Ranjish hi sahi dil hi dukhaanay kay liyay aa
Let it be anguish, come still to torment my heart

aa phir say mujhay chhorr kay jaanay kay liyay aa
Come, even if to leave me again

GHAZALS

GHAZALS:
The lover for his part portrayed as a spineless individual resigned to his fate that has no choice but to continue hopelessly loving his beloved. He almost enjoys the pain and torment that the beloved puts him through, for that is better than nothing. This is illustrated in the following couplet from Ahmed Faraz's Urdu ghazal "Ranjish hi sahi":

ranjish hi sahi dil hi dukhane ke liye aa
aa phir se mujhe chhod ke jaane ke liye aa

Misery at least; come, even if it is to break my heart
Come, even if it is so that you can leave me once again.
Ahmed Faraz.
.

GHAZALS:

For sometime now I had the thought of handling this subject, but the problem was...I knew so little, my knowledge on the subject was inadequate, so much so that I could not even deffrenciate between a regular song and a ghazal, it is so hard for members of this community to do so, (we certainly hope to change that or at least give our colleagues an understanding at the end of it all.)

Starting out this porject...It is a fact that we will be starting out with nothing but at the end, we all hope to gain something.

There are times when colluegues were hinting that I should do something to make a start but I was afraid that "how could someone moderate a topic when he knows little or nothing whatsoever, because of this I always kept putting it off, hoping that someday when it is the right time I will get to it.

A little research and time spent to understand the intracacies still this does not give me the knowledge and authority to delve into and expend what I have learned to others. But the resolve is that a little bit of patience and understanding, with your help and contributions, we can definately make this effort facinating.

Ray, we are aiming for 50,000 page views and about 500 posts, so good buddy another long one to go

asj:
..

Will get back to Ghazals asap and then thread will be open to any comments and suggestions:

For the meantime please bear with me....thanks:

Asj...your efforts will be richly rewarded. You are a very humble and hard working man...may you forever remain our asj bhai.

GHAZALS:

Our intention is to present some of the many ghazal's singers, their background, their songs, but before doing so, we will have a page or two writeups.
In the writeups we shall try to explain ghazals and its origin, how it fare throughout the many hundreds of years, and most important of all will try to give a concise explanation to our viewers and readers on Ghazals.
As like our other projects, we shall be delving a lot into the internet for information, information that will be used to educate and not for profit.
To the many providers of articles that we shall be using.......we wish to express our profound "Thanks" and also to the many sites that will provide ghazals link, (please provide us with mp3 recordings) our heartfelt thanks are extended.

.

GHAZALS:

As I have stated before, I know that there will be contributions from members of GNI, also from friends from everywalk of life, examples our dedicated translators.

To you guys (you know who you are) my sincere thanks for being part of this.

Lake, your expertise on Ghazals will be in the limelight......make it count buddy

Brother Saeed where are you? if you can spare the time to be part of this, all the ghazals fans will be indebted.

Lynn are you still around?

Very important, would like all to know that this is not an asj baby, but will be a collective effort by so many

comments are welcome at this stage.
.

Origin and History Of Ghazal
The origin if ghazal form can be traced back to the 10th century A.D in Iran. It grew from the Persian form qasida, which had come from Arabia in verse form. The qasida was a panegyric written in the praise of the lord or the emperor. The part of the qasida called tashbib got detached and developed in due course of time into the ghazal. Whereas the qasida sometimes ran into as many as 100 couplets or more in mono-rhyme, the ghazal seldom exceeded twelve, and settled down to an average of seven. Because of its comparative brevity and concentration, its thematic variety and rich suggestiveness, the ghazal soon eclipsed the qasida and became the most popular form of poetry in Iran.
Since the arrival of the Turkic and Afghan tribesmen in India in about A.D. 1000, a most important place, a power base or shakti sthala has been occupied in Indian poetry and music by the lyric form called ghazal. This word, of Arabic origin, is now common heritage to all Indian languages and many Indian poets use it as the preferred form.
In Arabic, ghazal means a lover talking to his beloved amorously. The ghazal was developed further and to its maximum potential in Iran and in India where Persian was the court language of the Turcomans, Afghans and the Mughals who ruled in the North and the Bahamanis and their successors in the South. Of the Persian poets, Hafiz of Shiraz enjoys the highest reputation. The Indian poets held in esteem for Persian verse are Amir Khusrau (13th century) and Mirza Bedil (18th century). Khusrau also wrote in Hindi and was devoted to the great Sufi Nizamuddin Auliya. Khusrau's Persian and Hindi verse is sung at Sufi shrines even today, some seven centuries later. On the anniversary of the saint's death, the Urs festivities start with qawwals singing a Khusrau verse.
Ghazal – 2
What is a ghazal
The most commonly used definition for a ghazal is very simplistic and yet kind of misleading. A ghazal is commonly defined to be a collection of shers (couplets). A sher is a couplet, which means two line of poetry and makes sense all by itself. In other words, each sher is a poem by itself and it doesn't depend on the rest of the ghazal to make sense. This also means that there is absolutely no enjambments anywhere in the ghazal not even between the two lines of the sher.
Consider this sher,
The day we met my life was bound, with you
Every dream I dreamt of was found, with you.
You would notice that each line makes sense by itself and the sher is a complete poem by itself. Yet not all collections of shers form a ghazal. Lets look at the other rules which have to be followed.


Beher
Beher refers to the meter of the ghazal. All the shers should have the same meter. The types of beher are loosely classified as:
Short
Just that day, I was yours
In every way, I was yours
Medium
The day we met my life was bound, with you
Every dream I dreamt of was found, with you.
Long
Just for that one joy in my lifetime, I would do anything
To live with your love so sublime, I would do anything
As you see the number of syllables is not same in each line but close enough
Ghazal – 3
Radif
Radif or the refrain is the phrase or word with which all the shers end. The last line of all the shers end with the same word or set of words.
Refer
Just that day, I was yours
In every way, I was yours
"I was yours" forms the radif here. The opening sher in all ghazal must have the radif in both the lines and is called the matla. All the examples cited above are matlas.
Kaafiya
Kaafiyaa' is the rhyming pattern which all the words before 'Radif' MUST have. The ghazal follows an intricate internal rhyming pattern.
Just that day, I was yours
In every way, I was yours
Day and way form the kaafiya in our example.
Maqta
In the last sher of the ghazal the shayar generally uses his nick name or alias in the poem. This may be in first person, second person or third persona and may be in any part of the last sher, though this is not a compulsory pat of the ghazal it is commonly used.
When you were away from me, my love
My heart was away ground, with you
Ephemeral though this life may be, dearest,
By love, I will our world surround, with you
Here I take the nickname Ephemeral and use it to portray the timelessness of love.
Now coming to the most important rule of a ghazal. All the shers of the ghzals MUST NOT follow the same line of thought. Each sher should be a separate line of thought and yet must have the same underlying theme. Each sher shouldn't follow each other but must be disjointed. If the shers are scrambled and arranged in different orders It should still make sense. Remember it is a collection where except for the matla the placement of the rest shouldn't really matter.
Ghazal – 4
Consider this ghazal I wrote a while ago.
You look up with a smile, as love catches me unawares
Your dancing eyes beguile, as love catches me unawares

Stolen kisses whispered words, walks in the moonlight
Fond memories pile, as love catches me unawares

Nose pressed to the window, ears tuned to the door
My dreams run fertile, as love catches me unawares

Snow kissing my nose, wind whipping away my cape
I walk with steps agile, as love catches me unawares

Roses bloom in splendor, spring has spread her beauty,
I just want to sit down awhile, as love catches me unawares

Waves kissing the shore, branches swaying to the wind
Flowers bloom in style, as love catches me unawares

Wind whispers in my ears, the promises of a sweet tomorrow
My heart yearns to walk the aisle, as love catches me unawares
In some cases the whole second line of the sher is used as the radif throughout the poem.
The wind lovingly ruffles your hair
As the rain splatters against the pane

A new found love blossoms in passion
As the rain splatters against the pane

A matured love basks in familiar comfort
As the rain splatters against the pane.

A young couple share the day's worries
As the rain splatters against the pane.

A young heart dreamily yearns for love
As the rain splatters against the pane.

An old souls knits memories of love
As the rain splatters against the pane.

My heart just wishes you were still be my side
As the rain splatters against the pane.
Generally when writing a new form of poetry I use a blank form and then fit my words in it.
The Ghazal Format
Sher 1
------------------------------rhyme A + refrain
------------------------------rhyme A + refrain
Sher 2
----------------------------------------------------
------------------------------rhyme A + refrain
Sher 3
----------------------------------------------------
------------------------------rhyme A + refrain
Sher 4
----------------------------------------------------
------------------------------rhyme A + refrain
Sher 5
----------------------------------------------------
------------------------------rhyme A + refrain
Sher 6
----------------------------------------------------
------------------------------rhyme A + refrain
Sher 7
----------------------------------------------------
------------------------------rhyme A + refrain

Now draft the first sher, While doing so keep a few things in mind. Pick a rhyme for which you would be able to find lots of rhyming words, which gives you freedom. Then, make sure that the refrain is strong enough to sustain throughout the ghazal.
I pick my first sher as
They were people all new, the two strangers by the night,
Like the morning dew, the two strangers by the night..
My refrain is two strangers by the night and my kaafiya will be new, dew and so on. Now I write out the next sher
Just a chance clash of glances across a crowded hall,
Life took on a new hue, the two strangers in the night.
I make sure I stuck to the rhyme scheme, my radif is there and my kaafiya is correct. Now move on to the rest of the couplets one by one
Thrown together by a chance of a fate, circumstances
Act stronger than a glue, the two strangers in the night

Just a few moments together in a life spent apart
Will tell if love is true, the two strangers in the night

Whispered words and concealed glances at each other
In one night their love grew, the two strangers in the night

In the night set for romance in a star spangled sky
And a moonlight view, the two strangers in the night

The face a passing blur, catching yearning in the heart
Sometimes love occurs to, the two strangers in the night.
Till you get all the rules of the ghazal known thoroughly it might be a good idea to use this form.
Ghazal – 6
A class about ghazals would be incomplete without the mention of nazms.
A nazm is very similar to a ghazal except that all the shers are bound together by a single thought.
Some contemporary shayars use the nazm within the sher too.
An example of a nazm
I stood waiting for you near the door, just to be by your side
That's what I wanted since I was four, just to be by your side

When we met for the first time holding our mommy's hands
I hated you and thought it a bore, just to be by your side

Yet I pounced on excuses and often landed on your door
even when the rain did pour, just to be by your side

The year when i turned sixteen you made me yours with a kiss
My heart did pound and blood did roar, just to be by your side

All through the tumultuous years we were together and fought
I wanted even when we were at war, just to be by your side

And then came the day when we were named man and wife
That was the day I solemnly swore, just to be by your side

Now as you sleep carelessly on the bed with an arm around me
I know I am blessed, even if you do snore, just to be by your side
The ghazal takes a little bit of time in the beginning to master the rules but is a pleasure to write later on. It is a very beautiful form to capture the myriad emotions of love. The ghazals of Ghalib are a treasure to read and I have provided the link below.
Recommended Reading
http://www.msci.memphis.edu/~ramamurt/ghalib.html
Wrapping up the rules pertaining to a ghazal are
"¢ A poem of five to fifteen couplets
"¢ No enjambment between couplets. Think of each couplet as a separate poem. One must have a sense that line 2 is amplifying line 1, turning things around, surprising us.
"¢ Once again, ABSOLUTELY no enjambment between couplets"”each couplet must be like a precious stone that can shine even when plucked from the necklace though it certainly has greater luster in its setting.
"¢ What links these couplets is a strict formal scheme. This is how it works: The entire ghazal employs the same rhyme and refrain. The rhyme must always immediately precede the refrain. If the rhyme is merely buried somewhere in the line, that will have its charm, of course, but it would not lead to the wonderful pleasure of IMMEDIATE recognition which is central to the ghazal. The refrain may be a word or phrase.
"¢ Each line must be of the same length (inclusive of the rhyme and refrain). In Urdu and Persian, all the lines are usually in the same meter and have the same metrical length. So establish some system"”metrical or syllabic"”for maintaining consistency in line lengths.
"¢ The last couplet may be (and usually is) a signature couplet in which the poet may invoke his/her name in the first, second, or third person.
"¢ The scheme of rhyme and refrain occurs in BOTH lines of the first couplet (that is how one learns what the scheme is), and then in only the second line of every succeeding couplet (that is, the first line of every succeeding couplet has no restrictions other than to maintain the syllabic or metrical length.
"¢ There is an epigrammatic terseness in the ghazal, but with immense lyricism, evocation, sorrow, heartbreak, wit. What defines the ghazal is a constant longing.

