1

RABINDRANATH TAGORE AND INDIAN CLASSICAL MUSIC

BY
PRABIR DATTA

The music created by Rabindranath Tagore is unique by style,form and class.Many

literatures are available,written by famous laureates of the subject matter.So,to write
something on Rabindranath Tagore and his musical talent is bound to be some
repeatation or the other but still remains a lure for anyone.Hence,this article.
To begin with,a small introduction of Rabindranath Tagore’s grooming is necessary.
The body of music had been created by Rabindranath Tagore in the 64 years between
1877 and1941. Tagore grew up in the classical tradition of Hindustani classical
music(‘raaga sangeet’). His autobiographical sketches reveal the musical training he
went through in his childhood. Though he had not followed a very strict method of
learning the classical music,yet he was the disciple of Sri Jadunath Bhatta (1840-
1883),the famous Pundit of Vishnupur Gharana. Rabindranath followed this tradition
and later on used it with mastery without abiding to its strictures. He experimented with
dhrupad tunes using various rhythms(such as, ‘Jortal’, ‘Jhanptal’, ‘Sur Phanktal’ and
‘Teora’ – usually known only to the connoisseurs of Hindustani classical music) and
composed more than100 songs. Tagore used the classical form of khayal and thumri to
create many songs, encompassing all the styles of the classical traditions.He used the
‘tappa’ style in his music,where the song-text is very short and not as elaborately
structured as a khayal or a thumri. There have been two different styles of Tappa, one that
evolved in Punjab, in the tradition of Shori Miyan, and the other, adapted by Ramnidhi
Gupta, better known as Nidhubabu in Bengal.Tagore from his early age was exposed to
both styles. Tagore adapted ‘tappas’ from both the styles, he relinquished the Punjabi
‘tappa’ but when he wrote in his mother tongue the songs became soft and sweet.
Tagore also was influenced by Sri Bishnu Chandra Chakravarty and Sri Srikantha
Sinha.He spent a considerable period in association with Sri Radhika Prasad Goswami
and composed a number of songs with assistance from him.
Rabindranath Tagore started writing songs and Geeti kavyas right from the age of
11(eleven) years and continued till the age of 80(eighty).But the maximum no. of songs
he composed from 19 years onwards.
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There are difference in opinions about the no. of songs composed by Tagore.As far as
possible,research has been carried out and it revealed he composed more than 2000
original songs.But in the opinion of authorities in the subject,the no.of songs are about
2178.A no.of songs written earlier were extended or changed by him.Hence,the
difference.Also,a no. of compositions are there in Dhrupad and Dhamar.There are a no.of
unpublished songs also,which did not have the notations and the classifications as per
Indian classical tradition.
If these are classified ,as given below, according to the Hindustani classical raga/ragini or
the type,we may have some idea about the depth of his talent:
1.Bhairavi—268
2.Yaman—147
3.Piloo—143
4.Khamaj—142
5.Bihag—138
6.Bhairav that(other than Kalingada)—118
7.Kalingada—57
8.Kafi—104
9.Desh—96
10.Kedara—69
11.Malhar—69
12.Bahar—54
13.Chayanat—47
14.Sahana—47
15.Asavari—36
AND
16.Baul—187
17.Kirtan—151
While composing the songs,Tagore did not mention the names of the ragas neither he
