Analysis of Raag and Taal in the Song Albela Sajan Aayo from Bajirao Mastani
The iconic Bollywood film Bajirao Mastani features a number of melodious songs that seamlessly blend tradition and modernity. One of these songs is Albela Sajan Aayo, which has sparked debate regarding its raag and taal. This article aims to provide a comprehensive analysis of the musical elements of this song and resolve any confusion surrounding its raag and taal.
The Raag of Albela Sajan Aayo
First and foremost, it is important to address the raag of the song Albela Sajan Aayo. The official classification of the raag for this particular song is Raag Yaman. However, this raag has been rearranged and revamped in a way that gives the song a distinct musical character with influences from the Carnatic-raga Hansadhwani.
While several arguments have been made about the raag possibly being Deshkar or Bhupali, there is a nuanced discussion based on the musical notes and the arrangement. The song utilizes the notes S R G P D S, giving prominence to Dha and Re, which suggests a composition aligned with Raag Deshkar. The Deshkar raag is known for its Uttaraang Pradhan nature, played in higher and middle octaves, and the svara movements are distinct from those of Bhupali.
The Taal of Albela Sajan Aayo
In terms of the taal, the Taal Teentaal is the most widely recognized. This taal, which consists of 16 beats, is evident in the beat count and the rhythm patterns evident in the song. Several commentators have noted that the taal might be different, often citing Taal Keherva or even Keherwa. However, a closer analysis of the tabla patterns and the time count confirms that it is Teental, which typically has a mid-tempo or moderate speed (Madhya Drut).
Reevaluation and Debates
It is worth noting that the inherent complexity of the song has led to mixed opinions regarding its musical composition. The main piece of the bandish, “Albela sajan aayo re mora ati mann sukh paayo re”, has been restructured to give it a fast-paced Bhajan feel, welcoming the warrior. The newly added lines and percussion instruments played in the antara further support the idea that the taal might be a variation of Keherwa, but the confirmation of the tabla helps in identifying it as Teental.
Multiple individuals have pointed out that the original composition has been butchered in the final rendition, leading to the changes in both raag and taal. This reevaluation suggests a need for a more authentic and meticulous approach in preserving the original intent and harmony of the song.
Conclusion
In conclusion, the song Albela Sajan Aayo from the film Bajirao Mastani has indeed sparked a detailed discussion regarding its raag and taal. While the official raag is identified as Raag Yaman, with influences from Carnatic-raga Hansadhwani, a thorough analysis points towards Raag Deshkar. The taal, while initially speculated to be Teental, Keherva, or even Keherwa, is conclusively identified as Teental due to the tabla patterns and consistent beat count.
The debate surrounding this song highlights the complexities and layers of musical composition in Indian classical music and the need for a nuanced understanding of raag and taal.