INTENSIVE COURSE OF SPIRITUAL SONGS, AND MEDITATION প্রভাত সঙ্গীত Prabhat Samgiita

with Kirit Dave, Ashesh, and Jiivanii

July 24 to 31, 2016 Espaço Anirvana, Pontal do Paraná – PR

Prabhat Samgiita Tour Brazil 2016 July 5 to August 16

 Petrópolis – RJ :: July 05 – satsaunga and concert – with Kirit  Rio de Janeiro – RJ :: July 08 to 10 – concert and workshop – with Kirit and Ashesh  Porto Alegre – RS :: July 22 to 24 – talk, workshop and concert – with Kirit and Ashesh  Pontal do Sul – PR :: July 25 to 31 – intensive training course – with Kirit, Ashesh and Jiivanii  Piracaia – SP :: August 02 – workshop – with Kirit  Campinas – SP :: August 04 – concert – with Kirit and Ashesh  São Paulo – SP :: August 05 to 09 – concert, workshop and talk – with Kirit and Ashesh  Brasília – DF :: August 10 to 14 – workshop and recital – with Kirit and Ashesh  Petrópolis – RJ :: July 16 – talk – with Kirit

ACKNOWLEDGEMENTS

Organizing Committee of 2016 Tour:

Coordinator: Mahesh Counselor: Kirit Local Organizers: Nirmegha – Rio de Janeiro Jyotiprakash and Parabhakti – Porto Alegre Tannistha – Pontal do Sul Miirabay – Piracaia Ashesh and Jiivanii – Campinas Raphaël Maureau – São Paulo Manorainjan, Tapeshvar, Devaki – Brasília

Volunteers of Intensive Training:

Ashesh – Tabla player and Teacher Jiivanii – Teacher Kirit – Teacher and Counselor Mahesh – Coordinator Ragamayii – Translator Tannistha and Ratna – Organizers

Front page art: Raphaël Maureau

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INDEX INTRODUCTION TO PRABHAT SAMGIIT ...... 4 PRONUNCIATION AND LANGUAGE SYNTAX ...... 5 A WORD ON RAGA AND TALA ...... 6 GLOSSARY OF HINDUSTANI CLASSICAL MUSIC ...... 9 MUSICAL NOTES AND NOTATIONS ...... 11 RAGA DESCRIPTIONS ...... 12 INTRODUCTION TO TAALS ...... 14 RAGA BHAIRAVI SWARA VISTARA OF RAGA BHAIRAVI ...... 15 Bhalobasha bhora bhuboner ronge ...... 16 Composition in Dhrupad style ...... 17 Gan geye tumi ...... 18 Muraliya bhayi bairan ...... 19 Shur toronge mohono ronge ...... 20 Teen Taal Sargam ...... 21 Tomare deke chhi ...... 22 RAGA DESH SWARA VISTARA OF RAGA DESH ...... 23 Amar Krishno kothay bal re ...... 25 Ogo probhu cheye dekho ...... 26 Tomar kotha bhebe bhebe ...... 27 RAGA DARBARI KANADA ON RAGA DARBARI KANADA ...... 28 SWARA VISTARA OF RAGA DARBARI KANADA ...... 29 Anokha laadla ...... 30 Eshe chhile tumi probhu ...... 31 Meghmeduro rate ...... 32 Noyoneri anjon manosho ranjono ...... 33 Shubho chetonay ...... 34 Tora man darpan kehlaye ...... 35 Tumi amay niye ele ...... 36 Tumi je eshe chho aaj ...... 37 Tvam mama priyah ...... 38 OTHER RAGAS Shonali bhor jibone mor ...... 39 Vrindavanam parityajya ...... 40

HARMONIUM KEYBOARD WITH NOTES ...... 41 EXERCISES FOR VOICE AND HARMONIUM...... 42

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INTRODUCTION TO PRABHAT SAMGIIT

Samgiit means a combination of vocal music, instrumental music and dance. Prabhat is the name of the composer of these songs. Prabhat also means dawn; hence Prabhat Samgiit suggests a new dawn in regards to how lyrics, music and dance can be conceptualized and presented - a new inspiration in collective spirituality through the blended beauty of these art forms.

Shrii Shrii Anandamurtiji (lovingly called Baba, and also known as Shrii ) composed the lyrics and music for 5018 songs from September 14, 1982 to October 21, 1990. Most of the songs are in Bengali, but over 40 were composed in other languages also.

An eternal note of optimism rings in all the songs, inspiring both singers and listeners to shake off depression, melancholy and fatigue, and generates a new vitality in life.

Prabhat Samgiit is a precious gift Baba has offered to humanity. In the short span of eight years, he composed these songs to kindle the flame of devotion and spirituality in every heart and to help lead humanity into the glory of excellence, life, light and fulfillment.

Singing or listening to these songs can help transform this world from one of malice, hatred and spite into one of harmony, amity and fraternity. We hope you will enjoy this music.

Prabhat Samgiita Para Todos Movement

Since 2010 there has been a continuous and dedicated effort to advertise and make Prabhat Samgiita available in Brazil. This movement was named “Prabhat Samgiita Para Todos”(Prabhat Samgiita For All) because we understand that the contents of the songs is universal and that that was the intention of their author.

Kirit Dave, born in and living in California, was and still is a key person in this movement, tirelessly nurturing it with knowledge and inspiration. He was personally instructed by Prabhat Ranjan Sarkar to do this work. Some of his students are already acting as teachers in diferente parts of Brazil, making this movement progressively self-sufficient and able to reach more and more people.

Please visit our website to have more information about the songs and the movement: http://prabhatsamgiita.org.

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PRONUNCIATION AND LANGUAGE SYNTAX

The transliteration is presented strictly to assist in proper pronunciation. It closely resembles phonetics for that language. Although, most songs in Prabhat Samgiit are in Bengali, there are songs in other languages such as , , , English and so on.

