When a song in chorus form in Bombur had to be conceived and written, Nadim Saheb asked for a tune which would be fit, attractive, vigorous and forceful. Many tunes and songs were sung and suggested. Finally, Nadim Saheb liked the Shamas Fakir's song, "Shuniya Gachithay oas meyoan Oalooy--Amay ashq naran zooloyea" which is sung by popular Chakri singers and each line ends with broken Hay Hay Haay. Nadim wrote Bombro Bombro chorus with simple, forceful words and when set to tune by Mr Aima Saheb every actor and musician congratulated the director. Nadim had changed Hay Hay Hay with Ho Ho Hao commensurate with the word voice-image of last word of the each line. Bombro Bombro is sung in quicker pace than Chakri artiste's traditional tune, which goes to the credit of Mr Aima Saheb, the first and foremost music composer Kashmir had produced.

This type of tune in Chakri style is called Sahrai. Patrons of Chakri singing must have listened to this type of songs numerous times, where sound like a soofiyana muqam. In this style abrupt pauses with short silences are considered embellishments. In olden days there were no transport facilities. After day's toil villagers would go home in each others company. While crossing over the Karevas they would sing their favourite songs. While singing against the flow of winds, some impediment would cause pauses while one began to sing. Therefore a longer Ha will get broken into Ha Ha Ha . So this form of folk singing developed and was named Sahrai.

Aima Saheb gave us an improvised tune of Sahrai. When people would come out of Nedous Hotel, after having seen 'Bombur Yambarzal' every one would sing and mutter Bombro Bombro. Because of its popularity, it was sung in College entertainment programmes, and on Chakri by Kashmiri women.

The only one Rof song in the opera was also tuned after a popular Rof Tune which has been forgotten now. The song was led by Mr Rah and all other actors acting as flowers used to sing in two rows of Rof formation. Rest of the songs of the Opera were all composed in music by Aima Saheb with his creative effort and ability. Mr Pushkar Bhan maintained comic-satirical mood of the song Hu Hu Hu of Harud on a time beat. Since Aima Saheb acted Toofan himself, he sang the song of Toofan with wind like movements and the words, "Wah Wah Wah Wah Yam Bar Zal" would echo in the Hall.

Every musician has a background of classical semi-classical or folk music which enables him to compose new tunes and melodies. Mohan Lal Aima, as a producer-Composer in Radio Kashmir had done Yeoman's service to Kashmiri music from 1949 to 1964. Most of his compositions are reported to have been erased from the tapes but the opera Bombur Yambarzal is said to be in tact. This opera was re-produced with some different cast during the time Kreshchov and Bulganian visited Kashmir. In 1964, I produced its shorter version and the shows were presented in Kerala, Tamil Nadu besides Jammu.

Bombur Yambarzal is relevant to present times as well. It is a classical piece for the stage performance. If produced on modern stage with the facilities available to us now, engaging good voices and dancers, it will prove its worth again. But, alas, no-one is interested in our cultural development in and outside Kashmir. It could be re-produced for TV for which funds are needed.

J&K Academy of Art, Culture and Languages presented Robe of honour to Mr DN Nadim but Mr Aima Saheb was not fortunate enough to receive one for the services he rendered for popularising Kashmiri music, its melodies, composing music for Kashmiri operas, films and Radio features.. Ye he lives in our memory alongwith his compositions and melodies.
 

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