Na Tum Hamein Jaano (Lyrics: Majrooh Sultanpuri / Film: Baat Ek Raat Ki (1962)

If only I were the debonair Dev Anand, just for a day, and got to sing "Na Tum Hamein Jaano, Na Ham Tumhen Jaane" for the benefit of the ethereal Waheeda Rehman, in Majrooh sahab's words, Hemanta da's voice and Burman da's music - only for a day - few hours - a moment, perhaps...

Na tum hamein jaano
Na hum tumhein jaane
Magar lagta, hai kuch aaisa
Mera humdam, mil gaya

Ye mausam ye raat chup hai
Do hothon ki baat chup hai
Khamoshi sunane lagi
Hai dastaan (2)

Nazar ban gayi hai
Dil ki zabaan

Na tum hamein jaano...

Mohabbat ke mod pe hum
Mile sab ko chod ke hum
Dhadakte dilon ka leke
Ye caravan (2)

Chale aaj dono
Jaane kahan?

Na tum hamein jaano...


न तुम हमें जानो 
न हम तुम्हें जाने 
मगर लगता, है कुछ ऐसा 
मेरा हमदम मिल गया 

ये मौसम ये रात चुप है 
दो होठों की बात चुप है 
ख़ामोशी सुनाने लगी 
है दास्तां (2)

नज़र बन गयी है 
दिल की ज़बां 

न तुम हमें जानो ---

मोहब्बत के मोड़ पे हम 
मिले सब को छोड़ के हम 
धड़कते दिलों का लेके 
ये कारवां (2)

चले आज दोनों 
जाने कहाँ?

न तुम हमें जानो ---

Majrooh Sultanpuri (1919−2000) was one of the dominating musical forces in Hindi Cinema in the 1950s and early 1960s, and was an important figure in the Progressive Writers' Movement. In his career spanning six decades, he worked with many music directors, from Naushad, Madan Mohan, S.D. Burman, Roshan, Ravi, Shankar-Jaikishan, O.P. Nayyar, Usha Khanna, Laxmikant Pyarelal, Anu Malik, R.D. Burman, Rajesh Roshan, Anand-Milind and Jatin-Lalit, to Leslie Lewis and A.R. Rahman. He won the Filmfare Best Lyricist Award in 1965 and the highest award in Indian cinema, the Dadasaheb Phalke Award for lifetime achievement, in 1993. Majrooh Sultanpuri was born as Asrar ul Hassan Khan in Nizamabad (Azamgarh) where his father was posted in the Police Department, though the family was from Sultanpur, Uttar Pradesh. Majrooh was sent for traditional Madarsa education, which led to his obtaining the certificate of Alim. He thereafter joined Lucknow's Takmeel-ut-Tib College of Unani. He was a struggling Hakim when he happened to recite one of his ghazals at a mushaira in Sultanpur. The ghazal was a hit with the audience and Majrooh decided to drop his fledgling medical practice and began writing poetry seriously. Soon he was a 'regular' at mushairas and a "shagird" i.e., disciple of the then top name in Urdu - Jigar Moradabadi. In 1945 Majrooh visited Bombay to attend a mushaira. One of the impressed listeners was film producer A.R. Kardar. He contacted Jigar Moradabadi, who helped him meet Majrooh. Initially Majrooh refused to write for films, because he didn't think very highly of them. But Jigar Muradabadi persuaded him, saying that films would pay well and would help Majrooh support his family. Kardar then took him to music composer Naushad. Majrooh was signed on as the lyricist of the film Shah Jehan (1946). Just as Majrooh was establishing himself as a lyricist and songwriter of repute, his leftist leanings got him into trouble. The government wasn't amused by his anti-establishment poems and he was jailed in 1949 along with other leftists like Balraj Sahni. Majrooh was asked to apologise, but he refused, and was sentenced to two years in prison (Information source: Wikipedia)

Songwriting - Online Course with Pat Pattison (Berklee College of Music)

The course ''Songwriting" by Pat Pattison from Berklee College of Music will be offered free of charge to everyone on the Coursera platform.

Sign Up at: https://www.coursera.org/course/songwriting

Current Session: 1st March 2013 (6 weeks long)
Workload: 6-8 hours/week 

About the Course

There’s a songwriter lurking somewhere inside you, peeking around corners, wondering if it’s safe to come out. Now it is. This course is an invitation to let your inner songwriter step into the sunlight. All it takes is a simple “yes” and you’ll be climbing that windy hill, marveling at the view.

If you haven’t written any or many songs, this course will show you an efficient, effective process for tailoring songs to express your ideas and emotions. If you have, you’ll look at your process differently, taking control of aspects of the process you may have not noticed.

The course will start by examining the tools available to you, all revolving around the essential concept of prosody. You’ll learn to use your tools to enhance your message - to work compositionally at the same time you’re developing your ideas.

