From Scroll:
‘Almost all Hindi film songs have beat patterns which are straight and regular. But OP Nayyar had other ideas.’
Rhythm king
The poor sarangi! Hindi movie music had accorded it a somewhat limiting position – both within the kothas or as mournful accompaniment to melancholic songs. No music director had violated the rule. Till ‘The Disruptor’ got here alongside and adjusted all guidelines of Hindi movie songs. Not in small measure, however wholesale.
OP Nayyar took the sarangi out of the confines of the kotha and let it soar into the sky; from being an adjunct to a dirge, he remodeled it into an upbeat musical instrument. He gave it a feel-good melody, a quick tempo. He gave it respect. You might hear it sing joyfully, to be launched from typecasting. Hear ‘Yeh Kya Kar Dala Tune’ (Howrah Bridge, 1958), and ‘Aankhon Hi Aankhon Mein Ishara Ho Gaya’ (CID, 1956).
Take the santoor. The beat allotted to it by music composers was mild. It was elevator music. OP Nayyar used it as a fast-flowing brook – nonetheless gentle however now extra insistent – within the prelude to ‘Jaayiye Aap Kahaan Jaayenge’ (Mere Sanam, 1965). Never was the santoor used like this.
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