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From Scroll<\/em><\/strong>:<\/p>\n \u2018Almost all Hindi film songs have beat patterns which are straight and regular. But OP Nayyar had other ideas.\u2019<\/em><\/strong><\/p>\n The poor sarangi! Hindi movie music had accorded it a somewhat limiting position \u2013 both within the kothas or as mournful accompaniment to melancholic songs. No music director had violated the rule. Till \u2018The Disruptor\u2019 got here alongside and adjusted all guidelines of Hindi movie songs. Not in small measure, however wholesale.<\/p>\n OP Nayyar \u00a0took 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 \u2018Yeh Kya Kar Dala Tune\u2019 (Howrah Bridge<\/em>, 1958), and \u2018Aankhon Hi Aankhon Mein Ishara Ho Gaya\u2019 (CID<\/em>, 1956).<\/p>\n 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 \u2013 nonetheless gentle however now extra insistent \u2013 within the prelude to \u2018Jaayiye Aap Kahaan Jaayenge\u2019 (Mere Sanam<\/em>, 1965). Never was the santoor used like this.<\/p>\n \n![\"\"](\"https:\/\/baradwajrangan.files.wordpress.com\/2023\/03\/op-nayyar.jpg\")
<\/a><\/figure>\nRhythm king<\/strong><\/h3>\n