Begum Akhtar: Notes for audio tracks by Shubha Mudgal

Tracks available on: https://soundcloud.com/indianmusic-2/sets/

The genius and distinctive artistry of celebrated musicians is best experienced through
their work. Music speaks for itself, touching and moving the hearts of listeners in ways that
sound trite if verbalized, but for the student of music, not only is the genius of an artiste to
be experienced and enjoyed but also studied, examined and re-examined in minute detail.
It is with the dual purpose of providing the opportunity to both experience and study the
magic of Begum Akhtars unique voice and singing style that the National Center for the

Figure 1: Entrance to Khatau Vallabhdas's residence at Walkeshwar, Mumbai

Photo Courtesy: Kishore Merchant

Performing Arts makes available eighteen compositions recorded during a private concert
hosted by businessman and patron Khatau Vallabhdas at his residence in Walkeshwar,
Mumbai, in the year 1957. Although Begum Akhtar recorded prolifically and her studio
recordings are valuable documents of her inimitable artistry, a recording made in the
intimate setting of a chamber concert performed at the home of a connoisseur and patron,

provides an invaluable glimpse into the ambience in which music was made and heard
some sixty-three years ago. In 1957, when this recording was captured on tape during a
live concert, Begum Akhtar (1914-1974) would have been thirty-eight years old, highly
acclaimed and sought after as the reigning queen of ghazal, and also considered a leading
exponent of thumri and dadra. Performing for an adoring audience, as is evident from the
abundantly audible appreciation, the great singer offers a rich repertoire of bol-banao
thumri, dadra, hori, chaiti and several ghazals by master poets in the course of the
evening. The recording of this mehfil which continued for more than three hours, is replete
with many invaluable gems from Begum Akhtars repertoire, her girlish giggle, her waah for
her accompanying musicians, the smile in her voice as she receives fulsome praise, and
of course, the rousing appreciation she receives from her fascinated listeners throughout
the concert.

Although Begum Akhtar was an outstanding exponent of the thumri-dadra and ghazal
forms, she is best remembered for her unique rendering of ghazals in a musical style that
relied heavily on her training in Hindustani classical music from ustads including Abdul
Wahid Khan of the Kirana gharana, and Ata Mohammad Khan of the Patiala gharana.
Contemporary ghazal gayaki has undoubtedly distanced itself from classical music and
leans more towards melodies based on chordal structures and movements. But in the past
the rendering of Urdu poetry either relied on the tarannum style, or on raag-based
melodies. The inclusion of the notation of a ghazal (jo ke naam haq na liya bhala, vo jiya to
kya, na jiya to kya) in raag Des and taal Pashto by Vishnu Narayan Bhatkhande in his
mammoth compendium of Hindustani classical compositions titled Kramik Pustak Malikaa
(first published in the early part of the twentieth century) suggests that ghazals formed part
of raagdari sangeet repertoire. Begum Akhtars rendering of ghazal too rested on a
foundation that was steeped in raagdari music on the one hand, and a deeply intrinsic
understanding of Urdu shayari. In the seven ghazals that form part of this collection, her
classic raag-based style of ghazal gayaki is amply evident, as is her consummate intimacy
with the literary form of ghazal.
Har jafa har sitam gavara hai, Itna keh do ke tu hamara haicomes from the pen of
Shakeel Badayuni (1916-1970), a poet whose ghazals (including her signature Ae
mohabbat tere anjam pe rona aya) Begum Akhtar immortalised. This particular ghazal is
rendered in a style that was favoured by hereditary women performers who sometimes
danced and performed abhinaya to ghazals. The first line of the couplet is sung loosely

over the rhythm maintained on the tabla with an eight matra span of the Keherwa taal.
Pitched near the taar shadja, Begum Akhtars achingly beautiful voice with its expressive
yearning, lays out the words of the first line of each couplet without pinning them to the
theka. But the second line of the sher releases the tension created in the previous line with
its return to the melodic refrain, further heightened by the tabla playing the theka in double
time, with variations and patterns appropriate for accompaniment to dance.

