"WALTZ" Cadency and LAXMIKANT-PYARELAL Music.

"WALTZ" Cadency and LAXMIKANT-PYARELAL Music.

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

‘Wo 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 Bijliyan’ / 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.

Tumhe Apna Saathi Banane Se   “PYAR  JHUKTA NAHIN” (1985)

(Singers:- Lata Mangeshkar-Shabbir Kumar.  Lyricist:- S H Bihari)

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)

INDIA

CONSONANT KISHORE KUMAR :: Female Singer Duets :: RESONANT LAXMIKANT-PYARELAL

CONSONANT  KISHORE KUMAR :: Female Singer Duets ::

RESONANT  LAXMIKANT-PYARELAL  

4th August is the birth anniversary of Legendary Singer Kishore Kumar. Despite not having any formal training, Kishore Kumar dominated the Indian film music.

Kishore Kumar’s association with Laxmikant-Pyarelal started from an immortal song “mere mehboob qayamat hogi” from “Mr. X In Bombay” in 1964.  Later, this combo of KK-LP went on to score as many as 402 songs, from the year 1964 to 1987.  This 402 numbers as many as 151 solos.  Kishore Kumar has sung maximum number of duets under Laxmikant-Pyarelal.

In the combo of Kishore Kumar and  Laxmikant-Pyarelal, 402 songs with diversification,

one will always find everything, in the form of …. Folk,  Mujra,  Ghazal,  Lori,  Qawwali,  Philosophical,  Classical,  Romantic,  Western Classics,  Sad,  Devotional,  Inspiration,  Patriotic,  Disco  and many varieties.  This variety of songs will not be found in Kishore Kumar’s songs with any music directors.  On top it #KishoreKumar have solely diversified his rendering style in many of the songs composed by #LaxmikantPyarelal.

Prior to “Aradhana” (1969) success,  the combo of Laxmikant-Pyarelal and Kishore Kumar have some fabulous, popular duets, with  Lata Mangeshkar as well as Asha Bhosle. Moreover, Kishore Kumar has acted ludicrously, in his own style, in all the duets, listed below.

Laxmikant, Kishore Kumar and Pyarelal

1 Khoobsurat Haseena Jaane-Jaa Jaan-E-Man  (“Mr X In Bombay” 1964

2 Chali Re Chali Re Gori Paniya Bharan Ko.  (“Mr. X In Bombay” 1964.)

3 Sultana Sultana Tu Na Ghabrana  ( “Shreeman Funtoosh” 1965)

4 Kya Teri Zulfen Hai   (“Hum Sab Ustad Hain”, 1965)

5 Dil Hamamane De Diya (“Pyar Kiye Jaa” 1966)

We are going to discuss the duets sung by Kishore Kumar with various female singers (listed below), under the music directors Laxmikant-Pyarelal.  During the period of 80s, Laxmikant-Pyarelal unbiasedly used new generation female singers, to compose some outrageous duets with Kishore Kumar.

Lata Mangeshkar

Asha Bhosle

Hemlata

Leena Chandavarkar

Suman Kalyanpur

Sulakshana Pandit

Vandana Shastri

Hema Malini

Anuradha Paudwal

S Janaki

Kavita Krisihnmurthy

Alisha Chinoy

The orchestra arrangements in “PRELUDES” and “INTERLUDES” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it, more.

Pyarelal, Kishore Kumar, Lata Mangeshkar and Laxmikant 

KISHORE  KUMAR with  LATA MANGESHKAR  / Laxmikant-Pyarelal

The combo of Kishore Kumar and Lata Mangeshkar have been associated with Laxmikant-Pyarelal with close to 55 songs. There are many memorable and hit songs amongst these 55 canticles. Few selected  songs from this melody makers are listed below.

Man Mor Machaye Shor Shor Shor  (“Mastana” 1970)

Sa Re Ga Ma Pa  (“Abhinetri” 1970)

Achha To Hum Chalte Hain  (“Aan Milo Sajna” 1970)

Jadugar Tere Naina  (”Man Mandir” 1971)

Sun Ja Aa Thandi Hawa  (“Haathi Mere Saathi” 1971)

Pukaro Mujhe Phir Pukaro (“Buniyaad” 1972)

Hum Aur Tum, Tum Aur Hum   (“Daag” 1973)

Gore Rang Pe Na Itna  (“Roti” 1974)

Yeh Mousam Aaya Hai  (“Aakraman” 1975)

Din Mahine Saal Gujarte (“Avtaar” 1983)

AND  a beautiful melody.