The has unique sounds such that there are a lot of “o‟s” at the end or in the middle of words, as in “mohono,” which would ordinarily be written as “Mohan”. The “aa” in these songs represents a longer sound as in “far”, as opposed to a shorter sound as in “fur”.

Another sound unfamiliar to Western ears is “chh”. “ch” is pronounced “ch” as in child. “chh” is pronounced as “ch” but a greater amount of air blown through the teeth.

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A WORD ON RAGA AND TALA

India has two streams of classical music: that of the north, known as “Hindustani” and that of the south, known as “Carnatic”. Hindustani music has three major classical vocal traditions: Dhrupad (originally Dhruvapad – i.e. containing centrally repeating pattern), khayal (literally means “Concept”) and thumari.

Dhrupad (original word Dhruvpad) is a style dedicated to an austere rendition. This tradition is the oldest of the three, generally dating pre-mugal, and during the time of emperar Akbar and it is a bit rigid style. This style is essentially going extinct today, and only a few singers such as Daagar brothers (Daagar-bani form) and Gundecha brothers sing dhrupad. There is yet another style, which is very similar to dhrupad that does exist and that is called Dhamar. It is sung in the Dhamaar tala of 14 bits.

What we hear primarily today is the Khayal style. The actual time and origin of this style is controvertial. Some credit Amir Khushru, and others to Niamat Khan (pen name “Sadaranga”) associated with Mugal king Mohammad Shah (pen name “Rangile” 1719-1748). But, khayal compositions of Sadarang are present and being sung today and thereby presence and prominence of khayal in his time.

The khayal has a greater degree of freedom compared to dhrupad and is still adhered to, practiced, performed and taught to students both on instruments and in voice. Generally what you hear today in voice or on instruments as “Indian Classical Music” is in khayal style.

Thumari is the lighter style, and has a greater degree of freedom of expression through choice of notes. Although a lighter and least rigid among the three classical styles, it is probably the most difficult one requiring greater talents. The apparent “freedom” of selection of notes, not afforded in khayal and dhrupad style, requires great skills. The selection of notes must be judicious in the amount of usage and at correct places, so as to intensify the emotions and beauty. Thumari is sung in certain ragas like, bhairavi, desh, tilak kamod, pahadi, kalavati, sohani, kaunsi dhwani, , piloo, jhinjhoti, khamaj. It is not suited for all ragas. There are two accepted forms of thumari, namely purab anga and Punjab anga. Thumari rendition allows for a lot of creativity improvisation. Along with emotional appeal through notes, the display of the same words in the composition is made in many different musical ways. The primary language used in thumaris is Braj Bhasha. Unlike in khayal style, where variations are sparingly embedded around the central theme, in thumari, the variations from central musical structure are quite pronounced and key to the development of the composition. Bade Ghulam Ali khan (1902 – 1968) rightly, came to be recognized as the greatest thumari singer and left his influence on generations of singers, and music directors in both calsical world and the popular and film music.

Yet another form is called Tarana. This is vocal music is generally of faster tempo and instead of language of words, it uses the bols (syllables) of the tabla, sitar, pakhawaj, saragams, and special sounds such as odani, tanom, yalali, yalalom etc. It requires special talents of manipulations of tongue to produce these sounds very quickly. More than the melodic patterns, it is the laykari (flow of the tempo and rhythms) that emerges from the manner of delivery of the patterns of sound, which is really exciting. Ustad Nissar Hussain khan and late Ustad Amir Khan are the acclaimed singers of this art form.

Other forms of lighter classical or classically based forms include tappa, , , kafi, hori, etc. These compostions are based in one or more ragas as the foundation but are not rigid in following all rules of the raga structure. Prabhat Samgiit follows this form of the music.

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Besides these, there are many lighter semi-classical and folk forms such as bhajans, dadra, tappas, and quawwali. Bhajans are generally spiritual songs of Hindu traditions. are in 6 bit tala (called dadra too) and often part of the folk traditions. Tappas are usually composed in kafi-class of ragas. Gazals (love songs) and quawwalis (religious songs) are generally compositions of Islamic origin.

THE SEVEN MUSICAL NOTES (SWARS)

Sa Re Ga Ma Pa Dha Ni are the seven swars or the seven notes that make up the scale. The scale is similar to a western scale; however there are many microtonal structures (called shrutis) in-between each swar. In Indian classical music, the artist tries to invoke one of nine major emotions (called rasas), which are associated with the musical composition, called a raga.

RAGA

A raga is a musical composition based on specially designed ascending (called aroha) and descending (called avaroha) scales for that raga. For example, raga “desh” only allows five notes in ascend (Sa, Re, Ma, Pa, Ni; all natural notes), but allows all seven notes in descend (Sa, Ni-flat, Dha, Pa, Ma, Ga, Re, Ga, Sa), such that the seventh note Ni must be flat and only allowed in descend.

By proper rendering of the notes, in their traditional patterns and styles, a performer can create a unique artistic exposition of that raga in every performance. Performing a note outside the scale of the raga is strictly forbidden in dhrupad or Khayal styles. In thumari style, variations outside the raga scale are allowed, but require great skill and training to accomplish it successfully. That is why thumaris are not ragas but are based on one or more ragas. The lyrics of a raga or a thumari (in the classical music) are usually spiritual in nature, because music in general was for spiritual purposes. There are thousands of ragas, but only a couple hundred at the most are regularly performed.

Many of the Prabhat Samgiit songs are based on the classical backgrounds of these ragas such as Bhairavi, Darbari Kanada, Malkauns, Chandrakauns, Kafi, Todi, Miya ki Malhar, Desh, Kedar, Bhimpalasi, Chhayanat, Pahadi, Shiva Ranjani, Yaman Kalyan, Bageshri, Jayjayvanti, Asavari, Jaunpuri, Khamaj, Deshi, Piloo, etc.