GHAZALS:

In my next posts I will try to go through in laymam terms the definition so that one could have a slight idea of "What is a Ghazal"

Lake have presented a very informative piece, which I will try to delve into.

GHAZALS:

Ghazal in short, is a collection of Sher's which follow the rules of
'Matla', 'Maqta', 'Beher', 'Kaafiyaa' and 'Radif'. So to know what
Ghazal is, it's necessary to know what these terms mean.

To understand these terms easily , we will take an example.

1. koi ummid bar nahin aati
koi surat nazar nahin aati

2. aage aati thi haale dil par hasi
ab kisi baat par nahin aati

3. hum wahan hain, jahan se humko bhi
kucch hamaari khabar nahin aati

4. kaabaa kis muh se jaaoge 'Ghalib'
sharm tumko magar nahin aati

To explain ghazal, firstly we need to know

What is a Sheyr
A sheyr is a couplet

What is a Couplet
A couplet is two lines of rhyming verses:

In the above example we can say we have 4 sheyrs or 4 Couplets

Putting a collection of couplets or Sheyrs together, we have a Ghazal:

That was easy: it gives a general idea of what is a ghazal

Not so fast,

As the Ghazal is made up with certain requirements, which we will deal with later.

For now that is the general idea of a Ghazal:
.

This message has been edited. Last edited by: asj,

Ghazal in short, is a collection of Sher's which follow the rules of
'Matla', 'Maqta', 'Beher', 'Kaafiyaa' and 'Radif'. So to know what Ghazal is, it's necessary to know what these terms mean.

Will explain on a layman basis next:

.

GHAZALS:

Can't wait to spin some ghazals by MEHNDI HASSAN, GHULAM ALI, JAGJIT SINGH, FARIDA KANOOM,
AND SO MANY MORE ARTISTE.

Will get to Ghazals later:

quote:

Originally posted by asj:
GHAZALS:

Can't wait to spin some ghazals by MEHNDI HASSAN, GHULAM ALI, JAGJIT SINGH, FARIDA KANOOM,
AND SO MANY MORE ARTISTE.

Will get to Ghazals later:

Asj, I anxiously await them, especially Jagjit's. I know Dara, Laker & Rajkumarie will find them spellbinding too.

quote:

Originally posted by asj:
GHAZALS:

Brother Saeed where are you? if you can spare the time to be part of this, all the ghazals fans will be indebted.

.

a la Veer Zara

Mein yahan hooun yahan hooun yahan

You are nothing if not ambitious hehehe ... tough mazmoon but the audience is going to love it.

Count me in asj bhai

This message has been edited. Last edited by: asj,

quote:

Originally posted by Saeed:

quote:

Originally posted by asj:
GHAZALS:

Brother Saeed where are you? if you can spare the time to be part of this, all the ghazals fans will be indebted.

.

a la Veer Zara

Mein yahan hooun yahan hooun yahan

You are nothing if not ambitious hehehe ... tough mazmoon but the audience is going to love it.

Count me in asj bhai

Bhai Saeed, Certainly a la Veer Zara, it seems like ages since the highly successful Rafi Project but it has only been one year, but that seems like eternity, so I know that you will hate me for saying thanks, but thats my humble way of telling you that you were "missed"

Thanks for coming aboard.

.

quote:

Originally posted by Joan:

quote:

Originally posted by asj:
GHAZALS:

Can't wait to spin some ghazals by MEHNDI HASSAN, GHULAM ALI, JAGJIT SINGH, FARIDA KANOOM,
AND SO MANY MORE ARTISTE.

Will get to Ghazals later:

Asj, I anxiously await them, especially Jagjit's. I know Dara, Laker & Rajkumarie will find them spellbinding too.

Joannie,
Will get to that........as we all are eagerly awaiting the melodious voice of Jagjit and others pouring out their heart and soul into some of the greatest renditions ever recorded, but it is sooooo important to let our viewers know a little bit about Ghazal.
.

I dont know anything about Ghazals but I do enjoy Jagjit and Chitra Singh.
Thank you for theinfo u share asj.

GHAZALS:

quote:

Originally posted by VIDYA:
I dont know anything about Ghazals but I do enjoy Jagjit and Chitra Singh.
Thank you for theinfo u share asj.

Vidya, it is our intention that long before we are finished with this thread, we all will know something about the Ghazals:

To recap what we have learnt so far:

I am poositively sure you know what is a "couplet"
that is two rhyming verses put together;

And we can call a "couplet" a "sheyr"

Putting together a collectiion couplets or "Sheyrs" together give us an indication of a Ghazal.

But in order to rightly call it a Ghazal, there are other consideration to be taken into account.

And those considerations, we will take into account next.
.

This message has been edited. Last edited by: asj,

To recap what we have learnt so far:

I am poositively sure you know what is a "couplet"
that is two rhyming verses put together;

And we can call a "couplet" a "sheyr"

Putting five or more than five couplet or "Sheyrs" together give us an indication of a Ghazal.

But in order to rightly call it a Ghazal, there are other consideration to be taken into account.

And those considerations, we will take into account next.
.[/QUOTE]

(1) "Beher".
Beher is the length or the meter of the Sheyr, In a Ghazal the lines or couplets or sheyrs must be of the same length or meter,

for example:
1.koi ummid bar nahin aati
koi surat nazar nahin aati

the lines or length of the lines are relatvely equal,

We have the rhyming verses and the lines of relatively of equal lengths

It is important to note that the "Beher" could be of
a) A short length
b) A medium length
c) A long length

Now we can say that a Ghazal is a collection of sheyrs of the same "beher/length/meter"

But there are other considerations, which we will get to later.

.

GHAZALS:

Now we can say that a Ghazal is a collection of sheyrs of the same "beher/length/meter"

But there are other considerations, which we will get to later.

Other consideration we will look at are

1) Radif

2) Kaafiyaa

3) Matla

4) Maqta:

.

GHAZALS:

Now we can say that a Ghazal is a collection of sheyrs of the same "beher/length/meter"

But there are other considerations, which we will get to later.

Other consideration we will look at are

1) Radif

2) Kaafiyaa

3) Matla

4) Maqta:

(1)RADIF:

If you notice in the Sheyr or the Couplet, the ending of the second line, is the same as the ending of the first line, example:

koi ummid bar nahin aati
koi surat nazar nahin aati

thus the Radif is "nahin aati"

Now we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poem) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif

GHAZALS:

Now we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poem) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif



ALBUM : ANDAZ E MASTANA
GHAZAL: TERE ANDAZ E MASTANA
SINGER : MEHNDI HASSAN:

TERE ANDAZ E MASTANA:

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2
Mujhay kar dena deewana (Hai Tere Andaz e mastana)2

Tere shoukhi nirale hain (Tere devar juda na na)2
Mujhay kar dena deewana (Hai Tere Andaz e mastana)2

(Ye ada eke je dil nashee Jaan ley ley na mere kahin)2
You na sharma kay balkhana (Hai Tere Andaz e mastana)2

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2

(Jal na jaye kare dhuup hain Tera nazook bara ruup hain)2
Mere aankhon may aajana (Hai Tere Andaz e mastana)2

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2

Tere Damsay hai mousam haseen Husn ko tere ai nazneen
Phool dayte hain nazrana (Hai Tere Andaz e mastana)2

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2

Tere shoukhi nirale hain (Tere devar juda na na)2
Mujhay kar dena deewana (Hai Tere Andaz e mastana)2

Will look at this and see if we can recap what we had done so far:

(1) We have six Sheyrs put together

(2) Looking at these Sheyrs, we noticed that they are of equal length

(3) Looking at these Sheyrs again, we noticed that the last word of every second line
is the same as the last word of the very first line

Agreeing with the above we will notice that we have:

(1)A collection of sheyrs

(2)We have "Beher" Sheyr of equal length

(3)We have Redif that is ending word of every second line is the same as the first line:

Hence:

Now we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poem) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif



Any comments so far Saeed Bhai?
.

Very informative, Bhai. We could perhaps now go to actual enjoyment of ghazals. May I request for a Ghalib ghazal sung by .. umm .. lets see ... Jagit? Right, Joan, Vidya?

quote:

Originally posted by Saeed:
May I request for a Ghalib ghazal sung by .. umm .. lets see ... Jagit? Right, Joan, Vidya?

Thank you Saeed.
I don't even know any names of Ghazal, but yes, I like Jagjit and Chitra Singh and I really don't know about the other singers of ghazals.
(actual I do know 2 of them but I am not sure I know the correct words of the songs, only the tune with a single word here and there. One of them something like
"charka mera rangala..."

the other (please forgive me but this one might be all wrong but I'm taking a chance hoping that one of you may recognise it:

"daee din ne jawanee are chalke urke
mar mar ke ( followed by what sounds like a big crowd applause)
This was a big hit back in Guyana in the 80's.


Thanks to asj for the information he provided, at least, nowiI know something about ghazals.

This message has been edited. Last edited by: <VIDYA>,

asj bhai...you are doing a fantastic job...never did I understand the intricacies of ghazal compositions before...it all lends itself to greater appreciation on my part..thanks bud...I know now a sheyr, a beher...and a radif.

Saheed bhai please translate Tera Andaaz Mastana for me....thank you.

GHAZALS:

Now we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poem) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif

ALBUM : ANDAZ E MASTANA
GHAZAL: TERE ANDAZ E MASTANA
SINGER : MEHNDI HASSAN:

TERE ANDAZ E MASTANA:

Mujhay kar dein na deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)
Mujhay kar dein na deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)

Teri shoukhi nirale hain (Tere tewar juda dana)2
YOUR BEAUTY IS UNIQUE AND YOUR PRESENCE IS EXTRAORDINARY
Mujhay kar dein na deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)
(tewar=gestures reflecting attitude- like raising of an eyebrow)

(Ye adaein tere dil nashee Jaan ley ley na mere kahin)2
YOUR CHARM MY LOVE, ONE DAY MAY NOT KILL ME
(dil-nashee= one that is close to my heart)
Yun na sharma kay bal khana (Hai Tere Andaz e mastana)2
PLEASE DON'T BE SHY AND TURN AWAY FROM ME WITH YOUR INTOXICATING WAYS
((Balkhana=turning away w/coqetry)

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)

(Jal na jaye kari dhoop hain Tera nazook bara ruup hain)2
LOOK OUT,YOU MIGHT BURN IN THIS STRONG SUN YOUR BEAUTY IS SO DELICATE
Mere aankhon may aajana (Hai Tere Andaz e mastana)2
COME AND I WILL SHELTER YOU WITH MY EYES DESPITE YOUR INTOXICATING WAYS

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)

Tere Damsay hai mousam haseen Husn ko tere ai nazneen
BECAUSE OF YOU THE VISTA IS SO BEAUTIFUL, YOUR BEAUTY MY LOVE
Phool dayte hain nazrana (Hai Tere Andaz e mastana)2
IS ACKNOWLEDGED BY THE (BEAUTIFUL) FLOWERS AND WITH YOUR INTOXICATING WAYS

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)

Tere shoukhi nirale hain (Tere tewar juda dana)2
YOUR BEAUTY IS UNIQUE AND YOUR PRESENCE IS EXTRAORDINARY
Mujhay kar dena deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)

TRANS:RANJANA

NB Ranjana has now corrected our incorrected lyrics and she has definately made a beautiful song even better, God, this woman is so good in her translations.

