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  1. #1
    jimihndrx's Avatar
    jimihndrx is offline Guitar Hero
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    Post Challa(Jab Tak Hai Jaan)Guitar Chords

    Song- Challa Ki Labh Da Phirey
    Film- Jab Tak Hai Jaan
    Lyrics- Gulzar
    Music- A.R. Rahman
    Singer- Rabbi
    Here is the near perfect chords for this song.
    intro:
    (Am)...(D7)...(G)...(F)...(C)
    (Am)...(D7)...(G)...(F)...(E)
    chords:
    Verse:
    (Dm)Challa ki labh da (F)phirey..(C)
    (E)challa ki labh da (Dm)phirey
    (F)yaaron main ghar (C)kehda
    (G)lokan toh (F)puchda (E)phirey
    Chorus:
    challa (Am)hansda phirey
    challa (D7)rounda phirey challa
    (G)gali gali (F)rul da (C)phirey challe
    (Am)tu sab da challe (D7)tera koi nahi challa (G)gali gali (F)rul da (E)phirey
    Challa ki labh da phirey part repeat.
    (F)Challa.. ki (C)labh da (E)phirey
    Bridge:
    rang sat(Am)rangi (F)de bulbula (C)di (E)boli..
    (Gm)dhoop de (Dm)pairi (F)chale chhavan ni (Cm)lai (E)doli.
    Rest of the song is same.
    Courtsey:jimihndrx(IGTian)
    (D7-xx0212)
    "I've been imitated so well that I've seen people copy my mistakes even on YouTube"- jimi h-n-d-r-x

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  2. #2
    Piyush670 is offline Newbie
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    strumming pattern ???

  3. #3
    pranay11's Avatar
    pranay11 is offline Newbie
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    @Jimihndrx - dude,The song is in key of Am,for since u already knw dat d Am key doesn't hav chords lyk Gm,D7...it is absolutely wrng,if m not harsh(8|),to use those chrds,whc r of other key !!!!..provided d song doesn't chng its keys..(for eg listen to Eric Clapton's Layla,whc has 2 keys,Am n C#m)...&& also, ur intro is wrng !...It has to start wid Dm...listen it carefully...(4 tyms downstrokes on Dm,then to Am n so on)..So rest i need not say......& one more thng, Can u xplain me why r u using D7, instead of a D..(just t make thngs easy for begginers)...

  4. #4
    jimihndrx's Avatar
    jimihndrx is offline Guitar Hero
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    Quote Originally Posted by pranay11 View Post
    @Jimihndrx - dude,The song is in key of Am,for since u already knw dat d Am key doesn't hav chords lyk Gm,D7...it is absolutely wrng,if m not harsh(8|),to use those chrds,whc r of other key !!!!..provided d song doesn't chng its keys..(for eg listen to Eric Clapton's Layla,whc has 2 keys,Am n C#m)...&& also, ur intro is wrng !...It has to start wid Dm...listen it carefully...(4 tyms downstrokes on Dm,then to Am n so on)..So rest i need not say......& one more thng, Can u xplain me why r u using D7, instead of a D..(just t make thngs easy for begginers)...
    *Why D7??
    What Rahman did in this song is 'Modulation' technique -"changing from one Key to another Key within a particular song referred to as modulation".
    Modulations are frequently used to give the feeling of change between the intro, verse, chorus, bridge, solo, or outro.. it is staple of Jazz music.
    This song modulates Amin and Cmaj.. both keys contain the exact same notes.
    Remember, a minor key can be defined as a progression starting on the [vi] chord. Amin is the [vi] chord in the key of Cmaj.
    It is common to start and end a progression on [vi] for one section of a tune, and then start and end a progression on [I] for another section of the tune..it creates a sense of harmonic shift between the two modes.
    The relative minor/major switch refers to the movement from the relative minor key to the relative major key.
    In the key of Am that means that you would travel to the key of C (vi-I). It is based on the idea of the deceptive 'cadence' (V to vi).
    In this song the chorus sequence is all A minor, although that D7 teases by leading us to hear G as a temporary tonic (Am-D7-G = ii-V-I in G major).
    The chorus modulates to the relative major (probably the most common kind of modulation there is).
    This song modulate to A natural minor to C major with D7 spicing up the chorus (borrowed chord from C major ) and E (and its major 3rd) here to enhance the resolution on Am.
    Am-D7 could signify 'A dorian' mode in other contexts, but not here.
    Just to summarize:
    Am-D7 = G major scale
    G-C = G major or C major scale
    F-Dm = C major scale
    E = A harmonic minor Or: A harmonic minor on both the Dm and E.
    I mean the notes are the same as for G major, of course, but thinking G major suits the context better.
    *Why Gm and Cm??
    Here Rahman also used concept of 'Parallel Minor chords'.. as this song modulate to Am to C.. we have the same key signature, a minor key and its relative major sound very different.
    They have different tonal centers , and each will feature melodies, harmonies, and chord progressions built around their (different) tonal centers.
    In fact, certain strategic accidentals(Borrowed chords)are very useful in helping establish a strong tonal center in a minor key.[here Gm is a borrowed chord]
    These useful accidentals are featured in the melodic minor and harmonic minor scales.
    In music parallel keys are major and minor scale with same Tonic.For example Cmaj and Cmin have different mode but same tonic 'C'.
    so Cmin is parallel minor to Cmaj.
    [this will explain why "YOU" have used Emaj chord in ur version Of "Challa" as Emaj is not in the key of Amin ].
    Sticking with a single Key or usual chord progression is boring and monotonous sometimes.. but Rahman always spice it up with his genius composing abilities. He will alwayz remain out of league for his peers.
    Another best example for this kind of unusual chords sequence will be the 1970 classic song "Wild World" by Cat Stevens.
    and as for "Layla"(one of my fav'rite) this song also features Modulation & key signatures techniques.
    The intro and solo is in Dm pentatonic, the verse is in C#m, chorus in Dm, outro in Cmaj(piano & slide guitar)..this song uses two keys C#m & Dm and not 'Am' as you mentioned.
    "I've been imitated so well that I've seen people copy my mistakes even on YouTube"- jimi h-n-d-r-x