Some of the Prabhat Samgiit songs are in folk styles of dadra, gazals and quawwalis. A few songs are also based on themes from western tunes from Scandinavia etc.

Prabhat Samgiit collection also includes Padya (poetry) . Traditionally these Kirtans are sung in Dhrupad style. The lyrics are about spirituality and often about the life of Krishna. Couplets of the lyrics are sung in slow dhrupad-type measures by the lead singer, and their significance is elaborated in recitation. The group of singers responds to the lead singer in quicker and quicker tempo, until the chorus finishes in a crescendo. Then the leader recites the next couplet again. The process goes on until a particular episode is completed. Tanpura and khol (special type of drum) are used for the accompaniment. In recent times the harmonium, violin, esraj, and sarangi are also used. The style is distinguished by its elements of group singing and its use of time- measures. Various Kirtan styles (also called ) have developed. These are Manoharshahi, Garanhati, Mandarini, Manbhum and Reneti schools, each with its distinctive manner of presentation and incorporating some features of the different classical styles.

Prabhat Samgiit introduces a new of Kirtans called “Prabhat Gharana” kirtans. Musically distinguishing features of Prabhat Gharana are the rules concerning the repeated patterns, the talas involved and the composition-ending pattern. Also, unlike other Gharana kirtans, the bhava (sentiment) of the lyrics contain direct address to God without a third person‟s presence.

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TALA (RHYTHMIC CYCLE)

Another important component of music is tala or a cycle of rhythm consisting of a fixed number of beats (called matras). A particular rendering of a raga may be in a particular discipline of a tala, suitable to the musical makeup of that particular composition. The synchronization of raga and tala is an absolute discipline imposed on the artist throughout the rendering of the composition. This synchronization is usually evident at the sum or bit #1 of the cycle of rhythm.

A drone instrument (tanpura) provides the pitch and accompanies performances of classical music. The tanpura provides a subtle, almost hypnotic background effect, of which the audience is often unaware.

Indian classical music uses a wide range of musical instruments, which may be used to accompany vocal or instrumental performances. Commonly heard instruments are the sitar, santoor, sarod, sarangi (string instruments), tabla, pakhavaj (drums), harmonium, shehnai and flute. Percussion instruments are used in solo performances as well.

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GLOSSARY OF HINDUSTANI CLASSICAL MUSIC

1. Swara (Sur) : Notes; Sa, Re, Ga, Ma, Pa, Dha, Ni 2. Shuddha swra: Natural notes, Sa, Re, Ga, Ma, Pa, Dha, Ni 3. Komal swara – flat notes (re, ga, dha, ni) 4. Tivra swara (ma) – sharp note 5. Taal: Rhythmic cycle 6. Laya: Speed of the flow of music 7. Saptak: “Octave” (Mandra, Madhya, Taar) – Group of 7 notes 8. Mandra saptak: Lower octave 9. Madhya saptak: Middle octave 10. Taar saptak: Upper (Higher) octave 11. Bol: Words. Tabal bols are words used by tabla e.g. dhin, na, ghe, tirkat, tu, kete, dhage, treke, ta, tin etc. Words of sitar are Da, ra, dir; Bols of vocal compositions are actual words or names of notes also. 12. Raga: Musical framework of rules to aid in making compositions 13. Bandeesh: Composition (That which has been “bound” in taal, laya and rules of raga) in a taal, composition with tabla 14. Aaroha: Ascending structure of notes in raga 15. Avaroha: Descendng structure of notes 16. Purvanga: First four notes of Saptak (Sa, Re, Ga, Ma) 17. Uttaranga: Last 4 notes of Saptak (Pa, Dha, Ni, Sa) 18. Vaadi: Most important note in the raga 19. Samvaadi: Second most important note 20. Anuvaadi: Other notes of the raga 21. Vivaadi: Forbidden notes in the raga – Varjit swara 22. Nyas: “Resting place” – Particular swara in the raga where you can rest i.e end the phrase. 23. Pakad: Defining or identifying pattern of notes in a raga 24. Alankar: Ornamental structure of notes (Meend, Kan, Gamak, Muraki, Khatka, Andolan, Kamapn) 25. Aalap: Introductory phase of composition (without tabla) 26. Gat: Portion of composition with tabla 27. Chalan: A specific characteristic of each raga that describes its “punctuations” of notes 28. Taan: Rapid succession of notes 29. Murchhana: Transposition of raga scale to create another raga scale 30. Sum: The bit in taal where taal cycle and phrase of composition come together in a strong emphasis, it is usually first bit and is usually tali. 31. Anaghat: Taal played on tabla in such a way as to create sum prior (usually by one matra) to the normal first matra. It is used to create interesting rhythmic effect. 32. Atit: Similar to anaghat, except sum is created delayed by one matra. It is used to create interesting rhythmic effect. 33. Jati of raga: Identification of raga based on number of notes in aaraha and avaroha. There area three Jatis: Odav, Shadav, Sampurna, and the combinations there of. 34. Odav jati: Has five notes 35. Shadav jati: Has 6 notes 36. Sampurna jati: Has 7 notes 37. Samkirna raga: Raga with different of number of notes in ascend and descend. 9