Lake buddy, I haven't hear from you in a couple of days, I guess if you are sick, then this one will make you feel better

This was not meant to be released as yet, as I still have to discuss with Ranjana but the temmptation is too much, sorry Ranjana that is the "Power of the Ghazals"
..

quote:

GHAZALS:

Now we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poem) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif

ALBUM : ANDAZ E MASTANA
GHAZAL: TERE ANDAZ E MASTANA
SINGER : MEHNDI HASSAN:

TERE ANDAZ E MASTANA:

Mujhay kar dein na deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)
Mujhay kar dein na deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)

Asj, seeing the translation makes this ghazal so much more appealing. No wonder I was just entranced listening to it...

quote:

Asj, seeing the translation makes this ghazal so much more appealing. No wonder I was just entranced listening to it...

Joannie,
Ranjana take a good song and makes even better, she gets and deserves the credit if there is any.
.

quote:

Originally posted by asj:

quote:

Asj, seeing the translation makes this ghazal so much more appealing. No wonder I was just entranced listening to it...

Joannie,
Ranjana take a good song and makes even better, she gets and deserves the credit if there is any.
.

asj bhai I have been around..and thank you so very much...I am afraid that this ghazal is all to tempting to get me sick....

The Persians were a highly mystical and erotic people and we see these characteristics manifested in their lifestyle, music, poetry, etc. In their music, done mostly in Ghazals, they sang their hearts out; beckoned their lovers; enchanted their audiences; and left their works for later generations of musicians to emulate, and music lovers to be enchanted by. In their poetry, the mysticism and eroticism are exemplified in the works of Khalil Gibran, Omar Khayyam, Jalaludin Rumi, etc. Here's a great article to further describe this:

http://en.wikipedia.org/wiki/Ghazal

quote:

Originally posted by Saeed:
Very informative, Bhai. We could perhaps now go to actual enjoyment of ghazals. May I request for a Ghalib ghazal sung by .. umm .. lets see ... Jagit? Right, Joan, Vidya?

Saeed Bhai, you are correct, all writings and no music, makes things dull

So in my final 3 posts explaning
2) Kaafiyaa

3) Matla

4) Maqta:

We will try to use Jagjit sings Ghalib with the lyrics explained to the subject of Kaafiyaa, Matla, and Maqta; the other intricate components that explain Ghazals.
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GHAZALS

"KAAFIYA" ANOTHER COMPONENT OF THE GHAZAL WHICH WE WILL LOOK AT:

SINGER: JAGJIT SINGH
ALBUM : CLOSE TO MY HEART

EK PYAR KI NAGMA HAIN:

Ek pyaar kaa nagmaa hai, maujo kee rawaanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

Kuchh paakar khonaa hai, kuchh khokar paanaa hain
Jeewan kaa matalab to, aanaa aaur jaanaa hain

Do pal ke jeewan se, yek umar churaanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

Too dhaar hain nadiyaa kee, main teraa kinaaraa hoo
Too meraa sahaaraa hai, main teraa sahaaraa hoo

Aakhon mein samandar hai, aashaaon kaa paanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

Tufaan to aanaa hai, aa kar chale jaanaa hain
Baadal hain ye kuchh pal kaa, chhaa kar dhal jaanaa hain

Parachhaeeyaan rah jaatee, rah jaatee nishaanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

WHAT A SOOTHING MELODY, IT CHUGS AT THE STRINGS OF THE HEART;
SUCH SWEET AND MELODIOUS VOICE: AND THE MUSIC: REFRESHING:

BACK TO OUR LESSON:

So far we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poems) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif.
The next component Kaafiya is simply the word that comes in a rhyming form

Looking at the first line of the lyrics by Jagjit Singh, we noticed that the Radif is "Hain" now the word before "Hain" is
Rawanee:
The next line the Radif is "Hain" and the word before "Hain" is
Kahanee:

Rawanee and Kahanee are rhyming words, thus this is what we call the Kaafiya, the other important component of the Ghazals:

Looking at that Ghazal "Ek Pyar ki nagma hain"

(1) We have seven sheyrs or couplets

(2) We have Beher (length of the Sheyr)

(3) We have Radif (that is the last word of the second line in every couplet or sheyr is the same as the ending word of the first line

(4) And now we have Kaafiya....the rhyming pattern of the word before the radif.

So far we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poems) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif.
The next component Kaafiya is simply the word that comes in a rhyming form before the radif

..

GHAZALS:

Questions so far?

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GHAZALS:

"Ghazals: Alive and Well"

It may suprise many of you, especially those who know the ghazal in its relatively new English form, that it is very much well and alive in the mainstream of Indian and Pakistani culture. Properly speaking, ghazal denotes a poetic genre, though in India and Pakistan today, the term commonly also implies the musical form in which it is rendered. As a lyric genre, the ghazal has its roots in classical Arabic poetry. Ghazal is an Arabic word which literally means talking to women. It grew from the Persian qasida, which verse form had come to Iran from Arabia around the 10th century A.D..The qasida was a eulogy written in praise of the emperor or his noblemen. The part of the qasida called tashbib got detached and developed in due course of time into the ghazal. Whereas the qasida sometimes ran into as many as 100 couplets or more in monorhyme, the ghazal seldom exceeded twelve, and settled down to an average of seven.

,

GHAZALS:

"Ghazals: Alive and Well"

The film ghazal, as popularized by Talat Mahmood, Lata Mangeshkar, and others, retained some of the exotic and romantic associations of the courtesan world and of Urdu verse in general, while aiming at a contemporary and less sophisticated audience. The Urdu lyrics cohered well with the diction of so-called Hindi films, most which were in fact in Urdu, in accordance with that language's "sweet" and romantic ethos, as opposed to standard Hindi, which is perceived as a more utilitarian tongue. Meanwhile, throughout the 1960s, the light-classical ghazal, particularly as sung by Begum Akhtar, continued to enjoy a stable, if limited degree of popularity among connoisseurs of classical music and Urdu poetry.

By the early 1970s the film ghazal, although still relatively common, was undergoing a marked decline. Aside from the retirement of Talat Mahmood in 1970, a primary factor was the reorientation of film music in general, toward fast, rhythmic songs influenced by Western rock and disco, in place of the traditional melodic, sentimental styles like ghazal.

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GHAZALS:

The Decline:
One of the cause was the increasing trend toward action-oriented masala (lit. spice) films, rather than sentimental melodramas and costume-drama mythologicals. Although the ghazal's versatile formal structure could conceivably have been adapted even to disco styles, the genre has remained too closely associated with its traditional subject matter of broken hearts, weepy lovers, and the stylized refinement of Urdu culture in general. The other development that contributed to the gradual eclipse of the ghazal, in both its film and light-classical styles has been the marked decline of the Urdu language in India, with Independence in 1947 and the subsequent partition of India and Pakistan.

The decline of the ghazal, in both its commercial film and light-classical varieties, was an inevitable concomitant. Nevertheless, by the mid-1970s, certain broad social, aesthetic, and technological developments had emerged which paved the way for the revival of a modernized form of the ghazal. As we have noted, the action-oriented masala films, while satisfying cinema audiences, took film music in a direction contrary to the tastes of the many middle-class listeners, who continued to prefer tuneful, sentimental crooning to the disco-influenced modern film music. One may hypothesize that as the consumerist urban bourgeoisie grew in strength, numbers, and self-identity, a demand arose for a music which reflected its own self-image and aesthetic values. Such a music would have to be more genteel than the raucous and lowest-common-denominator film music, and yet it needed to be simpler and more accessible than classical music, constituting, in Birmingham School terms, a "rearticulation" of the elite semi classical ghazal. As more middle class consumers were able to afford phonographs, the potential began to emerge for a new pan-regional popular music which could be, for the first time, independent of films. A modernized, simplified pop ghazal was the ideal genre for such an audience, and it correspondingly began to flourish as such around 1977.

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GHAZALS:

Recoup of lost Grounds:

In order to achieve a genuinely mass audience, however, it required a mass medium which was cheaper and more accessible than records, and yet still distinct from cinema. The spread of cassette players among the upper and middle classes in the late 1970s provided the essential catalyst for the flowering of the modern ghazal as the first pan-regional commercial genre to challenge the dominance of film music and its coterie of stars and producers.

The modern ghazal, as befits the composition and tastes of its audience, retains a distinctly aristocratic, courtly image (or, one might say, pretension). Singers appear on stage and on cassette covers dressed in fine Muslim-style kurtas and sherwanis. Cassettes often feature canned (artificially inserted) exclamations of "wah wah!" (bravo!) intended to suggest the ambiance of the genteel courtesan salon ormusha'ra (poetry reading). In the use of tabla (as opposed to bongos, or folk barrel drum), occasional tame improvisations, ghazal form, and the Urdu language itself, the modern ghazal retains some of the mannerisms, if not the substantive content, of the traditional light-classical ghazal enjoyed by the Urdu-speaking nobility of previous generations. Thus the entire identity and core audience of the modern ghazal are quite distinct from those of the mainstream film song. Journalistic critics, for their part, are quick to deplore the occasional presence of film elements in the contemporary ghazal, such as the usage of borrowed film melodies. At the same time, the modern ghazal is clearly more accessible, in style, diction, and patterns of dissemination, than was its highbrow predecessor, the audience of which consisted primarily (though not exclusively) of aristocrats steeped in refined Urdu culture. Thus, for example, whereas the aesthetic substance of the light-classical ghazal was the process of textual-melodic improvisation (bol banao), cassettes of modern ghazals are aimed at musically less-educated consumers who expect lyrical, fixed tunes.

.

SINGER: JAGJIT SINGH
ALBUM : CLOSE TO MY HEART

EK PYAR KI NAGMA HAIN:

Ek pyaar kaa nagmaa hai, maujo kee rawaanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

Kuchh paakar khonaa hai, kuchh khokar paanaa hain
Jeewan kaa matalab to, aanaa aaur jaanaa hain

Do pal ke jeewan se, yek umar churaanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

Too dhaar hain nadiyaa kee, main teraa kinaaraa hoo
Too meraa sahaaraa hai, main teraa sahaaraa hoo

Aakhon mein samandar hai, aashaaon kaa paanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

Tufaan to aanaa hai, aa kar chale jaanaa hain
Baadal hain ye kuchh pal kaa, chhaa kar dhal jaanaa hain

Parachhaeeyaan rah jaatee, rah jaatee nishaanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain


Looking at that Ghazal "Ek Pyar ki nagma hain"

(1) We have seven sheyrs or couplets

(2) We have Beher (length of the Sheyr)

(3) We have Radif (that is the last word of the second line in every couplet or sheyr is the same as the ending word of the first line

(4) And now we have Kaafiya....the rhyming pattern of the word before the radif.

So far we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poems) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif.
Kaafiya is simply the word that comes in a rhyming form before the radif

And the 5th component: Matla:

The Matla is the first two lines of the Ghazal where the two last word is the same, that is the Radif is the same,

.

Poet - Mirza Ghalib

Composer - K L Saigal

Singer - K L Saigal


Phir Mujhe Deeda-e-Tar Yaad Aaya
Dil Jigar Tishna-e-Fariyaad Aaya

Dum Liya Tha Na Qayamat Ne Hanoz
Phir Tera Waqt-e-Safar Yaad Aaya

Koi Veerani Si Veerani Hai
Dasht Ko Dekh Ke Ghar Yaad Aaya

Main Ne Majnu Pe Ladakpan Mein 'Asad'
Sang Uthaya Tha Ke Sar Yaad Aaya


*Rough Translation*

I again recall those tearful eyes,
My complaining heart is brimming again

Hardly had the doom receded,
When the thought of your parting rose again

How bewildering the desolation!
Sight of the wilds reminds me of home

In boyhood, Asad, at Majnun's head,
I had aimed a stone, when I thought of my own.

Will look at the example of Mirza Ghalib Gazal and recap what we have done so far:

.

GHAZALS:

The Ghazal Verse Form
by Len Anderson

Ghazal (pronounced "ghuzzle") is an Arabic word that means "talking to women."

History.

