According to Javed Akhtar – As a rule, Indian film songs have a mukhda, which comes again and again and two or three, and sometimes more antaras. (In Conversation with Nasreen Munni Kabir – Talking Songs). Hindi film songs have always maintained a definite pattern, a structure in which the songs are made. Majority of the songs have a fixed pattern. The songs generally follow the structure as – the prelude, mukhda, interludes and the antara. A song begins with a prelude. The music which sets in the mood of the forthcoming song. By listening to the music we can generally identify whether you are going to hear a happy, sad, romantic, sentimental song. Followed by a mukhda. Mukhda which literally means face, indeed gives the introduction of the song, its subject and the mood, in words or lyrics. This mukhda keeps repeating after every antara. The antara forms the soul of the song. With some expressive words in the antara, the poets, lyricists often pour out their hearts. The interludes sets a bridge across the mukhda and the antara. So we can say, in a way the interludes connect mukhda with the antara. Thus, whole body of a song is formed. The song structure or the song body is mainly divided as – music arrangements (consists of all the instruments and how and where it should be placed), music composition (which forms the main body) and the lyrics which form the main subject or the song’s character.
Taking this into consideration we have already seen earlier different combinations of mukhda – antara songs. We have a No Mukhda No Antara collection and also Different Yet Same collection. To add to the list of different songs here’s another collection.
Songs where the mukhda is rendered by a male voice and antara by a female voice. Or where the male voice is repeating only the same two lines of the mukhda.
1. CID (1956) – Aankhon hi aankhon mein ishara ho gaya – rendered by Geeta Dutt and Mohammed Rafi composed by O P Nayyar. The song where Rafi sings only these lines Aankhon hi aankhon mein ishara ho gaya baithe baithe jeene ka sahara ho gaya while the stanzas are by Geeta Dutt.
2. Baharon Ke Sapne (1967) – Chunri sambhal gori udi chali jaaye re – A duet by Lata Mangeshkar and Manna Dey composed by Pancham, where Manna Dey sings only Chunri sambhal gori udi chali jaaye re maar na dank kahin nazar koi haaye, dekh dekh pag na fisal jaaye re… while Lata Mangeshkar sings the stanzas.
3. Shareef Badmash (1973) – Neend churake raaton mein – Another one from Pancham again. Rendered by Asha Bhonsle and Kishore Kumar. And Kishore Kumar sings only – Hum phir baat badal denge, aaj nahi dil kal denge bhai aisi bhi kya jaldi hai, arre aisi bhi kya jaldi hai
A lovely list of songs came up in this category courtesy my friends and readers. Here are few more additions suggested by the music lovers –
Jaal (1952) – Ye raat ye chandni phir kahan – A beautiful tandem number composed by S D Burman. It has 2 versions. One is a Hemant Kumar solo and the other where Lata Mangeshkar sings the stanzas and Hemant Kumar sings the mukhda.
Miss India (1957) – Ye bheegi bheegi raatein – Again composed by S D Burman and rendered by Lata Mangeshkar and Manna Dey.
Jaali Note (1960) – Gustakh nazar chehre se hataa – A lovely song picturised on Helen and Dev Anand, rendered by Asha Bhonsle and Mohammed Rafi.
Pyar Ka Mausam – Ni Sultana re – 3rd one in this particular list by Pancham. Rendered by Lata Mangeshkar and Mohammed Rafi.
Pakeezah (1972) – Chalo dildar chalo – Rendered by Mohammed Rafi and Lata Mangeshkar, this beautiful duet is composed by Ghulam Mohammed.
Mausam (1975) – Dil dhoondta hai phir wahi – Another beautiful tandem song composed by Madan Mohan. One version is a male solo by Bhupinder Singh while the duet has Lata Mangeshkar and Bhupinder Singh.