38. Example of Samkirna raga: Raga Desh is Odav-Sampurna raga because it has 5 notes in ascend (Sa, Re, Ma, Pa, Ni) and 7 notes (Sa, ni, Dha, Pa, Ma, Ga, Re, Ga, Sa) in descend. Raga Malkauns is Odav raga because it has 5 notes in ascend (Sa, ga, Ma, dha, ni) in ascend and 5 notes in descend (Sa, ni, dha, Ma, ga, Sa). It is not a samkirna raga. 39. Vakra jati raga: “Vakra” means indirect, or convoluted.This type of raga has specific rules regarding how a vakra swara must be approached in ascend or descend. This makes Chalan of raga a bit complicated and careful execution is required, else raga might slip into alternate raga scale. For example raga Darabari Kanada is a vakra sampurna raga with ni being a vakra swara in descend. The descend of Darabari Kanada is: Sa”, dha, ni, Pa, Ma, Pa, ni, ga, Ma Re Sa. Notice that, in descend, one has to go to dha from Sa” before one can use the note ni. Bilaskhani todi is a vakra raga with Pa being a vakra swara in descend. The descend of the raga is: re” ni dha Ma, Pa dha ni dh Ma ga re, re ga Ma ga re, ga re Sa. In descend Pa is taken after going to Ma. Also, Ma is taken after ga (as in re ga Ma ga re phrase), after having travelled through the full scale. In a normal ascend, you can not take Ma after ga. You have to do: Sa, re ga Pa dha Sa”. 40. Tarana: A composition that uses bols of tabla, sitar, pakhawaj as its words. 41. Tihai: Repetition of a phrase done three times usually ending in Sum. 42. Rasa: Sentiment; Each raga carries a primary sentiment. There are 9 sentiments e.g. devotion, peace, romance, disgust (used in drama), laughter (for drama), pathos, Viira, Serious 43. Time of performance: Each raga has been assigned a particular time of the day for its rendition. 44. Thaat: Main scale structures (10 of them) or classes of raga defined by a musicologist Bhatkhande. They are Bhairav, Asawari, Todi, Kafi, Marawa, Kalyan, Khamaj, Bhairavi, Poorvai, Bilawal

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MUSICAL NOTES AND NOTATIONS

1. Sa: Shadaj – Sound of Peacock 2. Re: Rishabh – Sound of bull 3. Ga – Gandhar – Sound of goat 4. Ma – Sound of horse 5. Pa _ Sound of Cuckoo 6. Dha – Sound of donkey 7. Ni – Sound of elephant 8. There are 7 shuddha swara – Sa, Re, Ga, Ma, Pa, Dha, Ni. There are 4 komal swaras (re, ga, dha, ni) and one Tivra swara (ma). Thus total of 12 swaras. We will represent shuddha swara as capital letter, e.g. “ga” and komal and tivra swara by lower letters e.g. “ga” or “ma”. 9. Notation: Lower octave swara e.g. dhaivat swara as: dha‟; and the upper octave dhaivat as: dh”

Notations

Capital letters are shuddha swaras: Sa, Re, Ga , Ma, Pa, Dha, Ni Small letters are komal or tivra swaras: Komal: re, ga, dha, ni, Tivra: ma

“ signifies Taar saptak and „ signifies mandra saptak; else it is Madhya saptak. ~ signifies alankar

Examples: re” => is a taar saptak komal rishabh ma => is a Madhya saptak tivra madhyam Ni‟ => is a mandra saptak shuddha nishad dha‟ => is mandra saptak komal dhaivat

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RAGA DESCRIPTIONS

1. Raga Darbari Kanada: Aaroha: Sa, Re, ga. Ma, Pa, dha, ni, Sa” Avaroha: Sa”, dha, ni, Pa, Ma, Pa, ni, ga, Ma, Re Sa Vadi: Re Samvadi: Pa Jati: Vakra sampurna Pakad: Pa ni Ma Pa ni ga, ga Ma Re Sa, Re ni‟ Sa Re dha‟, ni‟ Re Sa Thaat: Asawari Rasa: Devotion, Seriousness Time: Midnight Notes: ni is vakra in avaroha; Pa ni ga meend. ga Ma Re Sa pattern used because it is kanada type, and helps differentiate from Asawari raga. ga is sung with andolan from Ma, and dha is sung with andolan from ni.

2. Raga Bhairavi: Aaroha: Sa, re, ga, Ma, Pa, dha, ni Sa” Avaroha: Sa”, ni, dha, Pa, Ma, ga, re, Sa Vadi: Pa or Ma Samvadi: Sa Pakad: Sa, re ga Ma, ga re Sa dha‟ ni‟ Sa Thaat: Bhairavi Rasa: Romantic, yearning, devotion Jati: Sampurna Time: Morning Note: Bhairavi allows all 12 notes if used properly. Suited for , thumari and light music

3. Raga Bageshri: Aaroha: Sa, ga, Ma, Dha, ni, Sa” Avaroha: Sa”, ni, Dha, Ma, Pa, Dha, Ma, ga, Re, Sa Vaadi: Ma Samvadi: Sa Pakad: Dha‟ ni‟ Sa Ma Dha ni Dha, Ma ga Re Sa Thaat: Kafi Jati: Odav-Sampurna Time: late night Note: Pancham used very very scarcely and in avaroha only.

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4. Raga Asawari: It has two forms; Asawari (refers to Shuddha Re Asawari) uses shuddha Re, and Komal Rishabh Asawari uses “re”. Aaroha: Sa, Re, Ma, Pa, dha, Sa” Avaroha: Sa” ni dha Pa, Ma Pa dha Ma Pa ga, Re Sa Vaadi: dha Samvadi: ga Pakad: Ma Pa dha Ma Pa ga Re Sa Thaat: Asawari Rasa: Devotion Jati: Odav-Sampurna Time: Morning second prahar Note: Must go straight from dha to Sa; intermediate effect of ni will feel like raga Jaunpuri.

