Behka Mein Behka (slow + reverb)

Behka Mein Behka (slow + reverb) | A. R. Rahman

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Күн бұрын

Movie: Ghajini (2008)
Lyrics:
Behka Main Behka,
Wo Behki Hawa Si Aayi,
Ek Hi Nazar Mein Sab,
Manzil Wanzil Paayi,
Hatke Alag Si Thi,
Bilkul Juda Si, Yeahhh
Naa Hi Adaayein, Naa Koi Angdaayi,
Behka Behka Main Behka Behka,
Mehka Mehka Yeh Mann Hai Mehka,
Behka Main Behka,
Wo Behki Hawa Si Aayi,
Ek Hi Nazar Mein Sab,
Manzil Wanzil Paayi…
Dhadkan Dhak Dhak Dhak Dhak Hui,
Dil Tha Tha Tha Tha Tha Thayee,
Chaal Dagmag Mag Dagmag Mag Hui,
Jhomoo Jhamak Jhama Jham,
Rasta Takoon Takoon Takoon Takoon Mein,
Pal Pal Jagoon Jagoon Jagoon Mein,
Baar Baar Badal Karwat,
Usko Sochu Main,
Behka Behka Main Behka Behka,
Mehka Mehka Yeh Mann Hai Mehka,
Guzre Jahan Se Woh Raunak Udaaye,
Chalke Nadi Si Woh,
Mujhko Bheegoti Jaaye,
Woh Gungunaye, Nageenein Lutaaye,
Khatta Sa Bachpan, Meethi Shararat,
Thoda Resham Hai, Thodi Nazaakat,
Kabhi Sharmaaye, Kabhi Lehraaye,
Usmein Saahil Hai Aur Jaane Kitni Gehraayi,
Behka Main Behka,
Wo Behki Hawa Si Aayi,
Ek Hi Nazar Mein Sab,
Manzil Wanzil Paayi,
Hatke Alag Si Thi,
Bilkul Juda Si, Yeahhh
Naa Hi Adaayein, Naa Koi Angdaayi..
Behka Behka Main Behka Behka,
Mehka Mehka Yeh Mann Hai Mehka,
Uski Boli Jaise Phoolon Ki Toil,
Uska Chalna Rituein Badalna,
Jhooth Bhi Uske Sach Lage, Achche Lage,
Sach Se Bhi Bade Lage,
Raah Mein Uski, Haath Bandhe,
Palke Bichaaye Hue,
Sar Ko Jhukaaye Hue,
Khushboon Se Chahye Hue,
Taktaki Lagaye Hue,
Saath Saath Jaane Kitne,
Saare Mausam Khade Rahe..
Behka Main Behka,
Wo Behki Hawa Si Aayi,
Ek Hi Nazar Mein Sab,
Manzil Wanzil Paayi
Behka Main Behka,
Wo Behki Hawa Si Aayi,
Ek Hi Nazar Mein Sab,
Manzil Wanzil Paayi
Hatke Alag Si Thi,
Bilkul Juda Si, Yeahhh
Naa Hi Adaayein, Naa Koi Angdaayi,
Behka Main Haan Behka Behka Main
Behka Main, Oh Behka Behka Behka Main
Behka Main Haan Behka Behka Main
Behka Main, Oh Behka Behka Behka Main
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Listen to the original audio of 'Behka Mein Behka' by A. R. Rahman:
• Behka Main behka Full ...
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I do not own the music. I do not own the gif. Only the editing is mine done for entertainment purposes. ALL RIGHTS FOR THE MUSIC BELONGS TO THE RIGHTFUL ARTISTS.
FAIR USE ACT DISCLAIMER:
Copyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.

Пікірлер: 8

@harshvardhnrai Жыл бұрын

We all loved the part from 04:51 sec in the song. Why? Have we ever thought? It's due to the sheer brilliance of A. R. Rahman's composition. The song demands to be peppy and lively throughout its confabulation. It's something that opens up your eyes and makes you enjoy the beats and lyrics. But A. R. Rahman, keeping the tone of the film in mind, uses the themes of Reality vs Illusion. Notice how this song starts, with a sudden jolt of bass, as if it is waking you up from a dream, from an illusion. But then slowly in between it starts to change its mood slightly. Especially at 04:51 sec of the song. Now let's see how. Rahman sir does not use synths & strings in most parts of this song. He rather keeps the song more hollow, concrete, and tangible through instruments like Saxophones, Drums (probably Clarinet too) and Bright Piano… which produce a harsh, and aggressive tone). But as soon as we are coming to the resolution of the song, near 04:51 sec, Rahman starts building a fantasical element in the peppy song, by adding synths and EP Pad sound (which are used for ambient and dreamy tone) "Baar Baar Badal Karwat, Usko 'Sochu' Main… -- 02:07 -- notice how synths are played in the background for this specific part and then take a step back again) Notice how Rahman blends Reality and Fantasy for a while by mixing Synth & electronic harps with Saxophone & Drums, and then just abruptly stops it - 03:30 to (more from 03:42) 03:59. And then the very next second the mood goes blank and it is just the beats and vocals. And now Rahman buckles up to incorporate the Dreamy tone and Realistic tone of the song swiftly from 04:41 sec by adding a background harmonic chorus… which stops along with the vocals, to give a complete silent pause, helping us lay down memory for the tune and letting us to deviate our subconscious to Reality to Fantasy... And now, from 04:51 sec, Rahman puts in EP Pad, Synths, DX7 Electric Piano, Arp (probably), Strings, and additional harmonic chords for the ambient background sound, that we hear subconsciously, to create poignancy, tenderness, and gloom in the song. That too without actually putting any other melody or time signature. Listen carefully to, how the sound of EP Pad along with Synth, from 05:04 sec, from the repetition of "Behka Main Behka", hit the core of the melody with a descending scale and stops at "Manzil Vanzil Paaye" and then he adds up a beautiful ascending filler of EP Pad just before "Hatke Alag …" Ah, my heart! Also, the way the original melody of "Behka Main Behka" hook part (from 05:04 sec) is more dramatised and mollified, makes a significant impact on the listeners' minds, along with the instrumentation in the part. Finally, he ends the dreamy part at “Naa Koi Angdaai…” by alleviating a suspended chord. (and then the drum part starts, waking us up from the illusion that A. R. Rahman sent us to… :’) He plays with our psyche, as most of the time he was waking us up with his blunt and snappy texture in the song and now he just calmed us down, putting us in the rest, and unfolding the sentimental & dreamy aspects of us from 04:51 sec to 05:27…