{"id":2743,"date":"2016-03-17T01:01:49","date_gmt":"2016-03-16T19:31:49","guid":{"rendered":"http:\/\/learningandcreativity.com\/silhouette\/?p=2743"},"modified":"2017-05-08T19:00:18","modified_gmt":"2017-05-08T13:30:18","slug":"ghulam-mohammad-music-director","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/ghulam-mohammad-music-director\/","title":{"rendered":"‘Chalte Chalte Yunhi Koi Mil Gaya Thha’: The Music of Ghulam Mohammad"},"content":{"rendered":"

\"ghmh\"<\/p>\n

The fragrance of Rajasthan’s soil in Ghulam Mohammad’s music<\/h2>\n

Rajasthan and the music of its soil have produced some outstanding musicians in the world of Hindi Films. Their basics and their grounding were so deep rooted in traditional and classic music that their genius got appreciated in among populist crowd. Khemchand Prakash, Jamal Sen, Ghulam Mohammad are some of those whose contribution to Hindi Film Music will remain immortal.<\/p>\n

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Ghulam Mohammad
(Pic: Old is Gold Facebook Group)<\/p><\/div>\n

I have earlier through these pages paid my tributes to Jamal Sen<\/strong><\/a>. Today on the occasion of 48th<\/sup> death anniversary of Ghulam Mohammad allow me to remember the great composer through some of his very lovable songs.<\/p>\n

Think of music director Ghulam Mohammad and the first film that immediately comes to mind is his swan song, Pakeezah<\/em>, released in 1971, some three years after he had died. Each song of Pakeezah<\/em> became a landmark hit. Even though composed in late fifties they held the audience in awe in 1971 and have remained popular to date. Being conceived as songs to go on courtesan, the music had to match the subject and the milieu.\u00a0 Full colors of the Rajasthani folk and Indian classical got a chance to be revealed. All varieties of rhythmic beats, thekas, taals, thaap<\/em>, got so effectively and beautifully used in these songs.<\/p>\n

The use of gaps between the beats, a one and a half theka<\/em>, a partial beat, a prolonged beat and varied sounds on the tabla made with skilled use of all parts of the hand was then typicality of all Rajasthan based composers.<\/p>\n

To make it easy to understand, let us take three songs, all by Lata, of three music directors from Rajasthan and find amazing similarity in total diverse usage. Mahal\u2019s<\/em> signature song Aayega aayega aayega aanewala<\/em> by Khemchand Prakash, the exquisite Sapna ban saajan aaye<\/em> from Shokhiyan<\/em> by Jamal Sen<\/a> and this pure delight from Ghulam Mohammad Chalte Chalte, yun hi koi mil gaya tha<\/em>. Notice the verses when the phrases are repeated and with pause and a beat. These are pure beauties, timeless and truly evergreen.<\/p>\n

Chalte Chalte, yun hi koi mil gaya tha<\/strong><\/em> (Pakeezah<\/em>, 1972) – Kaifi Azmi \/ Lata Mangeshkar.<\/span><\/p>\n