5. Raga Yaman Aaroha: Ni‟ Re Ga ma Pa Dha Ni Sa” Avaroha: Sa” Ni Dha Pa ma Ga Re Sa Vaadi: Ga Samvadi Ni Pakad: Ni‟ Re Ga, ma Ga, Pa ma Ga, ma, Re, Ni‟ Re Sa Thaat: Kalyan Rasa: Peace Jati: Sampurna Time: Night first prahar

6. Raga Desh Aaroha: Sa, Re, Ma, Pa, Ni, Sa” Avaroha: Sa”, ni, Dha, Pa, Ma, Ga, Re, Ga, Sa Vaadi: Re Samvaadi: Pa Pakad: Re Ma Pa Ni Dha Pa, Ma Ga Re, ni‟ Sa That: Khamaj Rasa: Romantic, light and seasonal compositions Jati: Odav-Sampurna Time: Night, Second prahar

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INTRODUCTION TO TAALS

Matra – Beat (Measure of time) Tali: Emphasized beat (represented by “X” and #s) Khali: Not emphasized beat (represented by “O”)

Taal Dadra – 6 Matras Dha Dhin Na Dha Tin Na

1 2 3 4 5 6 X O

Taal Kaharwa (1) – 8 Matras Dha Ghe Na Tin Na Ghe Ghe Na

1 2 3 4 5 6 7 8 X O

Taal Kaharwa (2) – 8 Matras Dha Dhin Na Tirkat Ta Tin Na Kete

1 2 3 4 5 6 7 8 X O

Taal Tin Taal (Tri taal) – 16 Matras Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Kete Dha Dhin Dha

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 X 2 O 3

Taal Rupak – 7 Matras Tin Tin Na Dhin Na Dhin Na

1 2 3 4 5 6 7 O 1 2

Chau Taal – 12 Matras Dha Dha Dhin Ta Kete Dha Dhin Ta Tete Kat Gadi Gin

1 2 3 4 5 6 7 8 9 10 11 12 X O 2 O 3 4

Taal Jhap Taal – 10 Matras Dhin Na Dhin Dhin Na Tin Na Dhin Dhin Na

1 2 3 4 5 6 7 8 9 10 X 2 O 3

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SWARA VISTARA OF RAGA BHAIRAVI

1. Sa, re, ga, Ma, Pa, dha, ni, Sa”, Sa”, ni, dha, Pa, Ma, ga, re, Sa.

2. Sa, Sa re ga~ re Sa, re ni’ dha’ ni’ Sa, Pa’ dha’ ni’ Sa ga~ re Sa, Sa re ga Ma ga~ re Sa, dha’ ni’ Sa ga~ re Sa, dha’ ni’ Sa re ga Ma ga Ma~ re Sa.

3. ni’ Sa ga Ma Pa, dha Pa, Ma Pa ga Ma dha Pa, Sa ga Ma Pa ga Ma re Sa, dha’ ni’ Sa ga~ re Sa, ni’ Sa ga Ma dha Pa, ga Ma re Sa.

4. ni’ Sa ga Ma dha Pa, ga Ma ni dha Pa, Ma Pa ga Ma, Sa ga Ma Pa ga Ma re Sa, dha’ ni’ Sa ga~ re Sa.

5. ga Ma dha ni Sa”, ni Sa” ni Sa” ni Sa” re” Sa” ni Sa” dha Pa, Pa dha Ma Pa ga~ Ma, Sa ga Ma Pa ga Ma re Sa, dha’ ni’ Sa ga~ re Sa.

6. ga Ma dha ni Sa” ga” re” Sa”, Sa” Re” Sa” Re” ga” Re” Sa”, ni Sa” ni Sa” re” Sa” ni Sa” dha Pa, Pa Sa” Sa” re” Sa” ni Sa” dha Pa, Pa dha Ma Pa ga~ Ma, Sa ga Ma Pa ga Ma re Sa, dha’ ni’ Sa Re ga~ re Sa.

7. ni’ Sa ga Ma Pa, Pa ni Dha ni Pa dha Pa, Pa Dha ni Sa” Dha ni~ dha Pa, Pa dha Ma Pa ga~, Sa ga Sa ga Ma ma Ma ga~ re Sa, dha’ ni’ Sa ga Re ga Sa re Sa.

8. Sa re ga Pa, Sa re ga Pa ni dha Pa, Pa dha Ma Pa ga~, Re ga Ma ma Ma ga~ re Sa, dha’ ni’ Sa ga~ re Sa.

9. Pa dha Ni Sa”, Ni Sa”~ dha Pa, Pa dha Ni Sa” Re” Ni Sa’’~ dha Pa, Dha - - ni Sa” dha Pa, Ma Dha ni Sa”~ dha Pa, Pa dha Ma Pa ga~, Sa ga Ma Pa ga Ma re Sa, dha’ ni’ Sa ga~ re Sa.

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Song Name Song Number Language Raga Tala Bhalobasha bhora 4713 Bengali Bhairavi and a touch Dadra bhuboner ronge of Chandrakauns

Bhalobasha bhora bhuboner ronge tiktota dhelo na Kareo kañdite dio na, kareo kañdite dio na Mohanero rupe smito dhupe dipe Oshanti bhoro na. Kareo kañdite dio na.

Probhato proshun smito shatodol Chhodaiya dey priti porimol Modhurima makha aalokojjvalo Dine kalo korona. Kareo kañdite dio na.

Shondha tara bole mridu heshe Shabar momota shabetei meshe Ketoki keshoro mohakashe bhashe Tahare rodhio na. Kareo kañdite dio na.

Calcutta, January 27, 1990

Translation:

This universe filled with color of love, Please do not emit bitterness. Let no one cry (in pain) In the charming colorful smiles Please do not disturb peace.

The morning lotus with lovely smile, Conveys fragrance of love, Sweetness full of lovely light Please do not darken.

The evening star (Venus) speaks with a gentle smile The love of all merged in all The scent of Ketaki, kesar floating away in the vast sky Please do not hinder.