In this mehfil Begum Akhtar presented as many as three ghazals written by Shakeel
Badayuni. Her rendering of Shakeels Ankhon se dur subah ke taare chale gaye, neend
aa gayi to gham ke nazare chale gaye in a Mishra Gara based melody set to the six matra
Dadra taal, receives a tremendous response from the audience. The 17 minute long
rendition provides several pointers for aspiring ghazal singers. Maintaining the dignified
restraint typical of both Urdu poetry and her style of presentation, Begum Akhtar never lets
the element of elaboration come in the way of the prosodic scheme of the poetry. Each
misraa is presented only as many times and with just enough subtle variations as to make
the listener wait in eager anticipation for the next misraa. Occasionally, fleeting insertions
of phrases from other raags like Kafi, Patdeep, and Khamaj are ushered in tantalisingly
and aesthetically for brief moments. Before revealing the misraa-o-oolaa and the misraa-osaanii Begum Akhtar sings quicksilver phrases in aakaar that create a lovely aamad for
each misraa. Tabla and sarangi accompaniment for this ghazal is exemplary, brilliant, brief
and restrained. The swaying gait of the theka enhances the beher of the poetry creating a
superb backdrop on which the singer places each misraa. Unfortunately, no information is
available regarding the accompanists for this mehfil.

Ghame-e-ashiqui se kehdo rah-e-aam tak na pahunche, mujhe khauf hai ye tohmat mere
naam tak na pahunche is composed in a text book interpretation of raag Kedar replete with
the characteristic meend from dhaivat and pancham to shuddha madhyam. Once again,
the accompanying musicians skillfully steal opportunities between couplets to embellish
both melody and rhythm, and are rewarded with appreciation from Begum Akhtar herself
as well as from members of the audience.
The two ghazals by Jigar Moradabadi (1890 -1961) included in this collection are woh
ada-e-dilbari ho, ke nawa-e-ashiqana, jo dilon ko fateh kar le, wohi fateh-e-zamana and
Is ishq ke hathon se hargiz na mafar dekha, utani hi badi hasrat jitana hi udhar dekha.
The former is loosely based on the melodic foundation of the Kanhada family of raags and

set to the Keherwa taal. Skilfully enhancing Jigar sahabs words with the added dimension
of music, Begum Akhtar judiciously selects specific words for elaboration. For example, in
the couplet teri doori-o-huzoori se hai kuch ajeeb aalam, abhi zindagi haqeeqat, abhi
zindagi fasaana she elaborates on the word doori, in a manner that leaves the listener
experiencing distance and space, as well as the sense of being far away and yet so near,
stated in the couplet.
Begum Akhtar presents the second Jigar Moradabadi ghazal Is ishq ke hathon se hargiz
na mafar dekha.. in raag Mishra Tilang with traces of its parent raag Khamaj in Keherwa
taal. The tabla accompaniment once again complements the singers artistry beautifully, at
times enhancing the excitement, at other times creating a sense of anticipation, and even
falling silent on occasion when the singer presents the first line only to join in seamlessly
with the taal as the second line of the couplet is introduced by the singer. Sounds of the
singers laughter, the audiences appreciation and even snatches of conversation, possibly
between the singer and members of the audience can be heard, presenting an aural
picture of the leisurely, informal and yet intensely charged ambience of the chamber
concert or mehfil.

Ghazal, thumri, dadra and allied forms are often described as being shabda-pradhaan
forms which accord primacy to song text. To adorn song text with music and more
specifically, the art of complex elaboration typical of raagdari music must then pose a
challenge for singers of these lyric-driven forms. Begum Akhtars rendition of Faiz Ahmad
Faizs Dono jahan teri mohabbat mein haar ke, wo jaa raha hai koi shab-e-gham guzaar
ke set against the warp and weft of Mishra Bhiaravi and the six matra Dadra, can only be
described appropriately by quoting Agha Shahid Ali when he says unlike other ghazal
singers, who clothed words till they can't be seen, she stripped them to a resplendent
nudity. If she clothes them at all, it was in transparent muslins, like the Dacca gauzes:
woven air, running water, evening dew. Each syllable and every word of the ghazal
remains burnished by her voice, never muddied or smudged by excessive use of musical
devices.
Wo dil mein hain magar dil ki pareeshani nahin jati.. in Mishra Bhairavi set to the
Keherwa taal shares some common elements with the six other ghazals included in this
collection. Each of the ghazals is loosely based on a raag, but the singer prevaricates
towards other raags with the ease that only an artiste well versed and trained in the