The Ghazal was developed in Persia in the 10th century AD from the Arabic verse form qasida. It was brought to India with the Mogul invasion in the 12th century. The Ghazal tradition is currently practiced in Iran (Farsi), Pakistan (Urdu) and India (Urdu and Hindi). In India and Pakistan, Ghazals are set to music and have achieved commercial popularity as recordings and in movies. A number of American poets, including Adrienne Rich and W.S. Merwin, have written Ghazals, usually without the strict pattern of the traditional form.

..

GHAZALS:

The Ghazal Verse Form
by Len Anderson

Form.

A traditional Ghazal consists of five to fifteen couplets, typically seven. A refrain (a repeated word or phrase) appears at the end of both lines of the first couplet and at the end of the second line in each succeeding couplet. In addition, one or more words before the refrain are rhymes or partial rhymes. The lines should be of approximately the same length and meter. The poet may use the final couplet as a signature couplet, using his or her name in first, second or third person, and giving a more direct declaration of thought or feeling to the reader.

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GHAZALS:

The Ghazal Verse Form
by Len Anderson

Style.

Each couplet should be a poem in itself, like a pearl in a necklace. There should not be continuous development of a subject from one couplet to the next through the poem. The refrain provides a link among the couplets, but they should be detachable, quotable, grammatical units. There should be an epigrammatic terseness, yet each couplet should be lyric and evocative.

For examples and more on Ghazals, see the anthology edited by Agha Shahid Ali: Ravishing Disunities: Real Ghazals in English (Wesleyan University Press, 2000). Included are seven lovely Ghazals by William Matthews and a number of other fine ones.

.

GHAZALS:

AS I HAVE PREVIOUSLY NOTED THAT A LOT OF WRITE UPS AND NO GHAZALS, MAKES IT SOMEWHAT BORING

IT IS OUR INTENTION TO HAVE THIS THREAD AS EXCITING AS POSSIBLY; AS A RESULT WE WILL PRESENT GHULAM ALI WITH ONE OF HIS BEST:

ENJOY:

CHUPKE CHUPKE RAAT DIN AANSON BAHANA YAAD HAIN

This message has been edited. Last edited by: asj,

GHAZALS:

The ghazal is a common song form in India and Pakistan today. Strictly speaking, it is not a musical form, but a poetic recitation. Today, however, it is commonly conceived of as an Urdu song, with prime importance given to the lyrics.

In modern Urdu poetry, there are lots of Ghazals which do not follow the restriction of same Beher on both the lines of Sher. But even in these Ghazals, Kaafiyaa and Radif are present.

The ghazal is always written from the point of view of the lover who is unable to attain his beloved, because either the beloved is just playing with the poet's feelings, or because the societal circumstances do not allow it. The lover is aware and resigned to this fate, but continues loving nonetheless. It is not important to the lover that the beloved does not echo the same feelings towards him.
.

GHAZALS:

Ghazals composed in English by Western poets


* Agha Shahid Ali, "The Country Without A Post Office", "Ghazal ('...exiles')"
* Denver Butson, "Drowning Ghazals (1, 2 & 3)", "Four Drowning Ghazals"
* Robert Bly, The Night Abraham Called to the Stars and My Sentence Was a Thousand Years of Joy
* Gabrielle Calvocoressi, "Backdrop"
* Marcyn del Clements, "Night"
* William Dennis, "Lunar Ruin", "Brim-Full Again",
* Gene Doty (also known as Gino Peregrini), "Ghazal Spirit", "...silence"
* Taylor Graham, "A Ghazal of Gardens", "Almost Every Day Now"
* John Hollander, "Ghazal On Ghazals"
* R. L. Kennedy, "Memphis Jazz"
* Maxine Kumin, "On the Table"
* W. S. Merwin, "The Causeway"
* William Matthews, "Guzzle", "Drizzle"
* Elise Paschen, "Sam's Ghazal"
* Teresa M. Pfeifer, "In Open Meadow"
* Spencer Reece, "Florida Ghazals"
* Adrienne Rich, "Ghazals: Homage to Ghalib"
* R. W. Watkins, "That Nice, Clean, Filthy Lucre", "Ghazal For Shahid"
* Bill West, "Daybreak"
* Bruce Williams, "End Without World"
* John Edgar Wideman, "Lost Letter"
* Robert Pinsky, "The Hall"

In this thread we will not be dealing with the English Ghazals, but it is good to know that so many western poets regard the Ghazals as a very highly appreciated art form.
.

asj Bhaiya...

quote:

Originally posted by chameli:
asj Bhaiya...

Dids, I sincerely hope that you now know a few things about the ghazals:



.

quote:

Originally posted by asj:

quote:

Originally posted by chameli:
asj Bhaiya...

Dids, I sincerely hope that you now know a few things about the ghazals:



.

asj bhaiya...of course i do...you are the best...you love what u do and take a lot of pride in this forum

GHAZALS:

To recap some of the components of the Ghazals:

Ghazal is a collection of 4 or more sheyrs (two lines poems) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif.
Kaafiya is simply the word that comes in a rhyming form before the radif

And the 5th component: Matla:

The Matla is the first two lines of the Ghazal where the two last word is the same, that is the Radif is the same,

There is another component which is called the Makta: The maqta is the last two lines in where the poet added his name to his work; like a painter affixes his signature to his painting.

maqta
The final sher (couplet) in a ghazal. Traditionally, the poet puts their name or pen name (takhallus) in the last couplet of a ghazal. Some poets use the maqta as a vehicle to talk to themselves or reflect on the poem (ghazal) as a whole.

.

In the next few pages, some of the singers that we will be featuring:

Ghazal singers

* Abida Parveen
* Ahmad Wali
* Anup Jalota
* Anurag Sharma
* Ashok Khosla
* Begum Akhtar
* Bhupinder Singh & Mitali Singh
* Chitra Singh
* Farida Khanum
* Ghulam Ali
* Habib Wali Mohammad
* Hariharan
* Iqbal Bano
* Jagjit Singh
* Mehdi Hassan
* Noorjehan
* Nusrat Fateh Ali Khan
* Pankaj Udhas
* Roopkumar Rathod
* Talat Aziz
* Talat Mahmood
* Lata Mangeshkar
* Asha Bhosle
* K. L. Saigal
* Hariharan


It is expected that we shall be giving information as regards to Bio, Audio, Lyrics, Lyric translations and if possoble the video:

.

JAGJIT SINGH

GHAZALS:

Jagjit Singh is among the foremost singers of ghazals in Hindi/Urdu and Punjabi, a composer and a playback singer in Bollywood. Jag and Jit (Sanskrit words) mean "World" and "Victory" respectively, thus the meaning of the name is One who has won over the world.

Family and education

Jagjit Singh was born in Ganganagar (also called "SriGanganager"), Rajasthan, India. His father Sardar Amar Singh Dhiman, employed with the Government of India, hailed from Dalla village in Ropar district of Punjab and his mother Sardarni Bachchan Kaur came from a deeply religious Sikh family of Ottallan village near Samralla. His siblings include four sisters and two brothers and he is fondly called Jeet by his family members. Although his late father wanted him to become a bureaucrat by joining the Indian Administrative Service, he was later reported to be happy with his son's achievements in the world of music. Jagjit went to Khalsa High School at Ganganagar. He studied Sciences during (after matriculation) from Government College, Ganganagar and went for graduation to DAV College, Jalandhar in Arts stream . He also acquired a P.G. Degree in History from Kurukshetra University, Haryana.
.

GHAZALS:

JAGJIT SINGH:
ALBUM: CLOSE TO MY HEART:

(1) KAHIN DOOR JAB DIN ...ALBUM: CLOSE TO MY HEART:

Kahin Door Jab Din Dhal Jaye
Somewhere far away,when the day ends..
Sanjh Ki Dulhan Badan Churaye,Chupke Se Aaye
And the dusk glides in slow and quiet like a new bride.
Mere Khayaalon Ke Aangan Mein Koi Sapnon Ke (Deep Jalaaye)2
in the courtyard of my thoughts, someone lights up my dreams

Kahin Door Jab Din Dhal Jaye
Somewhere far away,when the day ends
Sanjh Ki Dulhan Badan Churaye,Chupke Se Aaye
and the dusk glides in, slow and quiet like a new bride.

(Kabhi Yun Hi Jab Hui Bojhal Saansen
At times when my breathing is labored for no particular reason
Bhar Aai Baithe Baithe Jab Yun Hi Aankhen)2
When my eyes would fill with tears,for no reason at all,
Kabhi Machal Ke Pyar Se Chal Ke Chhuye Koi Mujhe Par (Nazar Na Aaye)2
someone stirs and walks up to me with love, touches my heart but i cannot see her.

Kahin Door Jab Din Dhal Jaye
Somewhere far away,when the day ends..
Sanjh Ki Dulhan Badan Churaye,Chupke Se Aaye
and the dusk glides in slow and quiet like a new bride.

Kahin To Yeh Dil Kabhi Mil Nahin Paate
Sometimes inspite of physical closeness, people do not get along
Kahin Pe Nikal Aaye Janmon Ke Naate
Other times two people met and felt that they know each other forever, their relationship is longer than this lifetime
Ghani Thi Uljhan Bairi Apna Man, Apna Hi Hoke Sahe (Dard Paraaye)2
It is indeed a puzzle that the heart that belongs to me, feels others pain and make their troubles mine

Kahin Door Jab Din Dhal Jaye
Somewhere far away,when the day ends..
Sanjh Ki Dulhan Badan Churaye,Chupke Se Aaye
and the dusk glides in, slow and quiet like a new bride.

Dil jaane, mere saare, bhed ye gahare
My hearts knows all my innermost secrets
Ho gae kaise mere, sapane sunahare
How my dreams have become a beautiful golden hue
Ye mere sapane, yahii to hain apane
My dreams, these dreams are all that I have
Mujhase judaa na ho.nge inake ye saaye, inake ye saaye
These dreams will never be taken away from me

Kahin Door Jab Din Dhal Jaye
Somewhere far away,when the day ends
Sanjh Ki Dulhan Badan Churaye,Chupke Se Aaye
and the dusk glides in, slow and quiet like a new bride.

Trans:Ranjana


This is the format we will be using, as we will do as much songs by Jagjit Singh with the lyrics and lyrics translations

These are the ghazals we will be featuring: Later we get to the album Jagjit sings Ghalib:
.

This message has been edited. Last edited by: asj,

quote:

Originally posted by chameli:
Devdas...I like ur new suit


i hope my Bhaiya notice that u change into a nice tux

I did and was thinking that after a long search "Devdas is now so happy maybe he found his Chandramukhi" Glad for him.