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Composition Name Composer Language Raga Tala Composition in Ramashraya - Bhairavi Chautaal Dhrupad style Jha

Matra: 1 2 3 4 5 6 7 8 9 10 11 12

Dha Dha Dhin Ta Kete Dha Dhin Ta Tete Kat Gadi Gin Linha: 1 S S r g > M P g M r r S

2 r n' S g r g M g P P P M

3 g M d d P P S" d n d P >

4 S r g r g M P g M r r S

5 S S r g > M P g M r r S

6 d g M d d n S" S" S" r" r" S"

7 d n d n S" S" r" g" M" r" r" S"

8 d n d M > P g M S r g M

9 S r" S" n d P P g M r r S

10 S S r g > M P g M r r S

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Song name Song Number Language Raga Tala Gan geye tumi 2788 Bengali Bhairavi, Asawari Dadra and Malkauns

Gan geye tumi poth chole chhile, bale chhile kantho melate Dure theke ami dañdiye dekhechhi, kachhe aashi niko lojjate. Bole chhile kantho melate.

Chhilo laaj bhoy, chhilo shonshoy, bhabiyachhi tumi aaponar noy Bhram shore gechhe, shambit eshechhe, aajke tomay khuñji pothe. Bole chhile kantho melate.

Khuñje bediyechhi aranyanite, shuvistirno giri himanite Na peye bahire bone kantare, khoñj kori aaj monete. Bole chhile kantho melate.

Calcutta, June 11, 1985.

Translation:

You were moving along the path singing the song, Asking me to sing along in Your voice I stood afar embarrassed, merely gazing, Could not come near.

Full of embarrassment, fear and doubts I did not feel, You were mine With sudden upsurge of spirituality, the doubt has vanished Now on I shall seek You on the path.

Looking for You in the vast forests In the snow filled endless mountains Never could I find (You) in the outer world, in the pathways of the forest Now I search You only in my mind.

18

Song name Composer Language Raga Tala Muraliya bhayi bairan Pandit Ramashray Braj bhasha Bhairavi Teen taal Jha (“Ramrang”) (Atit sum)

Sthai: Mai re muraliya bhayi bairan,

Baje sabere sanjh dupahar

Sunat jiya bekal bhave

Na Ramranga bhavanva

Antara: Jap tap kaun kiyo murali yah

Hari mukh lagi rahat aath prahar.

Radhavar ko muralidhar kiyo

Na janu ka kinhi jadu tonav ma

Translation:

Sthai: This flute (of Krishna) has become my enemy. It constantly rings in my mind My mind absorbed (anxious) in it In the house (mind) of Ramranga (poet)

Antara: What penance has this flute done anyway? That, it is at the lips of Krishna all the time The beloved of Radha has become flute-holder I know not what spell of magic am I under

19

Song Name Song Number Language Raga Tala Shur toronge 772 Bengali Bhairavi Dadra mohono ronge

Shur toronge mohono ronge, Bhubone rangale ki kore Tumi bologo bologo aamare. Modhuro onge modhuro bhonge, Shabar shonge liila kore. Tumi bologo bologo aamare. Shur toronge...

Mortte matale jyotsna nishithe, Oruno chhobite shornimo prate Kanokanjali champako koli Shabare chhuile nijokore. Tumi bologo bologo aamare. Shur toronge...

Chhonde o taale duloke dolale Ramdhonu rong nobhe enke dile. Shabar adale lukaye porile Bichitro tabo liila-share Tumi bologo bologo aamare. Shur toronge...

Calcutta, August 19, 1983

Translation:

With the waves of music and charming colors, How have you colored this universe? (Oh Parampurusha) Please tell me. With sweet formation and sweet non-compliance, doing liila with all. Please tell me, please tell me.

Intoxicating the creation, with moonlit night And crimson hue in the golden morning Offering the blossoms of champak flowers Making all Your own, by gentle touch. Please tell me, please tell me.

Making universe dance in your rhythms and patterns Painting it with the rainbow colors Hiding behind all creation with unfathomable mystery Please tell me, please tell me.

20

Composition Name Composer Language Raga Tala Teen Taal Sargam Kirit Dave - Bhairavi Teen Taal

21

Song Name Song Number Language Raga Tala Tomare deke chhi 3522 Bengali Bhairavi Kaharva

Tomare deke chhi tomare cheye chhi, Tumi chhada kichhu na jani. Monone mete chhi bhalobeshe chhi, Bishshe shudhui tomare mani.

Tomari bhaber srote ami bhashigo, Tomari kurubinda te nachigo. Tumi shindhu ami bindu, Tomari priti more rekhe chhe tani. Tumi chhaada kichhu ....

Ushna ulkaghate korokapate, Dokhina shomirone jyotsna rate. Morme bhashe dikboloye hashe, Tomari giti omrito bani. Tumi chhada kichhu ....

Calcutta, April 29, 1986

Translation:

I call you, I desire you alone, I know none else. My mind intoxicated in Your love, only understands You.

I have been swept in the floods of Your thoughts, dancing in Your desire. You are the infinite ocean I am Your droplet, Your love binds me eternally.

In the showering of the fierce meteors and violent hailstorm In the cool comforting winds of a full moon light Your song and nectar of sweet voice, floats my heart away towards smiling horizon.

22

SWARA VISTARA OF RAGA DESH

Aaroha and Avaroha:

S R M P N S”, S” n D P M G R S

Main form:

S, N’ S R M G R, G N’ S, R M P, D M G R, M P n D P, D M G R, G N’ S. M P N N S”, R” n D P, D M G R, R n D n P D M P D M G R, R P M G R, G N’ S.

