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Hindi Songs

(Lyrics)

1. Saiyyaa....

Heere mothi main na chaahoo
main tho chaahoo, sangam thera
main tho theri...saiyya...
thu hai mera....Saiyyan ...Saiyyan

thu jo chhoole pyaar se
aaraam se mar jaavoo
aaja chandha baaho mein
tujh mein hi ghum ho jaavoo main
there naam mein kho jaavoo
Saiyyan ... Saiyyan

Mere dhin khushi se jhoome, gaaye raathein
pal pal mujhe dubaaye jaathe jaathe
tujhe jeeth jeeth haaroo
yeh praan praan varoo
hay aise main nihaaroo
theri aarthi uthaaroo
there naam se jude hai saare naathe
Saiyyan ... Saiyyan
Banke maala prem ki, there than pe jhar jhar jaavoo
Meim tho naiyya preeth ki
sansaar se kar jaavoo mein
there pyaar se kar jaavoo
Saiyyan ... Saiyyan

Yeh naram naram nasha hai...badtha jaaye
koyi pyaar se ghungatiya dhetha uttaaye
ab baawra huva mann
jag ho gaya hai roshan
yeh nayee nayee suhaagan
ho gayee hai theri jogan
koi prem ki pujaaran mandhir sajhaaye
Saiyyan ... Saiyyan
Saiyyaaaaaaaaa...saiyya...Sayyaan....Sayyaa...

Heere mothi main na chaahoo
main tho chaahoo sangam thera
main na jaanu
thu hi jaane
main tho theri
thu hai mera
main na jaanu
thu hi jaane
main tho theri
thu hai mera
main tho theri ............ thu hai mera.

2. Dhaulath Shoharath Kyaa karni....
(Lyrics)

Dhaulath shohrath kya karni
There pyar ka sahara kafee hai
Yeh mehil ataari naien chayien yeh
Mehil ataari naien chayien
There dil me ghuzhara kafee hein
Dhaulath Shohrath kya karni

Mere sanam mujhe theri kasam
Meri jaan bhi tho iman bhi thu
There dham se hai mera dham
Jaan bhi thu anjaan bhi thu

Aisa waisa kya karna mujhe
Aisa waisa kya karma
Mujhe thera nazhara kaafi hai
Dhaulath shohrath kya karni

Pyaar mohabbath se dhuniya meim
Kuch bhadkar hotha bhi nahin
Dhaulath jayem tho jayem koyi
Pyar bhina rotha bhi nahin

Aesho muzsharath nahin chahyien mujhe
Aesho muzsarath nahin chahyien
There naam ka sahara kafien hien
Ye...Dhaulath Shohrat kya karni...
Kya Karni.......


3. Jobhan Jhalke...
(Lyrics)

Ban than ke gora kahan chali...

ho..o..o..o..o
ho..o..o..o..o

hmm...m...m
Bhara maare aise jor,
Moonh ki khavein sab chor,
Bijli si kadke ghanghor,
Bhittar bhittar barle bor,
Kaise, Chaloon main to tikhad tikhad ke

hO Joban chalke, Joban chalke
hO Joban chalke, Joban chalke

Bhara maare aise jor,
Moonh ki khavein sab chor,
Bijli si kadke ghanghor,
Bhittar bhittar barle bor,
Kaise, Chaloon main to tikhad tikhad ke

O Joban chalke, Joban chalke
O Joban chalke, Joban chalke

Ae Banthan wali mane kiye
ke Leri jhodi main
ke Leri jhodi main

Ho..o..o..o..o..o..o..o
Ho..o..o..o..o..o..o..o
Ho..o..o..o..o..o..o..o
Ho..o..o..o..o..o..o..o

Bhaari-bhaari achraj paas pados karein itrane main
Bhaari-bhaari achraj paas pados karein itrane main
Are court Kacheri band pad gaye,
Bhaggi pad gayi thane main,
Are court Kacheri band pad gaye,
Bhaggi pad gayi thane main,


are..re..re..re..re

Uppar uppar ka hai shor,
Bhittar bhittar hain sab chor,
Saare ke saare moonh jor,
Baaton ka koi aur na chhor,
ji main nukute ye badar badar ke,

Ho...Joban chalke, Joban chalke
Ho...Joban chalke, Joban chalke

Ae Banthan wali mane kiye
ke Leri jhodi main
ke Leri jhodi main

Ho..o..o..o..o..o..o..o
Ho..o..o..o..o..o..o..o
Ho..o..o..o..o..o..o..o
Ho..o..o..o..o..o..o..o

Chandan raat main peesan baithi kid-kid daant machaon jo,
Chandan raat main peesan baithi kid-kid daant machaon jo,
Nas-nas meri kas-kas jaave par bas dar-dar jaoon jo,
Nas-nas meri kas-kas jaave par bas dar-dar jaoon jo,

are..re..re..re..re

Kaise maare wo kilkor,
Mastave saavan ki dor,
Joban hai pavan chitchor,
Dhar-dhak ji main uthhe hillor,
sabka, dil jaave pighad pighad ke,

Ho...Joban chalke, Joban chalke
Ho...Joban chalke, Joban chalke

Ae Banthan wali mane kiye
ke Leri jholi main,
ke Leri jholi main
are ke Leri jholi main,
are tu Leri jholi main

Ho..o..o..o..o..o..o..o
Ho..o..o..o..o..o..o..o
Ho..o..o..o..o..o..o..o
Ho..o..o..o..o..o..o..o

meri gora parayi,
meri gora parayi,
meri gora parayi,
meri gora...

Meri gorari parayi,
meri gora parayi,
meri gora parayi,
meri gora...

