Balasubramaniam  / Anand Bakshi)

Composed in Hindustani Classical Raag “SHIVRANJANI”. 16 seconds of ‘prelude’ orchestrated with glimpses of GUITAR, Symphony style CELLOs, and VIOLINS and awesome aalaps by Lataji. Excellent “DHOLAK” rhythm. SANTOOR, FLUTE, VIOLINS and SHEHNAI are mellifluously decorated in the orchestra. 

Ye Galiya Ye Chaubara      “Prem Rog”  1982

(Lata Mangeshkar  /  Santosh Anand)

Wonderful traditional wedding song. Awesome DHOLAK rhythm, SHAHNAI is wonderfully orchestrated in the second interlude. 

Ajay Poundarik, Vadodara (Gujarat).

By Ajay Poundarik

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 for Twenty Years & AFGHANISTAN One Year.

1 comment

  1. As sweet as sound of SHEHNAI.
    Beauty of MUSIC by MAESTRO LAXMIKANT PYARELAL is well researched and emphatically advised in the blog..

    We offer our heartfelt Thanks to SHRI AJAY Poundarik.



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