1. S R M G R, G N’ S, R n’ D’ P’, P’ N’ S, N’ S R M G R, R M P, P M G R, M G R G N’ S.

2. R M P, M P D M G R, R M P, M P n D P, D P M P, D M G R, R P R M G R, G N’ S R n’ D’ P’, M’ P’ N’ S.

3. M P N N S”, S” n D P, n D P D M P D M G R, R n D n P D M P D M G R, R M P R M G R, G N’ S.

4. P M G R, R N’ S R M P M P n n D D P, M P N S”, R M P N N S”, M G R, R n D n P D M P, R M P N N S”, S” n D P M P N N S”, P N S” R” N S”, N S” R” G” N S” R” n n D D P, D D P M P D M G R, P R M G R, D M P D M G R, R N’ N’ S.

5. M P N N S”, P N S” R” R” S”, N S” R” M” G” R”, R” M” P” M” G” R”, R” N S”, S” n D P M P n D P, D M G R, R” N S”, P N S” R” n D P, R M P, M P N N S”, N S” R” G” N S”, P N S” R” S”, R” M” G” R”, G” N S”, S” n D P D M G R, P R M G R, G N’ S.

6. S, R R, M G R, R G R M G R, G S, N’ S, R M P, n D P, M P D M G R, M P M G R, M G R, G S, R R M P, n D P, D M G R, M P N S”, R” n D P, D M G R, G R, N’ S.

7. M M P N S”, P N S” R” G” R”, M” G” R”, P” M” G” R”, G” R” N S”, R” S” n D P, R R M P, S” n D P, M P D M G R, N’ S.

8. S, N’ N’ S, n’ D’ P’, M’ P’ N’ S, R M G R, M G R, R M P, P M G R, R M R P M G R, R M P, D M G R, D P D M G R, S R M P D M G R, R G N’ S R M P, n D P M G R, R M P n D P.

23

9. R M P, P n D P, D M G R, R M G R, R M P, n D P, D P M P, D M G R, R M P N S”, S” n D P M G R, M P N S”, R” n D P, D P M G R, S R N’ S R M P n D P.

10. M P N N S”, P N S” R” n D P, R” M” G” R”, R M G R, R M P N S”, R” S” n D P, M P n D P, D P M G R, S R M P N S” n D P, D P D M G R, R M P n D P, D M G R, G N’ S.

11. N’ S R M G R N’ S, N’ S R M P M G R N’ S, N’ S R M P n D P M G R S N’ S, N’ S R M P N S” S” n D P M G R N’ S, N’ S R M P N S” R” S” n D P M G R S N’ S, N’ S R M P N S” R” M” G” R” S” N S”n D P M G R N’ S.

12. R M G R, R M P M G R, R M P, D P M G R, R M P, n D P M G R, R M P n D P D M G R, R M P N S” R” S” n D P M G R, R M P N S” R”M” G” R” S”, R” S” n D P M G R, M P n D P M G R S.

13. S R R, R M M, M P P, P N N, N S” S”, S R, R M, M P, P N, N S”, S R M R, R M P M, M P n P, P N S” S”, R” M” G” R”, S” R” N S”, R” S”N S” n D P P, D n D P M G R R, R M P n D P M P, M P M G R N’ S.

24

Song Name Song Number Language Raga Tala Amar Krishno 1269 Bengali Desh Dadra kothay bal re

Amar Krishno kothay bol re Tora bol re, tora bol re Madhobi kunje nipo nikunje Kothao na heri tahare. Tora bol re …

Katoro hoiya ghuriya ghuriya Khuñjiya bedai kañdiya kañdiya Bhashi añkhi jole pritir uchhale Tabu nahi dilo dhora re. Tora …

Jomunar tire smito nilo nire Chhaya khuñji tar pranabeg bhore Din chole jay bolaka pakhay Tondrar shure shure re. Tora …

Agra, February 19, 1984

Translation:

Where is my Krishna Tell me where is He I have sought Him everywhere In the garden of Madhobi flowers But could not find Him anywhere.

Swept away in my tears, And overcome with love I am Tirelessly I sought Him Yet could not find Him.

On the bank of the smiling Blue waters of the Jamuna I chase His shadow with uncontrollable love My days are flying away And the nights in His musical notes.

25

Song Name Song Language Raga Tala Number Ogo probhu 349 Bengali Desh Dadra cheye dekho

Ogo probhu cheye dekho tomar tore jege achhi Esho esho amar ghore, mala geñthe boshe achhi. Ogo …

Tomar name mete chhi go, tomar kajei rato achhi, Tomar shure mishe gyechi, tumi chhada nahiko bujhi. Ogo …

Phagun mashe phager melay, rong beronger rong golay Ami harano mon pherot pathai, thik thikana kachha kachhi. Ogo …

Calcutta March 17, 1983

Translation:

Oh the Parampurusha look towards me I am awake and. Waiting for You. Come to my house, I have prepared garland for You.

I am absorbed in Your thoughts, and work, I have been one in Your music, I know nothing but You.

In the month of Falgun, in the fair of colors, I am mixing many colors for You. I am returning my lost mind (to You), To its original beginning.

26

Song Name Song Number Language Raga Tala Tomar kotha bhebe bhebe 668 Bengali Desh Dadra

Tomar kotha bhebe bhebe, anno kichhu bhabate nari Bhababo nako jotoi bhabi, bhabonate jodiye podi. Tomar kotha bhebe bhebe.

Tumi achho ami achhi, bishsho jogot bhule gechhi Tomar rupe, tomar rage, shob kichhutei tomare heri. Tomar kotha bhebe bhebe.

Duraakasher oi je tara, shamol shobhay ei je dhora Tomar bhabe aatto hara, neche chole tomare gheri. Tomar kotha bhebe bhebe.

July 14, 1983 Calcutta

Translation:

Thinking about You, I could think none else Thinking of not to think (of You), I was only trapped in You.

You are, and I am, the universe has disappeared In Your form, in Your charms, I see but You in all.

Your beauty in the distant star, in the green of the earth All have vanished in Your thought, dancing around You.