desired it.Smt Indira Devi Choudhurani constantly persuaded Tagore to do this but he
was unwilling and also abstained others to do this.In a letter in 1935 he stated to Smt
Indira Devi about his fear of being criticized by the Ustads or Pundits of classical
gharana.But with persistent pursuation by Smt Indira Devi,in 1936 he permitted her to
identify the ragas used for composition of the songs as well as to create the
notations(Swaralipi) for future generation.It is due to Smt Indira Devi Choudhurani that
almost all the songs of Tagore are classified and notations made.A no. of persons like
Smt.Indira Devi Choudhurani,Sri Jyotirindranath Tagore,Sri Kangali Charan Sen,Sri
Surendranath Bandopadhyay,Smt Sarala Devi Choudhurani,Smt.Pratibha Devi
Choudhurani,Sri Dinendranath Tagore,Tagore himself,Sri Bhimrao Shastri,Sri Anadi
Kumar Dastidar,Sri Santidev Ghosh,Sri Sailaja Ranjan Majumdar and many others made
the notations of Tagore’s songs.
A classification list is given below with some selected songs of Tagore with the
associated raga.The list is not comprehensive in this article due to limited space allowed
by the Editor.However,all the songs with respective raga are available with the author.
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CLASSIFICATION TABLE
THAATS NOTES RAGAS TIMINGS SOME SELECTIVE
AS PER COMMONLY KNOWN
TRADITIONAL RABINDRA SANGEETS
CLASSICAL (Corrsponding or near to
MUSIC corresponding RAGAS)
1.BILAWAL All Shudh or Bihag 10 P.M. to 12 i)Adhara madhuri dharechi chando
natural notes Midnight bandhane
ii)Antare jagiche antarayami
iii)Akash jure suninu oi baje
iv)Aj jyotsna rate sabai geche bone
v)Aj srabaner purnima te
vi)Aji godhuli lagane ei badal gagane
vii)Aji tomai abar chai sunabare
viii)Aji bijan ghare nishith rate
ix)Amar ange ange ke bajay
x)Amar nishith rater badal dhara
xi)Amar bhanga pather ranga dhulay
xii)Ami kebol e swapan korechi bapan
xiii)Eki sudha rasa ane
xiv)E pathe ami je gechi bar bar
xv)Elem notun deshe
xvi)Ogo sono ke bajay
xvii)Ke bale jao jao
xviii)Keno jagen jagena
xix)Chirasakha more cherona
xx)Jagarane jae bibhabari
xxi)Jage nath jyochchana rate
xxii)Jiban maraner simana
xxiii)Jiban jakhan chchilo phuler
xxiv)Jwaleni alo andhakare
xxv)Tarite pa diy ni ami
xxvi)Tumi rabe nirabe
xxvii)Trishnar shanti sundara
xxviii)Tomra ja balo tai balo
xxix)Tomar ashime pran man
xxx)Darao amar ankhir age
xxxi)Dariye acho tumi amar ganer
xxxii)Diye genu basanter ei
xxxiii)Deep nive geche momo
xxxiv)Dujone dekha holo
xxxv)Pramode dahlia dinu mon
xxxvi)Boli o amar golapbala
xxxvii)Bajilo kahar bina
xxxviii)Biraho madhur holo aji
xxxix)Bhara thak smriti sudhay
xxxx)Momo dukhero sadhan
xxxxi)Megh boleche jabo jabo
xxxxii)Mor hridayer gopon bijon
xxxxiii)Rodan bhara e basanta
xxxxiv)Shiter hawae laglo nachan
xxxxv)Sudhu jaoa asa
xxxxvi)Shrabaner dharar mato
xxxxvii)Sakhi bhabona kahare bale
xxxxviii)Saha na jatona
xxxxix)Hae go byathay katha jae jadi
xxxxx)Himer rater oi gaganer deep
Bilawal 9 A.M. to 12 P.M. i)Aji heri sansar amritamay
ii)Aha aji e basante
iii)Oi pohailo timiro rati
iv)Kache chile dure gele
v)Jagate ananda jagye
vi)Base achi hey
vii)Bahe nirantara ananta anandadhara
viii)Sakha hey ki diye
ix)Sakhi bahe gelo bela
x)Hridaye chile jege
Durga 9 P.M. to 12 A.M. i)Hridaye rakho go
Nat Narayan 12 A.M. to 3 A.M. i)Shok tap gelo durey
Shankara 6 P.M. to 9 P.M. i)Puri hate paliyeche
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ii)Hey mor chitta

