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TuuTe na ye sapanaa, TuuTe na ye sapanaa, ko_ii ab mujhe na jagaaye Yahii.n ruk jaaye, yahii.n ruk jaaye, ye shaam aaj Dhalane na paaye Naache man moraa, magan, dhiigadhaa dhiigii dhiigii Ghir aaye, badaraa ghir aaye, rut hai bhiigii bhiigii Jhuulaa jhuule.n sakhiyaa.N, jhuulaa jhuule.n sakhiyaa.N, ke ghar aajaa baalam hamaare Kuhuke koyaliyaa, kuhuke koyaliyaa, kahii.n duur papiihaa pukaare Sitar: tain tain tain, tataNtaN, tataNtaN, tataNtaN, tataNtaN Naache man moraa magan, dhiigadhaa dhiigii dhiigii -2īansuri: tana~~N … tan tan tan tuu~~~~N tuu Naache man moraa, magan, dhiigadhaa dhiigii dhiigii -2īadaraa ghir aaye, rut hai bhiigii bhiigii Please enjoy in Raag Bhairavi, Tal: Tintal/Kaherava the most beautiful composition by SD Burman: Naache man mora…. Pyare (Ashok Kumar) at the end of the movie sacrifices his own life in order to safeguard theirs. She loves his inner beauty but is actually in love with Sudhir Kumar (Pradeep Kumar). The tragedy of this song is that Pyare (Ashok Kumar) gets the impression that Kavita (Asha Parekh) is probably in love with him and his inner beauty. When Pyare goes to Raj to return the money, Kamla sees him and asks him not to leave and …… But that does not happen, instead, Raj offers to pay some compensation so that Pyare can look after himself. Mathur fills the rest of the blanks for Pyare, and arranges a song and dance play and hopes that Raj will overcome his dislike for his now-grown son. Years later, Rahmat passes away, and informs Pyare that he is really a Hindu.
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Rahmat then re-locates to his village when he teaches Pyare the skills required to play musical instruments and sing. But misfortune follows them, as the child, who is named Pyare (Ashok Kumar), accidentally burns their dwelling down, killing Naseeban. Mathur places the child in the hands of Rahmat (Kanhaiyalal Chaturvedi) and his wife, Naseeban (Paro), who welcome him with open arms. Mathur (Tarun Bose) to inform his wife that their child was still-born. When his wife, Kamla (Achla Sachdev), becomes pregnant and gives birth to an ugly son, he asks the attending Dr. Raj Kumar (Ishwarlal) is a wealthy businessman and dislikes everything ugly. These songs came about in the following story line: In addition to this song there were: Tere bin soone nayan hamaare and Puuchho na kaise maine rain bitaayi. The 1963 movie Meri Soorat Teri Aankhen was a classic as far as its songs were concerned. Song #2 Naache man moraa, magan, dhiigadhaa dhiigii dhiigiiIn this song, I have taken the same Lyricist Shailendra as in Awaara hoon song, but with a different music director: SD Burman. Yaa gardish me.n huu.N aasamaan kaa taaraa huu.N Sunasaan nagar anjaan Dagar kaa pyaaraa huu.Nĭuniyaa me.n tere tiir kaa yaa takadiir kaa maaraa huu.N Usapaar kisiise milane kaa iqaraar nahii.n Yaa gardish me.n huu.N aasamaan kaa taaraa huu.N ) – 2 The song was written by Shailendra and sung by Mukesh. This song in Raag Bhairavi became an international hit. We start our journey into the Best Raaga based songs in Hindi movies with this song from the 1951 Raj Kapoor and Nargis starrer movie Awara that was also produced and directed by Raj Kapoor. The most ardent of them were Shankar Jaikishen so much so that when Jaikishen’s daughter was born she was named Bhairavi after their favourite Raag.
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There are many Hindi films music directors who used Raag Bhairavi to base their songs. Ragmala Painting of Rag Bhairavi (circa A.D. Thaats always have seven different pitches (called swara) and are a basis for the organization and classification of raagas in North Indian classical music. A thaat is a mode in northern Indian or Hindustani music. It is a Hindustani music raaga of Bhairavi Thaat. I am going to take Raagas at random and associate them with time of the day and with Hindi songs. Non-classical music such as popular Indian film songs and ghazals sometimes use rāgas in their compositions. Indian classical music is always set in a rāga. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raaga than the notes themselves.
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A raga uses a series of four or more musical notes upon which a melody is constructed. The word Raga or Raaga actually means colour or hue but is associated with melody in Indian classical music.