Dastaan-Go: RD Burman means musicologist who extracts science from the knowledge of music

conte-go , Is there time to tell and listen to stories? Maybe it would have happened. Or it wouldn’t happen. But something definitely happens. Tales, stories are interesting to everyone. It is better if they are present in time. If it’s not, it’s not bad even if it’s from the past. Because they are always not only telling us something, but also teaching them. It brings back memories of our times. Even after softening the mass of spice spices, they drink it gently. That’s why ‘Dastaan-Go’ has begun, the process of bringing interesting stories closer to your loved ones. He will try to continue this process. From Monday to Friday, every day …

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Knowing a subject is one thing, sir. For example- A large number of people in the world know that the math count starts from one. It ends at 10. But those who have some knowledge, are beginning to understand that counting doesn’t really start with one, but zero means zero. This count ends at nine. If knowledge increases a little more, one must also know that from zero to nine, much more happens in the whole tens. Com- fourth, middle, quarter, quarter, one and a half, quarters of two, and so on. This basic snail of information and knowledge happens like this in all the different subjects (different subjects).

Most people are trapped in the middle of basic information, because the layout of the livelihood, clothes, house, show-luxuries is done with so much, very comfortably. But few are hungry for knowledge. So they get it with their specifics. And in these too, in a very selective way, they behave like donors of science (scientists). They experiment (experiment) broadly with all the nuances that are visible, unheard. Let’s try. They confirm that they also see things happening that way. And how nice that they find a place among us. Rahul Deb Burman in the Hindustan-Musiqi (Music) film, science donations were made.

The world knows that Rahul Deb, i.e. RD Burman, had acquired the basic knowledge of Musiqi at the same time that he started breathing in the womb of his mother Meera Deb. Walid Sachin Deb Burman used to be a great Musiqar (musician) and his mother also became Nagma-Nigar (lyricist). Thus, like Abhimanyu of Mahabharata, Rahul Deb, after completing nine months in the womb, knew correctly the four corners of song and music. I understood how to get into this “Chakravyuh” and it was not possible to get out of it. Therefore, there was no need to learn or understand it. Therefore, with basic information, when Rahul Deb was born on June 27, 1939, it is said, for the first time, even though the man cried, in ‘Pancham Sur’ (p). So from there the name got ‘Pancham’.

Imagine, if someone is born with the basic knowledge of their favorite subject, how long will it take to understand the nuances of their knowledge? Even Rahul Deb didn’t take long. In just 15-16 years, he also became familiar with the nuances of knowledge related to Mazmoon. The media became his, masters like Ali Akbar Khan (Sarod-Nawaz) and Samta Prasad (Tabla-Nawaz). Also, apart from Walid Sachin Deb, great famous film musicians like Salil Chaudhary. Rahul Deb could have stayed here if he had wanted to. Because he had succeeded long before executing the work. Through this, according to worldly customs, arrangements for gaining food, ashes, or rest could be made very easily. But no, it had to be put in a separate queue.

If his father became “S” (the first note of the music, from which the name Sachin Deb begins), then Rahul Deb would be “P”, that is, “Pancham”, which has its own identity. Therefore, he also chose the path of science to establish his identity. So far, all the nuances of knowledge he had come to know, through which he was going to pass or was going to pass, he began to make them all. He started testing and got such results from this series that to this day the world keeps thinking: Oh, what is possible! This was the reason why his fellow musician Kersi Lord often called him a “musicologist”.

Musicologist, who brings science out of knowledge. Look at the examples. When Pancham was learning film music with his father, he first composed the music for a film song, ‘Ae Meri Topi Palt Ke Aa’. In it, she did an experiment: Lala ji “touching a fat belly.” It was a different voice. It resembles the sound of playing a drum. His father liked this play and gave a place to this song in the 1956 film ‘Funtoos’. Similarly, as a child, Pancham composed the melody for a song from the 1957 film ‘Pyaasa’, ‘Sir jo tera chakraye, ya dil duba jaye’. The melody of this song caught the attention of many.