You’ll be working both lyrically and musically, though musically it’s not necessary that you either read music or play an instrument. If you play, great, and you’ll be encouraged to play and record your musical responses to the assignments. If you don’t play, the course offers you a number of musical loops to work with. All you’ll have to do is sing your melodies over the loops.

Assignments will ask you to post something for peer review - sometimes lyric lines or sections, sometimes melodies, sometimes both. None of it has to be polished. The course is about writing, not performing.

Most important, you’ll have a lot of fun.

Course Syllabus

Lesson 1: The Journey of the Song

By the end of this lesson, you will see how to develop your song idea so it creates an interesting journey from start to finish. You’ll understand your options developing the point of view of your song and will be introduced to the songwriter’s six best friends.

Lesson 2: Stopping and Going

By the end of this lesson, you will understand the concept of prosody as it relates to the number of lines/musical phrases in a section and to line lengths/musical phrases, the school crossing guards of your song. You’ll create both stable and unstable line/musical groupings, using an odd or even number of lines and musical phrases. Using these tools, you’ll write a verse and chorus.

Lesson 3: Sonic GPS - Mapping Your Song with Rhyme

By the end of this lesson, you will understand the relationship of rhyme schemes to prosody. You’ll create both stable and unstable sections, using various rhyme schemes to show your ear the way to go home. Using these tools, you’ll write a new verse and chorus.

Lesson 4: Making It Move

By the end of this lesson, you will understand language rhythms - the difference between stressed and unstressed syllables and how to put rhythm in your lines, preparing them to join into the dance with musical rhythm. Using these tools, you’ll put last week’s verse and chorus to music.

Lesson 5: Writing the Song

In this lesson, you’ll select a new song title and create a worksheet to help develop your ideas. You’ll write your lyric and set it to music, matching your lyric rhythms to melodic rhythms. You’ll create a melody, using stable and unstable notes to support your ideas.

Lesson 6: Crossing the Finished Line

By the end of this lesson, you will understand the role of phrasing to create the body language of your song, using the relationship of your phrases to musical downbeats to create stability or instability. Then you’ll put the finishing touches on your song from lesson 5.

Recommended Background
No prior songwriting or musical experience is necessary.

Suggested Readings
Writing Better Lyrics by Pat Pattison. Publisher: Writer's Digest Books. ISBN-10: 1582975779.


Course Format

The course consists of video demonstrations, with integrated quizzes that allow you to reinforce your knowledge of the material before moving on. From time to time, you will be asked to listen to songs that demonstrate key concepts. There are 21 songs in total referenced in the course, and you should make sure that you have access to them, either digitally or perhaps in your own record/CD collection:

"Still Crazy After All These Years" (Paul Simon) performed by Paul Simon
"50 Ways to Leave Your Lover" (Paul Simon) performed by Paul Simon
"Can’t Be Really Gone" (Gary Burr) performed by Tim McGraw
"Eleanor Rigby" (John Lennon/Paul McCartney) performed by The Beatles
"The End of the Innocence" (Don Henley) performed by Don Henley
"For No One" (John Lennon/Paul McCartney) performed by The Beatles
"The Great Pretender" (Buck Ram) performed by The Platters
"Hasten Down the Wind" (Warren Zevon) performed by Warren Zevon
"Heartbeat City" (Ric Ocasek) performed by The Cars
"How Can We Hang On to a Dream" (Tim Hardin) performed by Tim Hardin
"I Can’t Make You Love Me" (Mike Reid/Allen Shamblin) performed by Bonnie Raitt
"In Front of the Alamo" (Gary Burr) performed by Hal Ketchum
"It Was a Very Good Year" (Ervin Drake) performed by Frank Sinatra
"Judgement of the Moon and Stars (Ludwig's Tune)" (Joni Mitchell) performed by Joni Mitchell
"One More Dollar" (Gillian Welch) performed by Gillian Welch
"Some People’s Lives" (Janis Ian/Kye Fleming) performed by Janis Ian
"Strawberry Wine" (Matraca Berg/Gary Harrison) performed by Deana Carter
"Sweet Baby James" (James Taylor) performed by James Taylor
"Train in the Distance" (Paul Simon) performed by Paul Simon
"What’ll I do?" (Irving Berlin) performed by Linda Ronstadt
"Why Can't I Have You?" (Ric Ocasek) performed by The Cars

You will also have assignments that ask you to write or record examples of your song ideas for peer review.

FAQ

Do I need to have prior songwriting experience or musical ability?

No. Playing an instrument, such as the guitar or keyboard, is helpful but not necessary.

Can I work on my own music?

Absolutely. If you do not have your own music, you will be able to use musical loops supplied in the course.

What do I need in order to submit recording assignments?

During the course, you will be asked at times to submit recorded examples of your song ideas. In order to do this, you will need your computer's built-in microphone or an external microphone plugged directly into your computer (via built-in ports or an external audio interface), in addition to basic audio recording software, such as Audacity, that will allow you to record yourself and save the recording in MP3 format.