Cannot resist to leave out the Video of Kahin Door Jab Din Dhal Jaaye:

Jagjit Singh doing the original composition of Mukesh:
Film:Anand:

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GHAZALS:

JAGJIT SINGH
ALBUM: CLOSE TO MY HEART

(2) SEENE MAY SULAGTE HAIN ARMAAN: MP3

Seene mein sulagte hain armaan aankho mein udaasi chhaayi hai
Desires kindle in the heart sorrow is entrenched in my eyes
Ye aaj teri duniya se hamein Taqdeer kaha le aayi hai
Today from your world where has fate brought me

Seene mein sulagte hain armaan
Desires kindle in the heart

Kuchh aankh mein aansoo baaki hain (Jo mere gham ke saathi hain) 2
Some tears in the eyes are still left the friends of my grief
(Ab dil hain na dil ke armaan hain)2 Bas main hu meri tanhaai hai
There is the heart but no desire of the heart just me and my lonliness

Seene mein sulagte hain armaan
Desires kindle in the heart

Na tujhse gila koyi hamko na koyi shikaayat duniya se
I don't have to blame you no complaints to the world
(Do chaar kadam jab manzil thi)2 Qismat ne thhokar khaayi hai
When the destination was four steps away fate has pushed me

Seene mein sulagte hain armaan
Desires kindle in the heart

Kuchh aisi aag lagi man mein jeene bhi na de marne bhi na de
Some type of fire was lit in my heart it won't let me live, it won't let me die
(Chup hu to kaleja jalta hai)2 Bolu to teri ruswaayi hai
If I am silent, my chest burns if I talk, then it will be your disgrace

Seene mein sulagte hain armaan
Desires kindle in the heart

Trans:Madhuri Dixit
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This message has been edited. Last edited by: asj,

GHAZALS:

JAGJIT SINGH
ALBUM: CLOSE TO MY HEART

(3) EK PYAR KA NAGMA HAI:

(Ek pyaar kaa nagmaa hai, maujo kee rawaanee hain
It is a song of love, it is a flow of ecstasy
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain)2
Life is nothing else but a story of you and me

(Kuchh paakar khonaa hai, kuchh khokar paanaa hain
In life, if one lose something they loses another, each loss hides a gain
Jeewan ka matlab to, aana aaur jaana hain)2
The meaning of life is that happiness and sorrows comes and goes
Do pal ke jeewan se, yek umar churaanee hain
Sometimes one moment of happiness last for the entire lifetime

Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain
Life is nothing else but a story of you and me

(Ek pyaar kaa nagmaa hai, maujo kee rawaanee hain
It is a song of love, it is a flow of ecstasy
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain)2
Life is nothing else but a story of you and me

Too dhaar hain nadiyaa kee, main teraa kinaaraa hoo
You are the current of the river, I am your shore
Too mera sahaara hai, main tera sahaara ho
You are my support, I am your support
Aakhon mein samandar hai, ashaoan ka paanee hain
In my eyes is an endless ocean, the waters
of the sea is the water of hope

Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain)2
Life is nothing else but a story of you and me

(Ek pyaar kaa nagmaa hai, maujo kee rawaanee hain
It is a song of love, it is a flow of ecstasy
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain)2
Life is nothing else but a story of you and me

Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain
Life is nothing else it is the story of you and me
(Ek pyaar kaa nagmaa hai, maujo kee rawaanee hain
It is a song of love, it is a flow of ecstasy

Tufaan to aanaa hai, aa kar chale jaanaa hain
The storm is going to come, and then it will go away
Baadal hain ye kuchh pal kaa, chhaa kar dhal jaanaa hain
This dark cloud of a few moments, will eventually blown away
Parchhaeyan rah jatee, rah jatee nishaane hain
Images remain, marks remain

Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain
Life is nothing else but a story of you and me

Ek pyaar kaa nagmaa hai, maujo kee rawaanee hain
It is a song of love, it is a flow of ecstasy
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain
Life is nothing else but a story of you and me

Trans:Ranjana

This message has been edited. Last edited by: asj,

quote:

Originally posted by asj:
Cannot resist to leave out the Video of Kahin Door Jab Din Dhal Jaaye:

Jagjit Singh doing the original composition of Mukesh:
Film:Anand:

.

GHAZALS:


JAGJIT SINGH

COURTESY YOUTUBE:

(1)Ye daulat bhi le lo - Jagjit Singh

(2)Jagjit singh - Kiska chehra

(3)Jagjit Singh hosh walon

(4)Honton se choo lo tum - Jagjit Singh

(5)Main nashay main hoon - Jagjit Singh

(6)Jagjit Singh - Tumko Dekha to

NUMBER 6:

.

Early years

His association with music goes back to his childhood. He learnt music under Pandit Chaganlal Sharma for two years in Ganganagar, and later devoted six years to learning Khayal, Thumri and Dhrupad forms of Indian Classical Music from Ustad Jamaal Khan of Sainia Gharana. The Vice Chancellor of Punjab and Kurukshetra University, Late Professor Suraj Bhan encouraged his interest in music. He arrived in Mumbai (then Bombay) in 1965 in search of better opportunities as a career musician and singer. His early struggle in the music industry, though not too harsh by his own account, still had its share of trials and tribulations. He lived as a paying guest and his earlier assignments were singing advertisement jingles or performing at weddings and parties.
.

GHAZALS:

JAGJIT SINGH
ALBUM: CLOSE TO MY HEART

(4) YAAD KIYA DIL NE KAHAAN....ALBUM: CLOSE TO MY HEART: MP3

(Yaad Kiyaa Dil Ne Kahaan Ho Tum
The heart remembered (you), where are you
Jhuumatii Bahaar Hai Kahaan Ho Tum
The Spring is dancing, where are you
Pyaar Se Pukaar Lo Jahaan Ho Tum
Call lovingly wherever you are
Pyaar Se Pukaar Lo Jahaan Ho Tum)2
Call lovingly wherever you are

(Oooo Kho Rahe Hi Aaj Kis Khayaal Mein)2
What thought am I lost in
Oooo Dil Fasaa Hai Bebasii Ke Jaal Mein
The heart is trapped in a net of helplessness
Matalabii Jahaan Mehrabaan Ho Tum
Wherever there is meaningful kindness, you are there
Jhuumatii Bahaar Hai Kahaan Ho Tum
The Spring is dancing, where are you
(Pyaar Se Pukaar Lo Jahaan Ho Tum)2
Call lovingly wherever you are

Yaad Kiyaa Dil Ne Kahaan Ho Tum
The heart remembered (you), where are you
Jhuumatii Bahaar Hai Kahaan Ho Tum
The Spring is dancing, where are you
(Pyaar Se Pukaar Lo Jahaan Ho Tum)2
Call lovingly wherever you are

(Oooo Tum Hamaari Zindagii Ke Baag Ho)2
You are the flower garden of my life
Oooo Tum Hamaari Raah Ke Chiraag Ho
You are the lamp of my path
Mere Liye Aasamaan Ho Tum
You are the sky for me
Jhuumatii Bahaar Hai Kahaan Ho Tum
The Spring is dancing, where are you
(Pyaar Se Pukaar Lo Jahaan Ho Tum)2
Call lovingly wherever you are

(Yaad Kiyaa Dil Ne Kahaan Ho Tum
The heart remembered (you), where are you
Jhuumatii Bahaar Hai Kahaan Ho Tum
The Spring is dancing, where are you
Pyaar Se Pukaar Lo Jahaan Ho Tum
Call lovingly wherever you are
Pyaar Se Pukaar Lo Jahaan Ho Tum)2
Call lovingly wherever you are

Oooo Raat Dhal Chukii Hai Subah Ho Gayii
The night has set, it will be morning
Oooo Mai Tumhaarii Yaad Leke Kho Gayii
I am lost in your thoughts
Ab To Merii Daastaan Ho Tum
Now you are my story

Yaad Kiyaa Dil Ne Kahaan Ho Tum
The heart remembered (you), where are you
Pyaar Se Pukaar Lo Jahaan Ho Tum
Call lovingly wherever you are
Yaad Kiyaa Dil Ne Kahaan Ho Tum
The heart remembered (you), where are you
Jhuumatii Bahaar Hai Kahaan Ho Tum
The Spring is dancing, where are you
(Pyaar Se Pukaar Lo Jahaan Ho Tum)2
Call lovingly wherever you are

Trans: Madhuri Dixit
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This message has been edited. Last edited by: asj,

GHAZALS:

JAGJIT SINGH
ALBUM: CLOSE TO MY HEART

(5) JANE WOH KAISE LOG THY....ALBUM: CLOSE TO MY HEART MP3:

(Jaane Vo Kaise Log The Jinake Pyaar Ko Pyaar Milaa)2
Wonder who are these people whose love is reciprocated?
Hamane To Jab Kaliyaan Maangii Kaanton Kaa Haar Milaa
Asking for a garland of flowers (love) I got a garland of thorns (rejection)

Jaane Vo Kaise Log The Jinake Pyaar Ko Pyaar Milaa
Wonder who are these people whose love is reciprocated?

(Khushiyon Kii Manzil Dhuundhi To Gam Kii Gard Mili)2
I looked for happiness and fond the dust of sorrows
Chaahat Ke Nagame Chaahe To Aanhen Sard Milii
Want to sing the song of love but got the sighs devoid of warmth
Dil Ke Bojh Ko Dhundhalaa Kar Gayaa Jo Gamakhaar Milaa
The weight of my sadness was doubled by supposed sympathizers
Hamane To Jab Kaliyaan Maangii Kaanton Kaa Haar Milaa
Asking for a garland of flowers (love) I got a garland of thorns (rejection)

Jaane Vo Kaise Log The Jinake Pyaar Ko Pyaar Milaa
Wonder who are these people whose love is reciprocated?

(Bichhad Gayaa)3 Har Saathi Dekar Pal Do Pal Ka Saath
Everyone that I loved, loved me for a moment and then left
Kisako Furasat Hai Jo Thaame Diivaanon Kaa Haath
After all who has their life to spend with a crazy person
Hamako do Apanaa Saayaa Aqasar Bezaar Milaa
Sometimes even my fraustrated shadows become disgusted with me
Hamane To Jab Kaliyaan Maangii Kaanton Kaa Haar Milaa
Asking for a garland of flowers (love) I got a garland of thorns (rejection)

Jaane Vo Kaise Log The Jinake Pyaar Ko Pyaar Milaa
Wonder who are these people whose love is reciprocated?

(Isko Hi Jiinaa Kahate Hain To Yuunhii Jii Lenge)2
If this is supposed to be living, then I will have to live like this
Uf Na Karenge Lab Sii Lenge Aansuu Pii Lenge
I will not even wince, remain silent not shedding any tears
Gam Se Ab Ghabaraanaa Kaisaa, Gam Sau Baar Milaa
Should I be afraid of sorrows? after I have been the receiptient 100 times
(Hamane To Jab Kaliyaan Maangii Kaanton Kaa Haar Milaa
Asking for a garland of flowers (love) I got a garland of thorns (rejection)

Jaane Vo Kaise Log The Jinake Pyaar Ko Pyaar Milaa)2
Wonder who are these people whose love is reciprocated?

Trans:Ranjana

NB
From our little discussion about Ghazals, you will notice that this one fitted perfectly
.

This message has been edited. Last edited by: asj,

i am spending the night right here...3 threads on here will keep me happy

Guys doan forget Adnan Sami....masterful modern style.
~Dev.

quote:

Originally posted by Devdas:
Guys doan forget Adnan Sami....masterful modern style.
~Dev.

Thanks, will add Adnan to the list, and any other that we might have inadvertently omitted.
See PM.

quote:

Originally posted by Devdas:
Guys doan forget Adnan Sami....masterful modern style.
~Dev.

Yes, we saw him in concert here 2 years ago, and have some of his music. He performs for international royalty. Wonderful guy, with a great sense of humor. He was on a diet, looks very slim now and was discussing it on our local tv in an interview.

Jagjit's only son died in a tragic car accident a few years ago...and his life was never the same. I believe that his wife stopped singing since then...and they were having a real hard time dealin'' with it. Real tough....

COURTESY WIKIPEDIA:

Rise of Jagjit Singh

During 1970s, in India, the art of ghazal singing was dominated by well-established names like Noor Jehan, Malika Pukhraj, Begum Akhtar,Talat Mahmood and Mehdi Hassan. However, Jagjit was still able to make his mark and carve out a niche for himself. In 1976, his album The Unforgettables (On HMV LP Records) hit the music stores. Essentially a ghazal album, it's emphasis on melody and Jagjit's fresh voice was a departure from the prevalent style of ghazal rendition, which was heavily based on classical and semi-classical Indian music. Skeptics had their own reservations, purists scorned it but it was widely successful among listeners and the album set new sales records.

In 1967 he met Chitra, also a singer, while doing jingles. After a two year long courtship they got married in 1969. They epitomise the first successful husband-wife singing team. Jagjit Singh, with Chitra, has contributed immensely towards changing the course of this genre of music known as 'Ghazal' making it more ear friendly, melodic and enojoyable by a wider audience.

Later successful releases of the duo include Ecstasies, A Sound Affair and Passions.

While the above-mentioned albums were breezy, Beyond Time released in the opening years of nineties was an experimentation with sounds and conveyed a feeling that was beyond space and time. Around this time the duo was struck by grief as their only son, Vivek, who was twenty-one, met an untimely death in a road accident. Not only Jagjit and Chitra, it was a big shock to his numerous fans also. The album is a tour to the soul, ethereal, conscientious and introspective. The ghazals have a moving quality to them since they express the personal loss of Jagjit and Chitra. 'Someone Somewhere' was the last album containing ghazals sung by both. After that, Chitra quit singing.