In this song, in one place, the sound of Champi’s finger slapping is heard. If you ever hear Nagma, pay attention. You will feel like it. The man is said to have actually recorded that voice hitting someone in the head. Thus, his own trials had begun while he was gaining experience with Walid. Sachin Deb constantly gave these opportunities to Pancham. Although Pancham had the opportunity to do something on his own in 1960-61. The famous actor Mehmood had come to his house that day. I was making a movie. He wanted Sachin Deb to think about it. But he refused citing masroofiyat (occupation).

Then Mahmud’s eyes fell on Pancham performing tabal rituals in the house. He asked Sachin-da, “If you can’t give time, should you take Pancham? If you have permission? Sachin-da agreed. Thus, the first film adorned with Pancham’s music came in 1961, ‘Chhote Nawab.’ A special mention can be made of one of his songs, ‘Aam chum, tam chum, ta la la badam chum.’ In this, which is ‘ta, la, la’, “This is the language of the children. The young children sing Nagma, whose language is so at this age. This means that Pancham had come to so many details about the voices so far, at a young age.” time was only 22 years old.

Then, as they got older, that detail got bigger. Or just to say that the finest things grew to be seen and heard by him. They started experimenting and testing them. He broadens people and begins to show and recite them. For example, Mehmood’s film ‘Bhoot Bangla’ (1965). There is a song, “Pyaar carta ja, dil kehta hai.” Hearing the echo of the voice coming from the plaintiffs at first. A person’s voice will be heard from different sides. And Pancham really did too. It is said that in the studio he had kept four or five gulu-kars (singers) in different corners, giving the echo effect to the required place.

Some of his tests and experiences are mentioned repeatedly. For example, in the song ‘Mehbooba Mehbooba’ from ‘Sholay’ (1975), blowing the sound of an empty bottle. As children usually take out indoors or on the street, the nooks and crannies. Similarly, in the morning, the elderly gargle in their homes to clear their throats. Similarly, make Gulu-Car Annette Pinto gargle. Use it in the movie ‘Satte-pe-Satta’ (1982). Rubbing sandpaper (sandpaper) and making it part of the music (Hoga Tumse Pyaara Kaun, film- ‘Zaane Ko Dikhna Hai’, 1981) to make the sound of the train moving chuk-chuk. Or pick up the pace (Window in front of me, film – ‘Neighborhood’, 1968) with the sound of the comb rubbing on a special kind of hollow iron tube.

The song ‘Apna Desh’ from 1972, ‘People in the world sometimes cheat’. It becomes absolutely unique when the sound of breathing is heard using an intermediate rhythm. And the 1984 song ‘Yeh Naina Yaad Hai’ from ‘Manzil-Manzil’, in which the laughter of Asha Bhosle (Pancham-da’s wife) gives a nice twist to the music. The song “Ek meeting, ek raat ki baat, raat gayi, baat gayi” from the 1977 film “Darling, Darling”. It is said that in this, Pancham made this voice a part of the music by having his orchestra partner Maruthi Rao touch his back. Sitting at the window for hours during the rainy season and recording the sounds of drops, clouds. Then make them part of your music. Things like that happened to him too.

Mixing the sounds of Western instruments such as the guitar, the saxophone with Hindustani instruments: sitar and flute. Use of Western instruments with Indian classical music (Raina Beeti Jaye, film – ‘Amar Prem’, 1977). Put the sound of birds to music as it is (Ek Main Aur Ek Tu, film- ‘Khel-Khel Mein’, 1975). She even put her voice, which she didn’t say very melodious, to be beautiful (Piya Tu Ab To Aaja, Film – ‘Caravan’, 1971). RD Burman did so much that no one could even approach him, let alone move on. And then, on January 4, 1994, he passed between seven notes, like ‘Pancham’.

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