Bollywood’s Classical Echo: The Invisible Hand of Raaga in Hindi Film Music

Far from a relic of the past, classical music remains Bollywood’s invisible maestro with even the catchiest Bollywood tunes steeped in centuries-old musical traditions.

The Music Makers – Naushad, SD Burman, Jaikishan and Madan Mohan

Bollywood music is often painted in stark contrasts, either it is classical or it is not. This binary straitjacket is misleading. The truth is, Indian classical music permeates the sonic landscape of Bollywood, shaping its melodies, moods and emotional depth in ways both overt and subtle. Even the most commercially driven compositions owe their soul to the age-old system of raagas, the backbone of Indian classical music.

To understand Bollywood music’s classical underpinnings, it is necessary to first grasp the essence of Indian classical music. Whether in its Hindustani (North Indian) or Carnatic (South Indian) tradition, classical music is built on a fixed set of notes, or swaras. These notes, arranged in specific patterns, give rise to ragas - melodic frameworks that evoke distinct emotions and are associated with specific times of the day. Some ragas, like Bhoopali, are pentatonic, containing only five swaras (sa, re, ga, pa, dha), while others, like Durga, include a different set of five notes. More complex ragas use all seven notes, but their progression and treatment make them unique entities. The mood or ‘rasa’ of a raga is integral to its identity; each is designed to evoke specific emotions, whether it be devotion, melancholy, or romance.

Perhaps the most fascinating aspect of Indian classical music is its temporal discipline. Each raga is associated with a specific time of day, a rule traditionally adhered to by classical musicians. Each raaga is bound by an almost cosmic order - what musicians refer to as prakriti or rasa, the intrinsic nature and emotional essence of a melodic framework. One does not simply sing a raaga at whim. The time of day alters its resonance, its ability to evoke sentiment.

Consider Raag Ahir Bhairav, one of the oldest known raagas, traditionally sung at the moment when night yields to dawn - pratahkaal, that liminal hour when darkness dissolves and the first traces of light filter through. The mood it evokes is one of solemnity, a meditative gravity that feels at odds with the celebratory abandon of a wedding reception or an evening gathering. The raaga is meant to embody a transition, a quiet reckoning with the day’s beginning. To sing Ahir Bhairav at an inappropriate time is to strip it of its intended weight, to turn its gravitas into something unnatural, even dissonant.

This understanding is not lost on Bollywood’s more astute composers. Take, for instance, Ahir Bhairav in cinema. The mournful strains of ‘Jago Mohan Pyare’ or ‘Mohe Bhool Gaye Sawariya’ lean into its weighty, introspective nature, reinforcing themes of longing and reflection. More intriguingly, Ismail Darbar’s use of Ahir Bhairav in ‘Hum Dil De Chuke Sanam’ departs from the expected. The composition ‘Albela Sajan Aayo Re’ is a century-old bandish, lifted directly from classical tradition to underscore the protagonist’s vocal training. Here, the raaga is not merely a background motif but an active participant in the film’s narrative.

Another raga that Bollywood frequently draws from is Bhimpalasi, known for its blend of seriousness, romance, and devotion. Sung in the afternoon, Bhimpalasi’s characteristic komal (flat) notes lend it a wistful, yearning quality. It is the backbone of songs like ‘Radha Kaise Na Jale’ (Lagaan), ‘Kismat Se ‘Tum Humko Mile Ho’ (Pukar), and ‘Eli Re Eli’ (Yaadein). The raga’s spiritual resonance is also evident in Pandit Jasraj’s ‘Om Namo Bhagavate Vasudeva’ and Mehdi Hassan’s ‘Zindagi Mein Toh Sabhi Pyaar Kiya Karte Hain.’

Yet, Bollywood is known for its playful transgressions. The hit song ‘Tu Cheez Badi Hai Mast Mast’ (from Mohra, 1994) is often cited as an example of Raag Bhimpalasi in a mass-market setting. However, some musicologists argue that the composition leans more towards Raag Dhani, an ‘unidentical twin’ of Bhimpalasi. This blurred line between ragas and their cinematic interpretation exemplifies how Bollywood modifies classical frameworks to suit popular tastes.

This evolution of Bollywood music has not been without challenges. With the rise of digitized production and Western influences, the presence of Indian classical music has, in some cases, receded. For purists, Bollywood’s dilution of classical music may seem like sacrilege. But one could argue that adaptation and accessibility are precisely what have kept Indian classical traditions alive in popular consciousness. Unlike the West, where classical music has largely remained an elite pursuit, India’s cinematic culture has ensured that millions, knowingly or unknowingly, are exposed to its foundational raagas.

Even when a song does not strictly adhere to raaga conventions, the foundational principles of classical music often guide its composition. Legendary music directors like Naushad, S.D. Burman and Madan Mohan were steeped in classical traditions and infused their work with intricate raaga-based structures.

Contemporary composers often rely on loops and software-generated sounds rather than intricate classical progressions. Today’s composers like A.R. Rahman, Amit Trivedi and Shankar-Ehsaan-Loy seamlessly weave classical elements into their compositions, proving that ragas are not relics but living, breathing entities capable of evolving with time.

Despite Bollywood’s increasing global influences, classical music remains its anchor. Whether in the grandeur of orchestral scores or the intimacy of a lone sitar, the echoes of India’s ancient musical heritage persist, shaping the soundscape of its most popular medium. The next time a groovy Bollywood melody tugs at your heartstrings, listen closely, for you might hear a raaga at play.