raagdari system can accomplish. All the ghazal compositions follow a sthayi-antara
pattern, with the first and second lines of the opening couplet usually sharing identical
melodies and forming the sthayi. The first line of each of the subsequent couplets forms
the antara, and is often rendered floating over the rhythm, while the second line of the
couplets repeats the melody in the sthayi. The use of laggi is frequently employed in
between couplets, and towards the end of each ghazal presentation.
Of the two bol banao thumri compositions presented in the concert, Dekhe bina naheen
chain suratiya is a familiar and often-rendered thumri composition in raag Khamaj. But the
other, Tosay laagi preet is rendered in Mishra Chandrakauns, an unusual choice of raag
for a thumri composition since most bol banao thumri compositions are based on raags
such as Khamaj, Kafi, Des, Tilang, Bhairavi, Pilu and Gara. The occasional use of
pancham and komal nishad, strongly reminiscent of the characteristic phrase employed in
Jogkauns, (a raag from the Kauns family introduced by Jagannathbuwa Purohit Gunidas
sometime around the 1940s) may suggest to some listeners that the composition is based
on Jogkauns. But the total omission of shuddha gandhaar and the infrequent but musically
significant insertion of shudhha rishabh if considered in conjunction with the previously
mentioned use of pancham and komal nishad would point to an interpretation of
Chandrakauns (http://www.parrikar.org/music/malkauns/lhk_chandrakauns.mp3) favoured
by some exponents of the Agra gharana. Given the fact that one does not usually hear bol
banaao thumri compositions in Chandrakauns, could this perhaps be a more recent
composition, or an experiment by Begum Akhtar herself in attempting to present a thumri
in an unconventional raag like Chandrakauns? She focuses most of the elaboration in this
thumri on the bol laagi and the elaboration is more reminiscent of the khayal style than
on the bol banana or play of words from the song text considered characteristic of thumri
gayaki.
Displaying yet another departure from convention, she presents the familiar Dekhe bina
naheen chain suratiya, with distinct traits of raag Gara, instead of the classic Khamaj
thumri mode followed by other performers. Khamaj reappears in the bol banao around the
pancham, but only fleetingly and not before she inserts several flourishes with the distinct
flavour of raag Rageshri. The well-known Khamaj thumri rendered in the sixteen matra Jat
taal, is reincarnated as a Gara thumri possibly early on in the performance, but remains
replete with the expressive longing and yearning that the song text demands. With the
mukhda pinned up high at taar shadja and beyond in the characteristic dha ni Sa, dha ni re

phrase of Gara, this interpretation of the thumri could well leave a singer out of breath, but
reaching up to komal gandhar in the taar saptak, the artiste is able to hold her own. With
the mukhda itself placed so high in the octave, she does not spare much time for the
antara, stating the lyrics of the antara only once before returning to the mukhda and
moving on to the laggi section of the presentation.

Begum Akhtar presented some of her signature pieces at this concert, and among them is
her popular dadra Chha rahi kali ghata. There is a delicious languor in the pace she sets
for the dadra, and the lilting gait established by the tabla complements the song text Jiya
mora lehraye hai, reminding one of the swaying movement of the jhoola traditionally
installed during the monsoon in North India. Since this is a dadra inextricably associated
with Begum Akhtar, there are several renditions of it that have been recorded in her voice.
In many of these renditions the antara is sung in the upper octave and usually in the
classic ma pa ni Sa movement towards taar shadja typical of raag Des. However, in this
rendition, she situates much of the elaboration in the lower and middle parts of the octave,
possibly because she chose a key that was higher than the one she usually selected for
this composition. This by no means takes away from the rendition, which is as expressive
and poignant as any of the other versions.
Piya ke awan ki laagi beriya is a charming dadra in the Purabi dialect rendered in the
fourteen matra Deepchandi taal. Abandoning the raag-based elaboration utilised in her
thumri and ghazal renditions, Begum Akhtar adopts a kehen or utterance that borrows
from folk music. The insertion of an Urdu verse to complement the simple but charming
song-text was conventional practice among thumri singers of the past, but this practice is
rarely followed by present day thumri exponents. This rendition provides an example of
this practice.
Another delightful dadra borrowing from folk music of Uttar Pradesh is the popular Sundar
sari mori maike mein mayl bhayi in Dadra taal. In a brief and attractive rendition,
expressively rendered, Begum Akhtar provides a glimpse into her familiarity with the folk
traditions of the Gangetic plains. She abstains from any complex raag-based elaboration in
this rendition, but states the song text with a flair that delights her listeners immensely.
In yet another simple dadra adapted from folk music Mori o preet lagi ehi raat, Hum
gawanwa naheen jaab, she gives voice to a young bride reluctant to leave her maternal