Jagjit Singh continued singing his later albums, including Hope, In Search, Insight, Mirage, Visions, Kahkashan (meaning "Galaxy"), Love Is Blind, Chirag (meaning "Lamp"/"Flame") also achieved success. Sajda (an Urdu word meaning "offering"), which has ghazals sung by Jagjit and Lata Mangeshkar was another brilliant release and made its mark as a classic Ghazal album. The combined successes of his many albums made him arguably the number one ghazal singer in India. The audience wanted more and Jagjit Singh obliged with his Punjabi albums. Ebullient, effervescent and bubbly, his Punjabi songs are pleasant as well as joyous. Their enchanting ghazals use the choicest poetry by renowned poets including Mirza Ghalib, Ameer Meenai, Kafeel Aazer, Sudarshan Faakir and Nida Fazli.... and contemporary writers like Zaka Siddiqi, Nazir Bakri, Faiz Ratlami and Rajesh Reddy.

Jagjit also sang (as playback singer) for various songs in Bollywood films including Arth, Saath Saath and Premgeet (all from 1980s). The scores remain popular even today. In fact, all the songs of film Premgeet were composed by Jagjit. His compositions for the TV serial Mirza Ghalib (based on the life of the poet Mirza Ghalib), remain extremely popular among ghazal aficionados. The elusive element of Ghalib's poetry was sensitively and wonderfully brought out in the soulful compositions of Ghalib's ghazals by Jagjit Singh. The album could veritably be called a magnum opus.

Compared to his earlier ghazals (sung during 70s and 80s) his later ghazals have acquired a more soulful and poignant demeanour, as in albums such as Marasim, Face To Face, Aaeena, Cry For Cry. But all through this, romance never took a backseat! The journey to the soul is punctuated by romantic pauses like Dil Kahin Hosh Kahin. A testimony to his popularity is his ghazals in recent Bollywood flicks like Dushman, Sarfarosh, Tum Bin and Tarkeeb.

Most of the earlier albums of Jagjit Singh had English titles. Later, these had Urdu names like Sahar (meaning "Dawn"/"Morning"), Muntazir (meaning "In waiting"), Marasim (meaning "Relation"/"Relationship"/"Affinity" ) "Soz" (Pathos) etc.. The switchover may not be deliberate but marks a milestone in his singing. These new albums show a far better selection of lyrics and yes, even the singing has scaled new peaks.

Besides ghazals, Jagjit Singh has also sung Bhajans and Gurbani(Hindu and Sikh devotional hymns respectively) . Albums such as Maa, Hare Krishna, Hey Ram...Hey Ram, Ichhabal and also Man Jeetai Jagjeet in Punjabi, put him in the league of Bhajan singers such as Mukesh, Hari Om Sharan, Yesudas, Anup Jalota and Purushottam Das Jalota. The soothing effect that Jagjit's voice has on frayed nerves has prompted psychiatrists in metros (as large cities in India are called) to prescribe them as stress relievers.

In addition to cultivating his own successful career, Jagjit Singh has been involved in guiding many new, talented singers such as Talat Aziz, Ghanshyam Vaswani, Ashok Khosla, Siza Roy and Vinod Sehgal. He also lends active support to several philanthropic endeavors such as the Library at St. Mary's (Mumbai), Bombay Hospital, CRY, and ALMA (an organization that adopts under-privileged students for further education and development).

Jagjit Singh lives in Cumballa Hills, Mumbai.

Jagjit Singh is also accredited with bringing the ghazal genre, which was previously restricted to the elite classes, to the masses. His music direction can be seen to be pioneering in changing the sound layout by adding more Western instruments while mostly retaining the traditional orchestra (which includes a tabla, and harmonium, and a couple of string instruments)

Jagjit Singh is accredited with finding one of the foremost playback singers in Bollywood in modern times, Kumar Sanu. As he played a big part in Sanu's initial career, in an interview Sanu said that Singh took him to meet the legendary music composers Kalyanji Anandji after hearing his voice, from there on Sanu has become a legend in Bollywood for his range and singing as he went to win five male playback Filmfare Awards in a row. A record that still stands.
COURTESY WIKIPEDIA:
.
.

quote:

The elusive element of Ghalib's poetry was sensitively and wonderfully brought out in the soulful compositions of Ghalib's ghazals by Jagjit Singh. The album could veritably be called a magnum opus.

We have this recording which we will present later, it is a pity that we could not get MP3 links.
.

quote:

Vivek, who was twenty-one, met an untimely death in a road accident. Not only Jagjit and Chitra, it was a big shock to his numerous fans also. The album is a tour to the soul, ethereal, conscientious and introspective. The ghazals have a moving quality to them since they express the personal loss of Jagjit and Chitra. 'Someone Somewhere' was the last album containing ghazals sung by both. After that, Chitra quit singing.

How tragic can faith be?

Just imagine that everything dear to them would have been second to their son...and that was taken. Pity indeed...somone told me that these ghazal singers usually take a "drink" before they sing...do you know if there is any truth to this asj bhai?

quote:

Originally posted by asj:

quote:

Vivek, who was twenty-one, met an untimely death in a road accident. Not only Jagjit and Chitra, it was a big shock to his numerous fans also. The album is a tour to the soul, ethereal, conscientious and introspective. The ghazals have a moving quality to them since they express the personal loss of Jagjit and Chitra. 'Someone Somewhere' was the last album containing ghazals sung by both. After that, Chitra quit singing.

How tragic can faith be?

I understand that they blamed each other for the youngman's death.

Jagjit & Chitra performed some really powerful songs together. Her soul-stirring voice is renowned internationally.

quote:

Originally posted by Devdas:
Just imagine that everything dear to them would have been second to their son...[]?

very sad indeed...

Eric clapton sang TEARS IN HEAVEN (one of my favs...for his 7 yr old son who died tragically too)...the pain NEVER goes away after losing a much loved young person

GHAZALS:


Jagjit Singh with wife, Chitra Singh

JAGJIT SINGH
ALBUM: CLOSE TO MY HEART

(6) TASAWEER BANAATA HOO: ALBUM: CLOSE TO MY HEART: MP 3:

(Tasaweer banaataa hoo, (tasaweer naheen banatee)2
I am trying to draw a picture of you, but alas I cannot
Ek khwaab saa dekhaa hai, taabeer naheen banatee
Your dreamlike glimpse was an illusion, in which the image is lost

(Bedard mohabbat kaa itanaa saa hain afasaanaa)2
This is the short story of my love affair
Nazaron se milee nazare, main ho gayaa deewaanaa
Our eyes met, and I have since become crazy for her
Ab dil ke bahalane kee, tadabeer naheen banatee
And now I cannot find a way to trick my restless heart to be content

Tasaweer banaataa hoo, tasaweer naheen banatee
I am trying to draw a picture of you, but alas I cannot

(Dam bhar ke liye meree duniyaan mein chale aao)2
Oh please for one moment, come back into my world
Tarasee huyee aakhon ko fir shakl dikhaa jaao
Show your face once more to my sad and waiting eyes
Muj se to meree bigadee takadeer naheen banatee
Fate is leading me astray, please come back into my life.

(Tasaweer banaataa hoo, (tasaweer naheen banatee)2
I am trying to draw a picture of you, but alas I cannot
Ek khwaab saa dekhaa hai, taabeer naheen banatee
Your dreamlike glimpse was an illusion, in which image is lost.

Trans:Ranjana
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This message has been edited. Last edited by: asj,

Chitra is a stunning beauty too.

LEGENDS: ALIVE AND KICKING: AGING GRACEFULLY

Chitra, Lata Mangeshkar and Jagjit Singh

Jagjit Singh and Chitra Singh with their only son Vivek who died in a road accident
.

GHAZALS:

JAGJIT SINGH:
ALBUM: AAENA :

(7) MUSKURARKAR MILA KARO HUMSE: MP 3:

(Muskurakar Mila Karo Humse)2
Always meet me with a smile
Kuch Kaha Aur Suna Karo Hamse
Let the conversation flow

Muskurakar Mila Karo Humse
Always meet me with a smile

(Baat Karne Se Baat Badhti Hai)2
When one chats, the friendship develops
(Rooj Bate Kiya Karo Hamse)2
So talk to me every day

Kuch Kaha Aur Suna Karo Hamse,
Let the conversation flow

(Dushmani Se Milaiga Kya Tumko)2
What will you gain from animosity
(Dost Bankar Raha Karo Hamse)2
Always stay as a friend with me

Kuch Kaha Aur Suna Karo Hamse,
Let the conversation flow
Muskurakar Mila Karo Humse,
Always meet me with a smile

(Dekh Lete Hai Saat Pardo Me)2
I can see through innermost feelings
(I can see through seven layers of veils)
(Yuh Na Parda Kiya Karo Hamse)2
So do not hide your feeling from me

Muskurakar Mila Karo Humse,
Always meet me with a smile
Kuch Kaha Aur Suna Karo Hamse
Let the conversation flow

Trans:Ranjana
.

This message has been edited. Last edited by: asj,

quote:

Originally posted by asj:

Jagjit Singh and Chitra Singh with their only son Vivek who died in a road accident
.

asj bhaiji...there was a sad rumour about Chitra's son...not that it matters...GOD took him from her ()

[QUOTE]Originally posted by asj:
(6)TASAVEER BANATA HOON:

played at least 10 times...played for my dad who used to sing this for me when i was his only kid...and he sang it for me today

Dids This one was originally done by Talat Mahmood so many years ago, so happy that it brought a smile from your dad.
.

This message has been edited. Last edited by: asj,

GHAZALS:

JAGJIT SINGH:

(8) TUM KO DEKHA TO YE KHAYAAL AAYA...........SAATH SAATH

Tum Ko Dekha To Ye Khayaal Aaya
When I saw you this thought came to me
Zindagi Dhoop Tum Ghana Chaaya)
Life is like a hot sun and you are the soothing shade

(Tum Ko Dekha To Ye Khayaal Aaya)2
When I saw you this thought came to me
Zindagi Dhoop Tum Ghana Chaaya
Life is like a hot sun and you are the soothing shade

Tum Ko Dekha To Ye Khayaal Aaya
When I saw you this thought came to me

(Aaj Phir Dil Ne Ik Tamanna Ki)2
Today again my heart wished for something
(Aaj Phir Dil Ko Humne Samjhaaya)2
Today again I had to mollify my heart
(Sometimes the heart does not get its desires)

Zindagi Dhoop Tum Ghana Chaaya
Life is like a hot sun and you are the soothing shade
Tum Ko Dekha To Ye Khayaal Aaya
When I saw you this thought came to me

(Tum Chale Jaaoge To Sochenge)2
When you leave then I shall ponder over it*
(Humne Kya Khoya Humne Kya Paaya)2
What did I lose (by your leaving) what did I gained
(by spending those moments with you)

Zindagi Dhoop Tum Ghana Chaaya
Life is like a hot sun and you are the soothing shade
Tum Ko Dekha To Ye Khayaal Aaya
When I saw you this thought came to me

(Hum Jise Gunguna Nahin Sakte)2
The song that I am even forbidden to hum
(Waqt Ne Aisa Geet Kyoon Gaaya)2
Why did fate bring and sang that song for me?

Zindagi Dhoop Tum Ghana Chaaya
Life is like a hot sun and you are the soothing shade
Tum Ko Dekha To Ye Khayaal Aaya
When I saw you this thought came to me

Trans:Ranjana

Forbidden Love sometimes bring tears to the eyes: we are all helpless to fate dictates:

(Tum Chale Jaaoge To Sochenge)2
When you leave then I shall ponder over it*
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This message has been edited. Last edited by: asj,

GHAZALS:

JAGJIT SINGH
ALBUM: CLOSE TO MY HEART

(9) TERI DUNIYA MEIN JEENE.....ALBUM CLOSE TO MY HEART

(Teri Duniya Mein Jeene Se,
To Behtar Hai Ke Mar Jaaye)2
It is better to die,
than to live in your world

Wahi Ansu Wahi Aankhe,
Wahi Gum Hai Kidhar Jaaye
Same tears, same sighs, same sadness everywhere,
Ohh where should one go to escape?

