Beifore I commence documenting the third part of the post, I should acknowledge that Shri AKji [SoY] has put the matter in the further clear perspective in his comment to the first part of the present series here. He has, very rightly, called the songs as “hybrid” ones, when we see a deviation form the classic format of the “version” songs. In fact, the second part of the present series would be considered a total digression.
So at the cost of expanding / further digressing the subject even further, let me add one more variety to the subject.- there are several ghazals rendered by a large number of different singers, bringing in their own subtle variations in the style, structure and all that
Here are some of the samples:
DIL HI TO HAI
CH Atma and Talat Mahmood
Begum Akhtar –
DIL-E-NADAN TUJHAY HUA KYA HAI
Jagjit & Chitra Singh
YEH NA THEE HAMARI QISMAT
Ustad Amanat Ali Khan
Farida Khanum, Ustad Sabri Khan
RANJISH HI SAHI DIL HI DUKHANE KE LIYE AA-
LAGTAA NAHI HAI DIL MERA –
Habib Wali Muhammad Sahab
If anyone has reasonably good command of classical music, the subject can be extended to same Raag rendered by different singers, particularly male and female vocal artists to identify the differences in the singing and possible reasons.