home, who refuses to go to her husbands home for the gauna ritual that marks the
consummation of marriage once a child bride comes of age. Shades of raag Shivaranjani
add an element of poignance in the rendition, and once again, the device of inserting Urdu
couplets to complement the song-text is employed.
Another dadra Pat raakho na raakho tohaar marji, is similarly rendered in Keherwa taal,
but with ample traces of raag Shivaranjani, this time without the inclusion of any Urdu
couplets or Brajbhasha dohas. Aaye balam karam more jaage also favours folk music
and is rendered as a relatively faster paced Dadra. The famous catch in Begum Akhtars
voice that stole many hearts is clearly evident in this rendition, especially as she lets her
voice soar high. The playful Hamaar kahi maano Raja ji also points to the association
between thumri and the folk music of Uttar Pradesh. Accompaniment on the tabla enlivens
the short rendition by shifting between Dadra and Keherwa taals.

Seasonal song forms such as hori and chaiti form an integral part of Purab ang thumri
repertoire. Begum Akhtar provides her audience with an example of chaiti by very briefly
presenting Sovat nindiya jagaaye ho Rama based on raag Jogiya and in the sixteen
matra Addha taal. The three and a half minute rendition provides a sampling that briefly
states the sthayi and antara, but does not include any substantial elaboration. The hori
Kesariya angiya rang daaro in Keherwa taal is presented with all the playful
coquettishness appropriate for such a celebratory piece. And yet the singer creates ample
space for elaboration, both melodic and rhythmic.

These eighteen tracks extracted from the recording of a longer mehfil provide a
magnificent glimpse into the world of Begum Akhtar, her charismatic personality and
inimitable music to which homage is being paid by her many admirers and followers on the
occasion of her centenary.

Glossary (inputs from Aneesh Pradhan):

aakaar lit. the vowel aa. In musical parlance, it refers to the use of the vowel aa for
melodic improvisation and elaboration.
aamad - point of entry
abhinaya - mime dance
ang - In Hindustani music, this refers to type.
antara the second part of a melodic composition in Hindustani vocal or instrumental
music
beher - meter
bol - word
bol-banao thumri - a subcategory of the thumri form that is sung at a slow speed, allowing
for melodic elaboration that is not strictly bound to the taal framework
chaiti a seasonal song form sung during Chaitra, the first month of the Hindu calendar
dadra - a form of vocal music from the Hindustani system, closely associated with thumri,
but it is distinct from the latter in its pace, longer song-text and manner of elaboration. Like
thumri, dadras are composed in particular raags, but performers can exercise liberty in
moving out of the original raag without compromising the aesthetic of the composition.
dhaivat - the sixth swar of the octave
doha - couplet
gandhaar the third swar of the octave
gayaki - vocal style
gharana - literally household, but in musical parlance signifies individual musical styles
pursued by hereditary musicians, their progeny and disciples
ghazal - a poetic form, originally in Persian and Urdu, but presently seen in many
languages like Hindi, Marathi and Gujarati. It is also considered as a form of vocal music
from the Hindustani system, when composed to raag and taal.
hori - a song-form describing Holi, the festival of colours, and the exploits of the
mythological figure Krishna, his friends and consorts. Also called holi, this song-form is
found in folk music of northern India, but variants exist in Hindustani classical music
repertoire that include similar imagery in the song-text, but are elaborated upon according
to the parameters of raag and taal.
jhoola - rope swing
kehen - utterance