Teri Duniya Mein Jeene Se,
To Behtar Hai Ke Mar Jaaye
It is better to die,
than to live in your world

(Koi To Aisa Ghar Hoga,
Jaha Se Pyaar Mil Jata)2
Is there any place (home)
Where one could receive love

Wahi Begane Chere Hai,
Jaha Phuche Jidhar Jaye,
The same strange faces
Where ever I look and go

Teri Duniya Mein Jeene Se,
To Behtar Hai Ke Mar Jaaye
It is better to die,
than to live in your world

(Are O Asma Wale Bata,
Isme Bura Kya Hai)3
Oh God dwelling in the sky, tell me
What is so bad about this

Kushi Ke Chaar Jhoke Agar,
Idhar Se Jo Guzar Jaye
Let the breeze of happiness
Blow through here (my life)

Teri Duniya Mein Jeene Se,
To Behtar Hai Ke Mar Jaaye
It is better to die,
than to live in your world

Wahi Ansu Wahi Aankhe,
Wahi Gum Hai Kidhar Jaaye
The same strange faces
Where ever I look and go

Trans:Ranjana
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This message has been edited. Last edited by: asj,

These are some really beautiful ghazals. I loved some of their earlier songs.

GHAZALS:

JAGJIT SINGH AND LATA MANGESHKAR BLEND VOICES IN

(10) HAR TARAF HAR JAGAH.................ALBUM SAJDA
http://www.musicindiaonline.com/p/x/wUQpbtU4w9.As1NMvHdW/

(har taraf har jagah beshumaara aadami
phir bhii tanahaaiiyon kaa shikaar aadamii)2
In every direction, every place is full of people
Even then, man is a victim of loneliness

subah se shaam tak bojh Dhotaa huaa
apanii hii laash kaa Khud mazaar aadamii
From morning to evening, bearing the burden (of his body)
A man is tombstone for his own corpse

phir bhii tanahaaiiyon kaa shikaar aadamii
har taraf har jagah beshumaara aadamii
In every direction, every place is full of people
Even then, man is a victim of loneliness

har taraf bhaagate daurate raaste
har taraf aadamii kaa shikaar aadamii
In every direction there are paths running
Everywhere, man is a victim (hunted by) of man

(har taraf har jagah beshumaara aadamii)2
phir bhii tanahaaiiyon kaa shikaar aadamii
In every direction, every place, there are several people
Even then, man is a victim of loneliness

roz jiitaa huaa roz marataa huaa
har nae din nayaa intazaar aadamii
Everyday he lives and everyday he dies
Every new day is a waiting game to live or die

phir bhii tanahaaiiyon kaa shikaar aadamii
har taraf har jagah beshumaara aadamii
In every direction, every place, there are several people
Even then, man is a victim of loneliness

zindagii kaa muqaddar safar dar safar
aakhirii saans tak beqaraar aadamii
The fate of life is journey after journey
Till the last breath, man is restless

phir bhii tanahaaiiyon kaa shikaar aadamii
har taraf har jagah beshumaara aadamii
In every direction, every place, there are several people
Even then, man is a victim of loneliness

Ranjana

.

This message has been edited. Last edited by: asj,

quote:

Originally posted by asj:
GHAZALS:

JAGJIT SINGH AND LATA MANGESHKAR BLEND VOICES IN

(10) HAR TARAF HAR JAGAH.................ALBUM SAJDA
http://www.musicindiaonline.com/p/x/wUQpbtU4w9.As1NMvHdW/

(har taraf har jagah beshumaara aadami
phir bhii tanahaaiiyon kaa shikaar aadamii)2
[b]In every direction, every place, there are several people...

Superb blending of their voices.

GHAZALS:

(11) JAB KISISE KOYI GILA RAKHNA:

(Jab kisise koi gila rakhna)2
When you hold a grudge agains't someone
(saamne apne aaina rakhna)2
Keep a mirror in front of yourself
(see where you may have been wrong)

Jab kisise koi gila rakhna
When you hold a grudge agains't someone

(Yun ujaloun se vaasta rakhna)2
Ones relationship is such
(Shamma ke paas hee hawa rakhna)2
[b]like keeping a lit candle by the breeze

Saamne apne aaina rakhna
Keep a mirror in front of yourself
(see where you may have been wrong)
Jab kisise koi gila rakhna
When you hold a grudge agains't someone

(Ghar ki taameer chahe jaisi ho)2
Irrespective of the construcion of your home(you)
(Is mein rone ki kuch jaga rakhna)2
Always keep a room for crying (Sorrow)

Saamne apne aaina rakhna
Keep a mirror in front of yourself
(see where you may have been wrong)
Jab kisise koi gila rakhna
When you hold a grudge agains't someone

(Masjiday mein namaziyon kay leyey)2
The mosque is for praying for the pious
(Apnay ghar may kahi khuda rakhna)2
Remember to keep some space in your home for God

(Milna julna jahan zaroori ho)2
It is important to keep up social connections
(Milne jhulne ka haounsla rakhna)2
Have courage to maintain those relationsships

Saamne apne aaina rakhna
Keep a mirror in front of yourself
(see where you may have been wrong)
Jab kisise koi gila rakhna
When you hold a grudge agains't someone

Trans: Ranjana
.

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GHAZALS:

JAGJIT SINGH AND CHITRA SINGH
ALBUM:JAZBAAT SOULFUL MOMENTS

(12) WOH KAGAZ KI KASHTI........ALBUM: JAZBAAT SOULFUL MOMENTS

Jagjit:
ye daulat bhi le lo, ye shohrat bhi le lo
Take all this wealth and fame
bhale cheen lo mujhse meri jawaani
You may even take my youth too
magar mujhko lauta do bachchpan ka saawan
But please, let me keep my childhood memories
wo kaagaz ki kasthi wo baarish ka paani
The boat made of paper and that water from the rain

Chitra:
ye daulat bhi le lo, ye shohrat bhi le lo
Take all this wealth and fame
bhale cheen lo mujhse meri jawaani
You may even take my youth too
magar mujhko lauta do bachchpan ka saawan
But please, let me keep my childhood memories
wo kaagaz ki kasthi wo baarish ka paani
The boat made of paper and that water from the rain

Jagjit/Chitra:
(wo kaagaz ki kasthi wo baarish ka paani)
The boat made of paper and that water from the rain

Jagjit:
mohalle ki sabse nishaani purani
The oldest relic of the community
wo burhiya jise bachche kehte the naani
The old lady, whom all called Naani (Grandmother)
wo naani kee baaton mein pariyon ka dera
That Naani's stories was about the fairies
wo chehre ke Jhuriyon mein sadiyon ka phera
One could see her sufferings from the wrinkles on her face
bhulaaye nahin bhool saqta hai koi
How can anyone forget
wo choti see raaten wo lambi kahaani
The short nights and long stories
(concept: time passes fast when having fun)

(wo kaagaz ki kasthi wo baarish ka paani)2
The boat made of paper and that water from the rain

Chitra:
kari dhoop mein apne ghar se nikalna
In the hot afternoon, stealing out from the home
wo chiriya wo bulbul wo thithli pakarna
and trying to catch the birds and butterflies
wo guriya ki shaadi pe larna jhagarna
Those little squirmishes on a doll's wedding
wo jhoolon se girna, wo gir ke sambhalna
Falling from the swing, and then getting up again
wo pithal ke challon ke pyaare se tho'fe
Those beautiful presents of brass rings
wo tuti hui chudiyoy ki nishaani
That Momento of broken glass bangles
(wo kaagaz ki kasthi wo baarish ka paani)2
The boat made of paper and that water from the rain

Jagjit:
kabhi re't ke oonche tilon pe jaana
Climbing the sand hillocks
gharonde banana, banaake mitaana
Making sand castles then destroying them
wo maasoom chaahat ki tasveer apni
That is the "Innocence of Childhood"
wo khwabon khilono ki taabir jaageer apni
That personal estate of dreams and toys
na duniya ka gham tha na rishton ke bandhan
Has no worries of the worlds nor bound by relationships
bari khoobsoorat thi wo zindgaani
That life was so much beautiful

Jagjit/Chitra:
ye daulat bhi le lo, ye shohrat bhi le lo
Take all this wealth and fame
bhale cheen lo mujhse meri jawaani
You may even take my youth too
magar mujhko lauta do bachchpan ka saawan
But please, let me keep my childhood memories
wo kaagaz ki kasthi wo baarish ka paani
The boat made of paper and that water from the rain

Trans:Ranjana

Ranjana's Note: KAAGAZ KI KASTHI- HAS A SIGNIFICANCE- IN THE MONSOON WHEN IT RAINS- MOST KIDS, ESP IN THE VILLAGES WILL MAKE BOATS FROM PAPER AND FLOAT THEM IN
PUDDLES OR IN FLOWING WATER. IT IS TIME OF FRIVIOLITY AND EXCITEMENT.
THE POET IS CELEBRATING THE INNOCENCE OF THE CHILDHOOD.... TIMES OF SIMPLE
PLEASURES LIKE CELEBRATING A DOLLS WEDDING, LISTENING TO STORIES , FLOATING
A PAPER BOAT.....
.

This message has been edited. Last edited by: asj,

GHAZALS:

JAGJIT SINGH AND CHITRA SINGH
ALBUM: JAGJIT AND CHITRA:

(13)DIL KI DEWARON DAR PE KYA DEKHA....ALBUM: JAGJIT AND CHITRA:

Chitra:
(dil ke deewaron dar pe kya dekha)2
bas tera naam hi likha dekha
What did I see when I looked into my heart
I saw only your name written all over

Jagjit:
(teri aankhon mein humne kya dekha)2
kabhi qaatil kabhi khuda dekha
When I looked into your eyes, what did I see?
Sometimes a killer (of my heart), and sometimes a God

Chitra:
(apnee soorat lagi parayee si)3
(jab kabhi humne aa'inah dekha)
Looking at my face in the mirror
I felt that it belongs to you

Jagjit:
(haaye andaaz tere rukne ka)3
(waqt ko bhi ruka ruka dekha)2
Your gesture of stopping is admirable
even the time stops to observe your show

Chitra:
(tere jaane mein aur aane mein)3
(humne sadiyon ka faasila dekha)2
Time between your arrival and departure
Feels like a wait of hundred of years

Jagjit:
(phir na aaya khayaal zannat ka)3
jab tere ghar ka raasta dekha
I never thought about heaven again
eversince I saw the road to your home

teri aankhon mein humne kya dekha
kabhi qaatil kabhi khuda dekha
When I looked into your eyes, what did I see?
Sometimes a killer (of my heart), and sometimes a God

Chitra:
dil ke deewaron dar pe kya dekha
bas tera naam hi likha dekha
What did I see when I looked into my heart
I saw only your name written all over

Trans:Ranjana:

NB Ranjana will look over: tough urdu:

This message has been edited. Last edited by: asj,

GHAZALS:

JAGJIT SINGH: ALBUM KHUMAAR:

(14) BADI HASEEN RAAT THI...........ALBUM:KHUMAAR :

(charaag aaftaab gum, bari haseen raat thee)2
shabaab ki naqaab gum, bari haseen raat thee

charaag aaftaab gum, bari haseen raat thee

(mujhe pila rahe the wo ke khud hi shamma bujh gayee)2
gilaas gum, sharaab gum, bari haseen raat thee

charaag aaftaab gum, bari haseen raat thee

(likha tha jis kitaab mein ke ishq to haraam hai)
huyee wohi kitaab gum, bari haseen raat thee

charaag aaftaab gum, bari haseen raat thee

(labon se lab jo mil gaye, labon se lab hi sil gaye)
sawaal gum, jawaab gum, bari haseen raat thee

charaag aaftaab gum, bari haseen raat thee
shabaab ki naqaab gum, bari haseen raat thee

Trans:
.