Ho..o..o..o..o..o..o..o
Ho..o..o..o..o..o..o..o
Ho..o..o..o..o..o..o..o
Ho..o..o..o..o..o..o..o

ban than ke gora kahan chali.....

4. There Naina...
(Lyrics)

Jaage jaage
Soye soye
Tere naina
Sapnon mein
Khoye khoye
Tere naina

Tanhaiyon ki
Parchaiyon mein
Tum hi ho na
Tere naina
Haye naina

Sooni Sooni
Sooni Sooni
Si yeh raina
Aaja Piya (aaja piya)
Tere bine nahi chaina
Unchaaiyon ki gehraaiyon mein
Tumhi ho na
Tere naina
Haye Naina

Paaya tujhe to
sab mil gaya haan
ehsaas aisa ki sab khil gaya
jaise himalaya
khud pighal ke
saagar ban gaya
haan in palon ki
raanaaiyon mein
tum hi ho na
tere naina
haye naina

madhosh raatein
Pal pal suhaani
Rut gaa rahi hai
Dil ke taraane
Saare nazaare chand taare
gungunane lage
In vadiyon ki angraiyon mein
Tumhi ho na
Tere naina
Haye Naina

Jaage jaage
Soye soye
Tere naina
Sapnon mein
Khoye khoye
Tere naina

Tanhaiyon ki
Parchaiyon mein
Tum hi ho na
Tere naina
Haye naina

Sooni Sooni
Sooni Sooni
Si yeh raina
Aaja Piya (aaja piya)
Tere bine nahi chaina
Unchaaiyon ki gehraaiyon mein
Tumhi ho na
Tere naina
Haye Naina

Music

Music is an art form whose medium is sound. Common elements of music are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture.
The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the arts", music may be classified as a performing art, a fine art, and auditory art.
To many people in many cultures music is an important part of their way of life. Greek philosophers and ancient Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound." According to musicologist Jean-Jacques Nattiez, "the border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus.... By all accounts there is no single and intercultural universal concept defining what music might be, except that it is 'sound through time'."

Some Types of Music

Rock Music

Rock music saw its origins in the rock ‘n’ roll era of the fifties. Rock music was initially seen as dance music and gradually began to dominate the music scene for a long time to come. Rock music survived the various stages of recording technology from 78 –rpm to tape format to cassette and the mini disc. Rock music has been primarily popular with the teenage audience. A rock music disc is still a collector’s item even today.

Metal Music

Metal music emerged post World War II. Metal music was described as music that arises from the dissatisfied. Metal music is heavily influenced by the structure of the songs. While in rock music, songwriting is based within a form; in metal music the central melody decides the structure of the song. A scientist has described metal music as ‘information music’.

Rap Music

Rap music is a creation of an American minority. It was widely believed the rap music, as a fad will not see the test of time…. But it has already been around for nearly 20 years. Rap music can be traced to the West African professional singers and storytellers. Rap music was an offshoot of the Hip Hop culture – characterized by graffiti and break dancing. Rap music has been influenced considerably by Jamaican music. The Bronx in New York City was the originating hub of rap music.

Ghazal

The ghazal (Arabic/Persian/Urdu/Hindi/Punjabi/Turkish)is a poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter. The form is ancient, originating in 6th century pre-Islamic Arabic verse. In its style and content it is a genre which has proved capable of an extraordinary variety of expression around its central themes of love and separation. It is one of the principal poetic forms which the Indo-Perso-Arabic civilization offered to the eastern Islamic world & to the Music world.

Qawwali

A group of qawwali musicians, called a party (or Humnawa in Urdu), typically consists of eight or nine men including a lead singer, one or two side singers, one or two harmoniums (which may be played by the lead singer, side singer or someone else), and percussion. If there is only one percussionist, he plays the tabla and dholak, usually the tabla with the dominant hand and the dholak with the other one (i.e. a left-handed percussionist would play the tabla with his left hand). Often there will be two percussionists, in which case one might play the tabla and the other the dholak. There is also a chorus of four or five men who repeat key verses, and who aid and abet percussion by hand-clapping.
The performers sit cross-legged on the ground in two rows — the lead singer, side singers and harmonium players in the front row, and the chorus and percussionists in the back row.
Before the fairly recent introduction of the harmonium, qawwalis were usually accompanied by the sarangi. The sarangi had to be retuned between songs; the harmonium didn't, and was soon preferred.
Women used to be excluded from traditional Muslim music, since they are traditionally prohibited from singing in the presence of men. These traditions have changed, however, as is evident by the popularity (and acceptance) of female singers such as Abida Parveen. However, qawwali has remained an exclusively male business. There are still no mainstream female qawwals. Although Abida Parveen performs many songs that are in the traditional qawwali repertoire, she does not perform them in the traditional qawwali style. Typically missing is the chorus which repeats key verses, as well as the handclapping.



Filmi qawwali

Filmi qawwali (Urdu: فلمی قوٌالی, Hindi: फ़िल्मी क़व्वाली) is a form of qawwali music found in the Lollywood and Bollywood film industries.
It represents a distinct sub-genre of film music, although it usually bears little resemblance to traditional qawwali, which is the devotional music of the Sufis. One example of filmi qawwali is the song Pardah Hai Pardah sung by Mohammed Rafi, and composed by Laxmikant-Pyarelal.
Some Other Qawwali-Film Songs:
1. He agar dhushman dhushman...ham kisise kam nahi kam nahi...
2. Thumse milke dhil ka he jho haal kya kahe ho raha he...(Film : Main Hoom Na)

Malayalam Lyrics