Chali Re Chali Gori      “Mr. X In Bombay” 1964, Lyricist Anand Bakshi

Kishore Kumar had this ability to create drama through his singing. He was one of those very few singers who had a certain amount of acting involved in their singing. In this song he has acted as a “sangeet guru”. Kishore Kumar singing and acting in 'classical' mode is worth to view and listened to. Melodiously sung duet in "raag" BHAIRAVI, with Lata Mangeshkar. Mesmerizing 62 seconds "prelude" full of "MATAKI", "PAYAL", "FLUTE" and DHOLAK. Actress Kumkum looks beautiful. This is the first ever duet of Kishore Kumar sung under Laxmikant-Pyarelal.

KISHORE  KUMAR  with  ASHA  BHOSLE  / Laxmikant-Pyarelal

Asha Bhosle - Kishore Kumar, close to 90 duets.  The highest numbers of duet songs composed by Laxmikant-Pyarelal for any singing pairs. KK-Asha with LP  have some fabulous songs. Major hits list is too long. Listing few HITs below:-

Laxmikant, Asha Bhosle, Amit Kumar, Kishore Kumar and Pyarelal

Aa Aaja Abhi Nahin  (“Man Mandir”, 1971)

Jaipur Ki Choli Mangwa De Re  (“Gehri Chaal”, 1973)

Yaar Dildar Tujhe Kaisa Chahiye  (“Chhaila Babu”, 1977)

Dillagi Ne Di Hawa  (“Dostana”, 1980)

Mere Hosh Lelo Deewana Banado  (“Bandish”, 1980)

Mar Gayi Mujhe Teri Judaai   (“Judaai”, 1980)

Ek Haseena Thi Ek Deewana  (“Karz”, 1980)

Pyar Ka Wada Fifty Fifty  (“Fifty Fifty”, 1981)

Sara Din Satate Ho  (“Raaste Pyar Ke”, 1982)

Bichhu Lad Gaya (“Inquilaab”, 1984)

AND  a fabulous

Jane Kaisa Hai Mera  “Aansoo Ban Gaye Phool” 1969,  Lyricist Govind Munis

The film was produced by Anoop Kumar, an elder  brother Kishore Kumar. It has some fabulous songs. This duet is one of the finest duet of KK-Asha. Very refreshing and breezing melody. Excellent DHOLAK rhythm. All the “interludes” are mellifluously orchestrated with the use of  SAXOPHONE, Symphony Style VIOLINS, CLARINET, ACOUSTIC GUITAR, FLUTE as well as awesome “aalaps” by KK-Ashaji. The song is filmed on

Deb Mukherjee-Alka.

KISHORE  KUMAR with  HEMLATA  / Laxmikant-Pyarelal

Newcomer singer then, Hemlata also singing this mellifluous song with Kishore Kumar.  

Soi Ja Tara   “Mastana” 1970, Lyricist Anand Bakshi

This is the rarest of rare “LORI” song (lullaby) sung by Kishore Kumar. This is filmed on actor Mehmood and beautiful child artist Nain-Tara Dhanraj.   Extremely melodious and emotional song with wonderful DHOLAK rhythm. The song is orchestrated with symphony VIOLINS, FLUTE and SANTOOR.

KISHORE  KUMAR with  LEENA  CHANDAVARKAR   / Laxmikant-Pyarelal

Kishore Kumar has sung one very melodious duet with his would be wife Leena Chandavarkar (She was not wife of Kishore Kumar,  then.)

Leena Chandavarkar with Kishore Kumar

Gham Ka Fasana  “Manchali” 1973,  Lyricist Anand Bakshi

Glamorous as well as effortless rendering by Kishore Kumar. Amorously supported by LEENA ji.  Absorbing as well as entertaining DHOLAK rhythm. “Interludes” are euphonically orchestrated with GUITAR, SANTOOR, FLUTE as well as VIOLINS. Interestingly DHOLAK rhythm disappears in “Interludes”.  Both Sanjeev Kumar as well as Leena Chandavarkar look glamorous.

KISHORE  KUMAR with  SUMAN KALYANPUR  / Laxmikant-Pyarelal

There is one very famous song, Na Jane Kaise Pal Mein Badal Jate  Hai’ from “Badalte Rishte” 1978, involviing Kishore Kumar and Suman Kalyanpur. But is supported by Mohammad Rafi also.

Tera Mera Mera Tera Mil Gaya  “Nagin” 1976, Lyricist Verma Malik

Completely woven around western style of orchestra arrangements. “Prelude” of 91 seconds keep you engaged with beautiful take off by Suman Kalyanpur as well as TRUMPET and GUITAR. “Interludes” are awesomely orchestrated with BRASS instruments, SAXOPHONE, GUITAR, VIOLINS  and the BONGO DRUMS. Vinod Mehra looks handsome. Yogita Bali looks very pretty. A good song.