2.MARWA re as Komal & ma Basant 3 A.M. to 6 A.M. i)Aji ei gandha bidhur samirane
as Teevra ii)O re bhai phagun legeche
iii)Nil digante oi
iv)Bakul gandhe banya elo
Lalit 3 A.M to 6 A.M. i)Puspa bane puspa nahi
ii)Praner pran jagiche
3.BHAIRAV With re,dha as Bhairav 6A.M. to 9A.M. i)Subhra asane birajo
komal ii)Tomar name nayan melinu
iii)Ratri ese jethay meshe
iv)Dao he hriday bhare dao
v)Dhora diyechi go ami
Kalingada 6A.M. to 9 A.M. i)Abar jadi ichcha karo
ii)Amra bendechi kasher guchcho
iii)Ami chahite esechi
iv)Ek tuku choyan lagey
v)Gopon kathati rabena gopone
vi)Gharete bhramar elo gunguniye
vii)Tomae sajabo jatane
viii)Bado bedanar mato
ix)Boli go sajani
x)Jadi jantem amar kiser byatha
4.BHAIRAVI With re,ga,dha,ni as Bhairavi 6 A.M. to 9 i)Amal dhabal pale legeche
komal A.M./any time ii)Oi bhuban mohini
iii)Aj aloker ei jharna dharay
iv)Amay kshamo he kshamo
v)Amar andhar bhalo
vi)Amar je gan tomar paras pabe
vii)Amar rat pohalo sarad prate
viii)Amar hriday tomar apon hater
ix)Ami chanchal hey
x)Ami tomar preme habo
xi)Etodin je bosechilem
xii)Esechile tobu aso nai
xiii)O je manena mana
xiv)Oi mahamanaba ase
xv)O ke dharile to dhara debena
xvi)O re notun yuger bhore
xvii)Kal rater belay gan elo mor
xviii)Keno jamini na jete
xix)Charan dharite diyogo
xx)Jibone param lagan
xxi)Tumi mor pao nae parichay
xxii)Tomar dware keno asi
xxiii)Daya diye habe je mor
xxiv)Pralay nachan nachle jakhan
xxv)Prangane mor sirish sakhay
xxvi)Prem esechilo nishabda charane
xxvii)Badhu kon alo laglo chokhe
xxviii)Barisho dhara majhe shantir
xxix)Bhengecho duar esecho
xxx)Madhu gandhe bhara
xxxi)Mor bina othe
xxxii)Jakhan bhanglo milan mela
xxxiii)Joubana sarasi nire
xxxiv)Shyamal chaya nai ba gele
xxxv)Sakarun benu bajaye ke jae
xxxvi)Sansar jabe monk ere loi
xxxvii)Sur bhule je ghure berai
xxxviii)Hinsay unmatta prithi
xxxix)Hey kshaniker atithi
xxxx)Hey nabina
Malkauns 9 P.M. to 12 A.M. i)Ananda dhara bohiche bhubane
5.POORVI With re,dha,as Bibhas(Also in 3 P.M. to 6 P.M i)Aj dhaner khete roudra chchayay
komal and Marwa&Bhairav ii)Ami kan pete roi
Ma as Teevra That)
Paraj 2A.M.to4A.M. i)Ami hethay thaki sudhu
ii)Hridaye tomar daya jeno pai
Poorvi 3 P.M.to 6 P.M. i)Asru nadir sudur pare
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ii)Nivrita praner debata

