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Mehel Udhas Aur Galiyan Sooni

This is written by Nair.

The accusation that Rafi cannot raise his pitch the to “tivra nishadam” is baseless. Tivra nishadam is normally a feminine position because it makes the voice to taper to the extreme. Rafi Sahab is a master in this, say for example, in a live concert (available online) in Oh Duniya Ke Rakh Wale; please listen to Mehal Udaas aur Galiyaan Sooni how the voice climbs to tivra Nishadam just through Sooni; a person even ignorant of acoustics can realize each and every step the voice climbs. Feminine voice, due to its softness, normally dissolves in tivra nishadam.

Listen to Mehel Udaas Aur Galiyan Sooni.

Rafi Sahab’s comfort at tivra nishadam is so high that he can immediately descend (sudden drop in pitch) to shadjam (Yesudas has emphasized this power of Rafi many times). Tivra swaras cannot be simply used in recording rooms, unless the music director demans. LP demanded in Nafrat Ki Duniya from which Kishore had to run away.

Certainly, Lata Mangeshkar is also adept in the art of tivra swaras (also Manndey); but why mention it in a forum where Rafi Sahab is (unfortunately) compared with a singer who can’t even sing in komala nishadam with comfort.

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4 Blog Comments to “Mehel Udhas Aur Galiyan Sooni”

  1. mohanflora says:

    According to Dr. Narasinha Kamath, flutist:
    One of the most famous bhajans to be used in a Hindi movie is the evergreen bhajan Man Tadpat from the movie Baiju Bawra that was released in 1953. The music was set to tune by maestro Naushad Ali. All the songs in this film were based on Classical ragas. Man Tadpat was sung by the immortal Mohammed Rafi. Initially, the Urdu-speaking Mohammed Rafi had problems pronouncing some Sanskrit words of this bhajan. So the music director, Naushad had to invite Sanskrit pundits from Varanasi to train Mohammed Rafi so that he could pronounce the Sanskrit lyrics of the bhajan correctly. The pundits had to work very hard to improve Mohammed Rafi’s diction. But after a great deal of effort, the pundits finally did succeed in improving Rafi’s pronunciation to the desired extent. After several rehearsals, Naushad gave them his final approval to record this bhajan. This bhajan is popular even today. This bhajan has been sung in most of the temples all over the world. We have heard this bhajan thousands of times, and we still want to listen to it over and over again. This does not surprise me when I consider all the effort that went into the rehearsals of this great bhajan before it was recorded. I do not think there is any another composition in Hindi films based on Raga Malkauns that is better than Man Tadpat. This is just my view.

    Listen to flute tune MAN TADPAT in Raga Malkauns

  2. venkat_brahma says:

    Nice Article.

    Dear Rafi fans:

    Does any of you have the following songs in his collection and if so can he please mail those to me for my collection?

    1. ‘Tu shoukh kali main mast pawan tu shamme wafa main parwana’ from Film : Main Suhagan Hoon , Music: Lachhiram
    (There are two versions of this song, one solo of Rafi and other a duet with Asha)

    2. Armaan Machal Rahen Dil-e Beqarar (non-Filmi Ghazal)

    3. “Hame Kya Jo Harsu’ from Namasteji, Music:G.S.Kohli

    I shall be grateful for any responses.



  3. Anmol Singh says:

    In the concert at Royal Elbert Hall, London, Rafi sings “Mehal Udaas Aur Galiyaan Sooni” in different ways and at different scales. He was truely remarkable and too versatile.

  4. unknow1 says:


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