KISHORE  KUMAR with  SULAKSHNA  PANDIT / Laxmikant-Pyarelal

Kishore Kumar have sung many duets with Sulakshana Pandit, this is the most popular.

Somwar Ko Hum Mile  “Apnapan” 1977, Lyricist Anand Bakshi

The duet mellifluously orchestrated with ‘symphony’ style MANDOLIN, VIOLINS, GUITAR, FLUTE and GHUNGROO BELLS. The song is filmed on Jeetendra - Sulakshana Pandit.

KISHORE  KUMAR with  VANDANA  SHASTRI  / Laxmikant-Pyarelal

First time Laxmikant-Pyarelal working with Lyricist Gulzar.

Dakiya Daak Laya “Palkon Ki Chhaon Mein” 1977, Lyricist Gulzar

“Prelude” of 25 seconds starts with the sound of BICYCLE BELL, VIOLINS and GUITAR. “Interludes” are orchestrated with RAVANHATTA, FLUTE and SITAR. It has unique DHOLAK rhythm. The song is filmed on Rajesh Khanna, Hema Malini and Aruna Irani (Vandana Shastri sining Aruna Irani’s lines)

KISHORE  KUMAR with  HEMA  MALINI  / Laxmikant-Pyarelal

Musical hit film “Dream Girl” was Hema Malini’s home production.  She took an opportunity to sing this beautiful song with Kishore Kumar

Hua Kya Agar Tu Zara Bewafa  “Dream Girl”  1977, Lyricist Anand Bakshi

An extremely melodious song mellifluously orchestrated with the use of IRANI SANTOOR, SITAR and CELLOs. Very simple DHOLAK rhythm.

KISHORE  KUMAR with  ANURADHA  PAUDWAL  / Laxmikant-Pyarelal

There are many hits of Kishore Kumar with Anuradha Paudwal. This one is the biggest hit. It was a multi starrer musical hit  film. Laxmikant-Pyarelal also using many singers.

O Meri  Jaan “Jaani Dushman” 1978, Lyricist Verma Malik

Top Hit Song. Fast track DHOLAK rhythm, awesomely rendered by Kishore Kumar - Anuradha Paudwal. Filmed on Jeetendra - Neetu Singh

KISHORE  KUMAR with  S JANKI  / Laxmikant-Pyarelal

A surprise package from Laxmikant-Pyarelal and Kishore Kumar.

S. Janaki's voice was successfully synchronised with new star Khushboo.

Bol Baby Rock N Roll  “Meri Jung” 1985, Lyricist Anand Bakshi

A perfect ‘pop’ music song. Use of SAXOPHONE  is cadenced, in the ‘interludes’.

Javed Jafri and Khushboo have gambouled appealingly.

KISHORE  KUMAR with  KAVITA  KRISHNAMURTHY  / Laxmikant-Pyarelal

Na Jaiyo Pardes “Karma” 1986, Lyricist Anand Bakshi

Breathtaking rendition from both Kishore Kumar - Kavita Krishnamurthy. The ‘beauty’ of the song is ‘overlapping’ sound effect of Kavita Krishnamurthy, singing different lines with different tune, assimilating Kishore Kumar’s singing who is singing different liens and tune. Just beautiful. Poonam Dhillon - Anil Kapoor performed excellently on this lovely, ‘FAST-TRACK’ composition.

KISHORE  KUMAR with  ALISHA  CHINOY  / Laxmikant-Pyarelal

It was Laxmikant-Pyarelal’s selection of Alisha Chinoy to sing this song

with Kishore Kumar. The outcome was just superb.  

Kate Nahi Katate   “Mr. India” 1987, Lyricist Javed Akhtar

Incredible composition, in western style, from Laxmikant-Pyarelal.  32 seconds of “prelude” is tunefully instrumented with the use of PICCOLO (smaller version of the FLUTE), ‘Symphony’ style VIOLINS and the ‘strokes’ of SITAR. Awesome ‘take off’ by Kishore Kumar (I Love You).Orchestrated with stupefying ‘rhythm,....the first ‘interlude’ is decorated with ACCORDION, VIOLINS, SAXOPHONE, GUITAR and the ‘strokes’ of SITAR. Second ‘interlude’ beautifully structured by the use of  “solo” VIOLIN. You can equally enjoy the ‘surround sounds’ of SYMPHONY VIOLINS. Alisha Chinoy singing marvelously. Gamboling of SRIDEVI is seductive moreover she looks ‘smoking hot’.  Anil Kapoor looks simple.

Laxmikant, Kishore Kumar, Lata Mangeshkar and Pyarelal 

Ajay Poundarik

Vadodara (Gujarat)

INDIA