Shree 3 P.M.to 6 P.M. i)Kar Milan chao birahi
6.TODI With re,ga,dha as Multani 3 P.M.to 6 P.M. i)Din jadi holo abosan
komal and ii)Nai raso nai
ma as Teevra Todi 9A.M. to 12P.M. i)Prabhate bimal anande
ii)Rajanir sesh tara
7.ASAVARI With ga,dha,ni as Adana 12 A.M. to 3 A.M i)Mandire momo ke
komal Asavari 9 A.M.to 12 P.M. i)Ami swapane rayechi bhor
ii)Tabo amal paras rasa
Suddha Kanara 3 A.M. to 6 A.M i)Tumi ki kebol e chchabi
ii)Megh chchaye sajal baye
8.KALYAN With ma as Teevra Bhupali 6 P.M. to 9 P.M. i)Amra sabai raja
(YAMAN) only ii)Ghor dukha jaginu
ChayaNat 9 P.M. to 12 A.M. i)Arup tomar bani
ii)Akash amar bharlo alloy
iii)Ami bahu basanay pranpone chai
iv)O jonaki ki sukhe oi dana
v)Godhuli gagane meghe
vi)Tomarei koriyachi jibaner
vii)Prane gan nai
viii)Jadi baran karo
ix)Ray je kangal
x)seema r majhe asim tumi
Gaud Sarang 12 P.M. to 3 P.M. i)Aguner parasmoni
ii)Badal baul bajay re
Hameer 9 P.M. to 12 A.M. i)Shopney amar mone holo
ii)Kato ajanare janaile tumi
Hemant 6 P.M. to 9 P.M. i)Se kon boner harin
Kedar 9 P.M. to 12 A.M. i)Khelaghar bandhte legechi
ii)Prabhu amar priya amar
Suddha Kalyan 9 P.M. to 12 A.M. i)Maha biswe…ami manab ki lagi
Shyam Kalyan 6 P.M. to 9 P.M. i)Rakho rakho re
Yaman 6 P.M. to 9 P.M. i)Amar matha nato kore
ii)Amar sakal raser dhara
iii)Ashard sandhya ghoniye elo
iv)E monihar amay
v)Ei udasi hawar pathe pathe
vi)Ekhono tare chokhe dekhini
vii)Klanti amar kshama karo prabhu
viii)Khara bayu boy bege
ix)Chokher alloy dekhechilem
x)Janaganamana adhinayaka hey
xi)Tumi sndhyar meghomala
xii)Dhire dhire dhire bao ogo utal
xiii)Phul bale dhanya ami
xiv)Baje baje ramya bina
xv)Mone ki dwidha rekhe chole gele
xvi)Maya bano biharini
xvii)Mor sandhyay tumi sundar
xviii)Sundar bate taba angad khani
xix)Hriday amar nachere ajike
xx)Hey mor debota
9.KHAMAJ With ni as komal Desh 6 P.M. to 9 P.M. i)Amar din phuralo
ii)Amar je sab ditey habe
iii)Ami jene sune bish korechi
iv)Utal dhara badal jhare
v)Ei lovinu sanga tabo
vi)Emon dine tare bola jae
vii)Eso shyamal sundar
viii)Jibon jakhan sukhaye jae
ix)Jhare jae ure jae go
x)Tar hatey chilo
Gaud Malhar(Also in 12 A.M. to 3 A.M. i)Aji sraban Ghana gahan mohe
Kafi That) ii)Mor bhabonare ki hawae
Gara 12 A.M. to 3 A.M i)Ki ghor nishithe
Jayjayanti 6 P.M. to 9 P.M. i)Gaganer thale rabi Chandra dipak
jwale
Jhinjhoti 9 P.M. to 12 A.M. i)Chchinna patae sajai tarani
ii)Ananda loke mangalaloke(Mysore)
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Khamaj 6 P.M. to 9 P.M. i)Aji jato tara tabo akashe