khayal - a form of Hindustani vocal music composed in a particular raag and taal. The
song-text has two parts called sthayi and antara.
komal When used as a prefix to the name of a swar, it refers to the flattened version of
that swar.
laggi - rhythmic section in tabla accompaniment to thumri, dadra and allied forms
madhyam - fourth swar in the octave
matra - lit. amount. A count or unit of time in a taal ordinarily considered synonymous with
the English term beat. However, matra refers not just to the beat but also the space
between the two beats. It is the duration of space between consecutive matras that
determines the tempo.
meend - gradual unbroken glide from one to the other swar
mehfil - performance, normally used in the context of a chamber concert
misraa - individual line of the couplet
misraa-o-oolaa - first line of the couplet
misraa-o-saanii - second line of the couplet
mukhda - literally translated to mean face or countenance. In musical parlance, it refers to
the first line of the composition.
nishad - seventh swar of the octave.
pancham - fifth swar of the octave
raag - term denoting the melodic framework of art music in In- dia. Briefly, every raag is
said to create a mood with the help of specific swars that are used in a predetermined
manner but are open to elaboration and spontaneous improvisation, provided the ground
rules of the raag are not broken. Forms of music have evolved over centuries to
encapsulate the seed-idea of every raag, and each of these forms has its grammar, rules
and conventions, which allow or restrict the freedom of interpreting the raag.
raagdari sangeet - system of music based on the principles of raag
rishabh the second swar of the octave
saptak scale of seven swars
sarangi - a fretless bowed instrument with a skin-top sound board, used to accompany
vocal music but also featured as a solo instrument
shayari - poetry
shadja - the first swar of the octave
sher - couplet
shuddha - pure or perfect. When used as a prefix to the name of a swar, it refers to the
natural swar.
sthayi the first part of a melodic composition in Hindustani vocal music
taal - term denoting the cyclical pattern of rhythm in Indian music represented by

mnemonic syllables that can be reproduced on various drums

swar - refers to a note
taar - upper octave
tabla - a pair of upright twin hand drums primarily used in northern India to accompany
vocal and instrumental music and Kathak performances. It also possesses a rich solo
repertoire.
tarannum a melodic template for reciting Urdu poetry
theka - universally accepted sequence of strokes that demarcate the framework of the taal
thumri - a form of vocal music that originally incorporated dance and gesture. Thumri songtexts speak of romance, union and separation of lovers, and also incorporate the sensuous
and erotic.
ustad - teacher
waah word used to express appreciation

References:
Qureshi, Regula Burckhardt. "In Search of Begum Akhtar: Patriarchy, Poetry, and
Twentieth-century Indian Music." The World of Music (2001): 97-137
Ollikkala, Robert Charles. Concerning Begum Akhtar:''Queen of Ghazal''. University of
Illinois at Urbana-Champaign, 1996.
Kidwai, Saleem. Zikr us Parivash Ka': Begum Akhtar in Oldenburg Veena (ed.). Shaam e
Awadh: Writings on Awadh. Penguin Books. Gurgaon. 2007.
Hiranand, Shanti. Begum Akhtar: the story of my ammi. Viva Books. New Delhi. 2005.
Ganguly, Rita. AE MOHABBAT... Reminiscing Begum Akhtar. Stellar Publishers Pvt

Ltd. Delhi. 2013.

Mukherjee, Sutapa. Begum Akhtar: The Queen of Ghazal (Rupa Charitavali). 2005
Manuel, Peter. "Ii. The Popularization and Transformation of the Light-Classical Urdu
Ghazal-Song." Gender, genre, and power in South Asian expressive traditions (1994)
Manuel, Peter Lamarche. "The Light-Classical Urdu Ghazal-Song." University of California,
1979
Shahid Ali, Agha. The Rebels Silhouette: Translating Faiz Ahmed Faiz
Copyright for notes on tracks - Shubha Mudgal, Copyright for glossary - Aneesh Pradhan