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  5. #5
    pranay11's Avatar
    pranay11 is offline Newbie
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    @jimihndrx-Sry for d mistake in typing (while mentioning keys for 'layla',prbly i din notice much while mentioning..:P,cus its my fav song too...)..
    Sure i understand ur point ,whc was pretty bookish..it took me a while t read all dat stuff...:P...
    Cmg t ur point dat u made regarding D7,It's a fact dat evry major chrd has a minor associated wid same notes,dat wud also mean d same chords,but then u mentioned when '1 switches keys',we use a common chord(pivot) !,
    so where's d cmn chord between Am n Cmaj,for they have evry chord d same ?.how switching comes to play between parallel keys ,having same notes ?....
    And u mentioned dat d7 is a borrowed chrd from Cmaj ?..C key doesn't have a D maj ?..so how can u say D7 is d pivot chrd here, had u told me
    "A switch between Am and Gmaj keys"..,i wud hav digged it ..
    Not only that, apart frm d fact dat 7th chrds always spice up ur song & have been a part of blues rock.
    Anyways,'D7' is the borrowed chord from Amaj scale,as a part of 'Modal Interchange',whc is quite uncommon !,A & Am having same tonic notes
    (major to minor is preferable mostly) (dats why i doubted using D7,but then there u hav mr Rahman,d man who is unique )...
    as u mentioned , to spice up thngs,and nothing else....
    Your logics are true,dat u have accidentals, because of those shifts,and the fact that E maj is d parallel key to Cmin whc is d modal interchnge of Cmaj & thats why i've used it here !!
    ....but if u listen as a layman,a Gm n Cm dun luk gud , is wat i felt !...Well i may have missed or so..
    .Even if u luk frm point of view of playing, if u include Gm & Cm u r actually following the lyrics too much, whc reduces d charm of playing a song....u have used too many in d "dhoop de pairi chale.." line !
    Again as i already had mentioned u hear a 4 tyms 'Dm' downstrokes at d intro , before proceeding to Am sequence...whc u've not mentioned in ur tab...
    & yes Wild World is indeed a nyc song...

  6. #6
    Sasuke Uchia is offline Newbie
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    Hmmm ... looks like someone skipped theory classes . C maj does not have D7 my friend . Modulation won't be the right term here . Secondary dominant will do it though . See Pranay secondary dominant the D7 increases the anticipation of the I chord , so it can be used as a substitution to D maj to increase the resolution to G maj . Its neither modal interchange nor modulation regarding the D7 chord . And as for Gm and Cm ... Modal interchange is right .

  7. #7
    jimihndrx's Avatar
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    D7 is not a borrowed chord from Cmaj key..it was a typing mistake..[Sry for that]
    In fact i totally agree with Sasuke Ucia's comment that D7 act as secondary dominant.. G major is the dominant in the key of C.
    So if we play a D major (instead of minor) to get to G major, then D would function as a secondary dominant in the key of C, because the 2nd tone of the scale (in this case, “D”) is usually minor.
    When it’s flipped to major (or a dominant 7th chord), that’s when it functions as a secondary dominant in this key..simply because of the strong pull dominants (Vchord) have to their tonics (Ichord).
    So by putting D7 before a G major , the pull is much stronger than using a D minor to a G major chord.
    Getting back to the key of A minor is also easy, by using E chord, The E chord has the note G# in it, which isn't part of the C major scale, When we introduce the E chord , everyone can hear A minor coming back.
    Dominant seventh chords are often used for modulating between keys.
    The common secondary dominant in the key of C is D7, which temporarily puts us in the key of G.
    "I've been imitated so well that I've seen people copy my mistakes even on YouTube"- jimi h-n-d-r-x

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  8. #8
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    can i get plucking notes 4 dis song..?

 

 

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