ii)Amar bela je jae
iii)Ami tomay jato suniyechilem
iv)Ami pathbhola ek pathik
v)Ei kathati mone rekho
vi)Ore chitrarekha dorey bandhilo
vii)Kusume kusume charan chinha
viii)Chale jae mori hae
ix)Nrityero tale tale
x)Purna chander mayay aji
xi)Pran bhoriye trisha horiye
xii)Bhalobasi bhalobasi
xiii)Rup sagare dub diyechi
xiv)Sarat tomar arun alor anjali
xv)Sei bhalo sei bhalo
Tilak Kamod 6 P.M. to 9 P.M. i)Shanti karo barishano
ii)Madhuro rupe birajo
iii)Jatobar alo jwalate jae
10.KAAFI With ga,ni as komal Bageshree 12 A.M. to 3 A.M i)Nisith sayane bhebe rakhi mone
ii)Je rate mor duar guli
Bahar NIGHT i)Aji kamal mukul dal khulilo
ii)Aji basanta jagrata dware
iii)Aji bahiche basanta paban
iv)E ki akulata bhubane
v)E ki karuna
vi)Ek mone tor ektarate
vii)O hey sundara mori mori
viii)Premer joware bhasabe
ix)Madhur basanta eseche
x)Laho laho phire laho
Bhimpalasi 3 P.M.to 6 P.M. i)Tar biday belar malakhani
ii)Bipul taranga re
Brindavani Sarang 12 A.M. to 3 A.M. i)Chakhe amar trishna
ii)Dur desi sei rakhal chele
Gaud 12 A.M. to 3 A.M i)Hey nikhil bhar dharan
Kafi ANY TIME/6 i)Acho antare chirodin
P.M. to 9 P.M. ii)Amay bolona gahite bolona
iii)E parabase rabe ke
iv)E pare mukhar holo keke oi
v)Keno bajao kankan
vi)Charan dhwani suni tabo nath
vii)Nahi nahi nidra ankhi pate
viii)Phire jao keno phire phire jao
ix)Momo chitte niti nritye
x)Jodi e amaro,hridaya duaro