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GHAZALS:

JAGJIT SINGH: ALBUM LIVELY JAGJIT 2

(15) DHAI DIN NA JAWAANI.......ALBUM LIVELY JAGJIT
http://www.musicindiaonline.com/p/x/JqxpfUlChS.As1NMvHdW/

Dhai din naa javaanii naal chaladii - 2
kuratii malamal dii

atharii terii javaanii ku diye tere vaasa naa re nha ndii - 2
saa de dil nuu laa bulaave tere hatthaa n dii me nha ndii
nit sulade dii laat vaa nguu n baladii - 2
kuratii malamal dii
Dhai din naa ...

tere kolo n turanaa sikkhe pa nj dariyaa de paanii - 2
jaa tuu koii hiir saletii- jaa koii phuulaa n raanii
nit ku diyaa n de vich nahiiyo n raladii - 2
kuratii malamal dii
Dhai din naa ...

patalii kuratii de vichcho n hii ruup jhaatiyaa n maare
a ng a ng teraa tapadaa re nha ndaa- luu n luu n kare ishaare
jhuttii khaladii maro daa nahiiyo n jhaladii - 2
kuratii malamal dii
Dhai din naa ...

Trans:

This was very very popular in its days:

quote:

Originally posted by asj:
GHAZALS:

JAGJIT SINGH: ALBUM LIVELY JAGJIT 2

(15) DHAI DIN NA JAWAANI.......ALBUM LIVELY JAGJIT
http://www.musicindiaonline.com/p/x/JqxpfUlChS.As1NMvHdW/

Dhai din naa javaanii naal chaladii - 2
kuratii malamal dii

atharii terii javaanii ku diye tere vaasa naa re nha ndii - 2
saa de dil nuu laa bulaave tere hatthaa n dii me nha ndii
nit sulade dii laat vaa nguu n baladii - 2
kuratii malamal dii
Dhai din naa ...

tere kolo n turanaa sikkhe pa nj dariyaa de paanii - 2
jaa tuu koii hiir saletii- jaa koii phuulaa n raanii
nit ku diyaa n de vich nahiiyo n raladii - 2
kuratii malamal dii
Dhai din naa ...

patalii kuratii de vichcho n hii ruup jhaatiyaa n maare
a ng a ng teraa tapadaa re nha ndaa- luu n luu n kare ishaare
jhuttii khaladii maro daa nahiiyo n jhaladii - 2
kuratii malamal dii
Dhai din naa ...

Trans:

This was very very popular in its days:

THANKS a MILLION for this one. I was introduced to Jagjit Singh with this song and 'fell in love' with this tune. It sounds so JOYFUL, maybe a wedding song since it has MEHNDI in the lyrics.
Can't wait for the translation.
I hope you are able to find an MP3.

Ps
Please check out "Charka mera rangala.." and
"Hoton pe cholu.." as well if these are Ghazals.

Thank you once again and a big 'Thank You' to your friend Ranjana, for providing the numerous translations.

GHAZALS:

JAGJIT SINGH: FROM FILM PREM GEET:

(16) HONTHON SE CHULO TUM...............PREM GEET:

(Honthon se chhuulo tum meraa giit amar kar do)2
Ban jaao miit mere merii priit amar kar do
Honthon se chhuulo tum meraa giit amar kar do

(Na umar kii siimaa ho na janam kaa ho bandhan)2
Jab pyaar kare koii to dekhe keval man
(Naii riit chalaakar tum ye riit amar kara do)2

(Jag ne chinaa mujhse mujhe jo bhii laga pyaraa)2
Sab jiita kiye mujhse main har dam hi haaraa
Tum haar ke dil apanaa merii jiit amar kar do

Honthon se chhuulo tum meraa giit amar kar do
Ban jaao miit mere merii priit amar kar do

(Akaash ka sunaapan mere tanahaa man mein)2
Paayal chhanakaati tum ajaao jiivan mein
Saansen dekar apanii sangiit amar kar do

Honthon se chhuulo tum meraa giit amar kar do
Ban jaao miit mere merii priit amar kar do

Trans:
.

This message has been edited. Last edited by: asj,

quote:

Originally posted by asj:
GHAZALS:

JAGJIT SINGH: FROM FILM PREM GEET:

(16) HONTHON SE CHULO TUM...............PREM GEET:

(Honthon se chhuulo tum meraa giit amar kar do)2
Ban jaao miit mere merii priit amar kar do
Honthon se chhuulo tum meraa giit amar kar do

(Na umar kii siimaa ho na janam kaa ho bandhan)2
Jab pyaar kare koii to dekhe keval man
(Naii riit chalaakar tum ye riit amar kara do)2

(Jag ne chinaa mujhse mujhe jo bhii laga pyaraa)2
Sab jiita kiye mujhse main har dam hi haaraa
Tum haar ke dil apanaa merii jiit amar kar do

Honthon se chhuulo tum meraa giit amar kar do
Ban jaao miit mere merii priit amar kar do

(Akaash ka sunaapan mere tanahaa man mein)2
Paayal chhanakaati tum ajaao jiivan mein
Saansen dekar apanii sangiit amar kar do

Honthon se chhuulo tum meraa giit amar kar do
Ban jaao miit mere merii priit amar kar do

Trans:
.

Once again , THANK you so very much.

This message has been edited. Last edited by: asj,

ASJ, you (and Ranjana) are doing a superb job here. Congrats and thank you
Much appreciation from someone who hardly knew anything about ghazal ie aaprt fro the few Jagjit and Chitra songs). Now I have muchunderstanding and more appreciation for these melodies.



Vidya, Thanks for your kind words and sorry about the edit as the listed songs in your post was incomplete and did not look so well against the completed, once again I am sorry to edit.

Hey so very happy that you are getting into to groove of ghazals, if we changed the view of even one person on ghazals then our job would have been worthwhile.
Enjoy listening to the selections.
asj.

This message has been edited. Last edited by: asj,

GHAZALS:

JAGJIT SINGH
ALBUM: KHUMAAR

(17) LA PILA DE SHARAB AI SAQI..........ALBUM: KHUMAAR

(Dhal Gaya Aaftaab Ae Saaqi)2
La Pila De Sharaab Ae Saaqi
Dhal Gaya Aaftaab Ae Saaqi

(Ya Suraahi Laga Mere Mooh Se)3
Ya Ulat De Naqaab Ae Saaqi

Dhal Gaya Aaftaab Ae Saaqi
La Pila De Sharaab Ae Saaqi
Dhal Gaya Aaftaab Ae Saaqi

(Maikada Chod Kar Kahan Jaaoon)3
Hai Zamana Kharaab Ae Saaqi

Dhal Gaya Aaftaab Ae Saaqi
La Pila De Sharaab Ae Saaqi
Dhal Gaya Aaftaab Ae Saaqi

(Jaam Bhar De Gunaahgaaron Ke)3
Ye Bhi Hai Ik Sawaab Ae Saaqi

Dhal Gaya Aaftaab Ae Saaqi
La Pila De Sharaab Ae Saaqi
Dhal Gaya Aaftaab Ae Saaqi

(Aaj Peene De Aur Peene De)2
Kal Karenge Hisaab Ae Saaqi

Dhal Gaya Aaftaab Ae Saaqi
La Pila De Sharaab Ae Saaqi
Dhal Gaya Aaftaab Ae Saaqi

Trans:

This one so cool, soul stirring, even my good buddy who is not so keen on Jagjit will tell you that this one is heavenly.
When a man indulges in so much sharab, the words and the thoughts comes naturally, even the voice is so soothing and appears to be pulling a string of one's heart.
A favorite of mine and I am sure that many will like this one.

Translations later by Ranjana: we all are eagerly awaiting the meaning of this Jagjit gem.
.

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GHAZALS:

JAGJIT SINGH
ALBUM:KHUMAAR

(18) SHAYAD MAIN ZINDAGI KI SAHAR.........ALBUM: KHUMAAR

(Shayad main zindagi ki sahar le ke aa gaya)2
Qaatil ko aaj apne hi ghar le ke aa gaya
Shayad main zindagi ki sahar le ke aa gaya

(Taa umr dhoondta raha manzil main ishq ki)2
(Anjaam ye ke garde safar le ke aa gaya)2

Qaatil ko aaj apne hi ghar le ke aa gaya

(Nashtar hai mere haath mein kaandhon pe maikada)2
(Lo main ilaaje dard-e-zigar le ke aa gaya)2

Qaatil ko aaj apne hi ghar le ke aa gaya

(Faakir sanam maikade mein na aata main lautkar)2
(Ik zakhm bhar gaya tha idhar le ke aa gaya)2

Qaatil ko aaj apne hi ghar le ke aa gaya

Trans:

Wow!! This Album is certainly is must, as Jagjitsaab is in a soulful and touching mood, his voice is so soothing and it keeps the listener glued to the song.
.

This message has been edited. Last edited by: asj,

GHAZALS:

SO FAR WE HAVE LISTED:

GHAZALS BY JAGJIT SINGH:

(1) KAHIN DOOR JAB DIN DHAL:

(2) SEENE MAY SULAGTI HAIN ARMAAN:

(3) EK PYAR KA NAGHMA HAI:

(4) YAAD KIYA DIL NAY KAHAAN:

(5) JANE WOH KAISE LOG THI:

(6) TASAVEER BANATA HOON:

(7) MUSKURAKAR MILA KARO HUMSE:

(8) TUM KO DEKHA TO YE KHAYAAL AAYA:

(9) TERI DUNIYA MEIN JEENE:

10) HAR TARAF HAR JAGAH:

11) JAB KISISE KOYI GILA RAKHNA:

12) WOH KAGAZ KI KASHTI:

13) DIL KI DEWARON DAR PE KYA DEKHA:

14) BADI HASEEN RAAT THI:

15) DHAI DIN NA JAWAANI:

16) HONTHON SE CHULO TUM:

(17) LA PILA DE SHARAB AI SAQI:

(18) SHAYAD MAIN ZINDAGI KI SAHAR:
.

This message has been edited. Last edited by: asj,

GHAZALS:

It was our original intention to list only one page for Jagjit Singh, but the response so far has been exceedingly well, and there are other comments which will run into the second page, so we will have to allocate two pages for Jagjitsaab

And now we can take in all comments:
.

GHAZALS:

JAGJIT SINGH
ALBUM:KHUMAAR

(19) DIN AGAI SHABAB KE..............ALBUM: KHUMAAR:

(Din aa gaye sabaab ke aanchal sambhaaliye)2
Hone lagii hai shahar mein hal-chal sambhaaliye
Din aa gaye sabaab ke aanchal sambhaaliye

(Chaliye sambhal sambhal ke kayhin raah-e-ishq hai)2
Naazuk barii hai aap kii paayal sambhaaliye

Din aa gaye sabaab ke aanchal sambhaaliye

(Saj dhaj ke aap nikale sar-e-raah Khair ho)2
Takaraa na jaaye aap ka paagal sambhaaliye

Din aa gaye sabaab ke aanchal sambhaaliye

(Ghar se naa jaao duur kisii ajanabii ke saath)2
Barasenge zor-zor se baadal sambhaaliye

Din aa gaye sabaab ke aanchal sambhaaliye
Hone lagii hai shahar mein hal-chal sambhaaliye
Din aa gaye sabaab ke aanchal sambhaaliye

Trans:
.

This message has been edited. Last edited by: asj,

GHAZALS:

JAGJIT SINGH
ALBUM:KHUMAAR

(20) MERI AJAB HAIN ZINDAGI..........ALBUM:KHUMAAR:

(Meri ajab hai Zindagi kisi se kiya gilla keron)2
Taqdeer Roth Jai to meray Khuda mein Kiya Keron

Meri ajab hai Zindagi kisi se kiya gilla keron

(Hallat ne Naseeb Mein Gham Bhar diye hain es Qadar)2
Na Manzilon ki kuch khabar mein Karwaan ko kiya keron

Meri ajab hai Zindagi kisi se kiya gilla keron

(Mil Jai Doobnay se bhi Akhir to ek Sahil kahi)2
(Toofan ki hai Arzoo)2 (Toofan ki Duwa keron)2

Meri ajab hai Zindagi kisi se kiya gilla keron

(Manzil ki thi Talash to, Gard e Safar mili mujhe)2
Ankhein Baras pare meri Kali Ghata ko kiya keron

(Meri Ajab hai Zindagi Kisi se kiya Gilla keron)2

Trans:

This message has been edited. Last edited by: asj,

JAGJIT SINGH

This message has been edited. Last edited by: asj,