Megh 12 A.M. to 3 A.M i)Nil anjanaghana punja chayay

ii)Pinakete lage tankar
Mian Ki Malhar MONSOON i)Kotha je udhao holo
Piloo ANY TIME i)Amar paran jaha chay
ii)Amar hiyar majhe
iii)Ami jakhan tar duare bhikha nite
iv)Oi malatilata dole
v)Ogo nadi apon bege pagal
vi)Chander hasir bandh bhengeche
vii)Chaya ghanaiche bone bone
viii)Badal dhara holo sara
ix)Jete dao jete dao gelo jara
x)Se din dujone dulechinu bone
Shahana 12 A.M. to 3 A.M. i)Jadi prem dilena prane
ii)Ki gabo ami ki sonabo
iii)Megher pare megh jameche
iv)Sudhu tomar bani nay go
12.NO THAT KARNATIC Singhendra Madhyam 3 P.M. to 6 P.M i)Baje karun sure

If the list is scruitinised,it will be observed that,as per tradition of Hindustani

classical,each raga has a timing for rendition.But,Tagore did not impose any such
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condition for his songs.He allowed the songs to be performed any time of the day.He
rather made the classification of his songs in terms of Prem,Puja,Prakriti,Seasons etc.
Apart from the above table,Tagore composed a no. of songs which comprise of more than
two or more ragas/raginis,of which a few samples are given below:
1.Ache Dukhya,ache mrityu—Lalit+Bibhas+Jogiya+Asavari
2.Prakhar tapan tapey—Todi+Multani+Bhimpalasi
3.Moru bijayer ketan—Kedara+Hameer+Kirtan
4.Amar praner pare chale gelo—Piloo+Kalingada+Paraj
5.Eso eso basanta—Sohini+Pancham+Bhairav+Bahar
6.Oi ase oi oti—Malhar+Piloo+Yaman Kalyan+Khamaj
There are other instances also.However,difference in opinion still prevails about the
classification as Tagore used many ragas in broken form in composition which may have
resemblence to varieties of ragas in addition to the mentioned one and some may not
resemble to a particular raga/ragini.
Tagore songs are deeply influenced by classical music.Although he himself did not learn
CLASSICAL MUSIC formally, the family atmosphere of cultivating this form of music
enabled him to compose many of his songs in the Hindustani classical style.On the
occasion of Brahmo Samaj’s Magh festival, he composed many devotional songs in the
Hindustani classical style. The Tagore songs composed in this tradition are treasures of
our music. Many of his songs abound in the classical forms of sthayi, antara, sanchari
and abhog. The influence of the classical style is also manifested in the tunes, words and
articulation of the songs. The RAGAs and raginis heard in his childhood managed to cast
long shadows on his songs.
To him, theme was more important than ragas. Even in folk tunes he experimented with a
mixture of ragas to create a genre of his own TAPPA is yet another form that has
enriched Tagore songs. The use of tappa in giving expression to Bengali emotions has
been noteworthy. Tagore always emphasized that an ideal song is a perfect marriage of
lyric and melody,where they go hand in hand.Tagore’s songs present a smooth blend of
melody and lyrics where these two are inseparable,and evolve together in a unique
musical language
The article will remain incomplete if something is not mentioned about the Talas created
by Tagore.
Tal or beat is one of the important aspects of a song.Tagore experimented with the
existing beats like Dhamar – a 14-beat taal and composed many tunes using this type. He
also created some new beats or Tals.
One of this is Shasti-taal which has 6 counts, but unlike the standard 6 beat where Dadra
divided in 3/3 it is divided in 2/4 or 4/2. Nava-taal is another such beat created for
‘pakhwaj’.
Rabindranath has used many tals in composing songs. These included chautal, ada
chautal, dhamar, adatheka, surfanktal, yat, jhanptal, trital, ektal, teoda, dadra, kaharba and
adkhemta. He has utilized some tals which are new to North Indian music; these include
sasthi,jhampak, rupkada, navatal, ekadashi and navapanchatal. In poetic measures too,
Rabindranath showed some distinctiveness,especially in using multiple times. He has
occasionally used multiple tempos in a single song and has skillfully mixed times and
tempos to create a very unusual musical form.Usually songs have a preponderance of
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tunes and measures but Tagore songs are essentially poetic and therefore their poetic
themes are as important as their tunes.
At the last,one submission is made from my end.As per traditional Hindustani classical music,2 or
more ragas and raginis are required to create another ragini.There are many instances where the
creator/composer of the ragini gave a new name to the newly created ragini.but the same thing did
not happen in case of Tagore.He many a times used multiple ragas/raginis to compose a
song,sometimes,more than 4 but not a single ragini has been named linking the name of Tagore.He
had used&made the vadi,vivadi,samvadi&anuvadi notes so seamlessly compatible that when the song
is sung,no discrepancy is observed.This is a great quality of a composer using Hindustani classical
base.
May the readers forum take it up so that in this 150th birth anniversary year of Tagore,atleast one
ragini is marked in his name and adopted in the main stream of Hindustani classical music form to
offer him the greatest honor in this year of celebration.The raga form followed in the song—ACHE
DUKHYA,ACHE MRITYU—may be denoted as’RAVI RANJANI’ and be adopted in the main
stream classical form for rendition.
I leave this entirely to the readers who really love SRI RABINDRANATH TAGORE AND HIS
CREATIONS.

REFERENCES AND SUGGESTED READING:-

1.Swarabitan,Geetabitan,Geetanjali—Sri Rabindranath tagore
2.Swaralipi-Geetimala—Sri Jyotirindranath Tagore
3.Shata gan—Smt.Sarala Devi Choudhurani
4.Sangeet Geetanjali—Sri Bhim Rao Shastri
5.RabindraSangeet—Sri Sudhir Chanda
6.Understanding Indian Classical music---Prabir Datta
7.Understanding Karnatik Classical music---Prabir Datta
8.Rabindra Sangeet Mahakosh—Sri Prabir Guhathakurta
9.Geetabitaner Jagat—Sri Subhas Chowdhury
10.Akhanda Rabindrasangeet—Dr.Pabitra Kumar Sarkar
11.Rabindra Rachanabali—Viswa Bharati & Government of West Bengal
12.Brahma sangeet—Swaralipi—Sri Kangali Charan Sen
13.Sangeet Prakashika—Sri Jyotirindranath Tagore
14.Ananda sangeet Patrika—Smt.Pratibha Devi &Smt.Sarala Devi—Editors
15.Rabindra Sangeetey Triveni Sangam—Smt.Indira Devi Choudhurani
16.Rabindra Jibani—Sri Prabhat Kumar Mukhopadhyay
17.Rag Sangraha—Sri Rabindra Kumar Das
Etc.