27

ON RAGA DARBARI KANADA

Darbari Kanada, composed by the great Tansen sometime in 15th or 16th century, is one of the most popular ragas. It is of very serious nature and has a complex descending scale. In ascent, all seven notes are used but in descent the seven notes are used but with a specific movement of notes only. Therefore jaati of the raga is called “Shadav Vakra Sampurna” meaning a “nonlinearly complete” raga. In descent, Sa” to ni is not allowed directly, but must progress by going through dha.

It is of “Kanada Prakar” meaning the note combination ga Ma re Sa is prominent and moving from ga to re must go through Ma. There are as many as 18 ragas that fall into this Prakar, such as Abhogi Kanada, Suha Kanada, Kafi Kanada, Nayaki Kanada etc. and all of them require ga Ma re Sa movement in that way.

In this raga, ga is almost always in the shadow of Ma, and dha is almost always in the shadow of ni. That is, singing of ga requires starting its pitch at Ma and then gradually lowering it to ga in the allocated time of the rhythm. Similarly, dha is treated in the shadow of ni.

This raga is of very serious nature and portrays Viira (bravado) and devotional sentiments. It largely flows in the lower octave and is developed in a slower tempo. Unusual tala such as Jhumara are seen in the renditions of this raga because of its serious and deeper sentiments. The popularity of this raga is so extensive that although it is a strictly classical in nature, the light classical compositions in Bhajans, popular movie songs, and even ghazals also utilize this raga.

Aaroha: Sa, Re, ga, Ma, Pa, dha, ni, Sa” Avaroha: Sa" dha ni Pa, Ma Pa ni ga, Ma Re Sa (1) Pakad: Pa ni Ma Pa ni ga, ga Ma Re Sa, ni‟ Sa Re dha‟ ni‟ Pa‟, Ma‟ Pa‟ dha‟ ni‟ Re Sa. Vaadi: Re Samvaadi: Pa Thaat: Aasawari Time: midnight. Jaati: Shadav Vakra Sampurna Sentiment: Bravery, devotion, serious.

1 N.E.: A variation of the avaroha of this raga is: Sa”, dha, ni, Pa, Ma, ga, Re, Sa. 28

SWARA VISTARA OF RAGA DARBARI KANADA

1. Sa Re ga, Ma Pa dha, ni, Sa”, Sa” dha, ni, Pa, Pa ni Ma Pa ni ga, ga ga Ma Re Sa, Sa, dha’ ni’ Pa’, Ma’ Pa’ dha’, ni’ Re Sa.

2. Ma Pa dha, ni Pa, Ma Pa dha ni ni Sa”, ni Sa”, ni Sa” Re” dha, ni Pa, Pa Re”, Re” Sa”, Re” Sa”, Re” Sa”, Re” Pa” ga”, ga” ga” Ma” Re” Sa”, Re” ni Sa” Re” dha ni Pa, Pa ni Ma Pa ni ga, ga ga Ma Re Sa.

3. S, S, n’ S, n’ S R, n’ S, n‘ S R S, n’ S R d’ n’ S, S d’ n’ S, S R S, n’ S d’ n’ R S, n’ S n’ S n’ S R d’, n’ R S,

d’ n’ S, M’ P’ d’ n’ P’, M’ P’ d’ n’ S, n’ S R S, n’ S R g, g g M R S, n’ S R d’ n’ S, S R g M R S, n’ S R d’ n’ P’, M’ P’ d’ n’ R S, S R g M P, M P g M R S, S R g M P, M P g M R S, n’ S n’ S R d’ n’ R S, S R g M P, M P d n P, M P g M R S, M P d n P, M P d n n S”, M P d n n S”, S” d n P, M P g R S R S, d’ n’ R S, n’ S R d’ n’ R S,

S R g M P, M P d d n P, M P d n S”, n S”n S” R” d n P,

M P d d n P, M P d d d d n P, M P d d d d d d n P, M P d n n S”, n S”n S”R”d n P, P n M P n g, g g M R S, n’ S R d’ n’ R S,

M P d n S”, n S” n S”, M P d n S”, n S”n S” n S” R”d n P, P R”, P R”, R” S” R” S” R” S” R” P” g”, g” g” M” R” S”,

M P d d n P, M P d n n S”, n S”n S” n S” n S” R” d n P, P R”, P R”, R” S” R” S” R” S” R” S” R” P” g”, g” g” M” R” S”, R” n S” R” d n P, R” n S” R” d n P, M P n g, g g M R S, n’ S R d’ n’ R S, d’ n’ S, n’ S R g g M R S,

S R g M P d n S”, S” d n P M P n g M R S,

R S d’ n’ R S, R S d’ n’ R S.

29

Song Name Composer Language Raga Tala Anokha laadla Lyrics: Asad Darbari Kanada Muhammad Khan

Anokha laadla, khelan ko maange chand re Anokha laadla Kaisi anokhi baat re Anokha laadla

Tan ke ghao to bhar gaye daata Man ka ghao nahi bhar paata Jee ka haal samajh nahi aata Kaisi anokhi baat re Anokha laadla khelan ko maange chand re Anokha laadla

Pyaas bujhey kab ik darshan se Tan sulgey bas aik agan mein Man boley rakh lon main man mein Kaisi anokhi baat re Anokha laadla khelan ko maange chand re Anokha laadla

Jis pe na beeti woh kab janey Jag waley aaye samjhaney Pagal man koi baat na maney Kaisi anokhi baat re Anokha laadla khelan ko maange chand re Anokha laadla

Translation:

30

Song Name Song Number Language Raga Tala Eshe chhile tumi 4144 Bengali Darbari Kanada, Rupak probhu and touches of Kafi that

Eshe chhile tumi probhu, amar mone shongopone, Bheshe chhile chidakashe, dola diye ronge ronge. Eshe chhile …

She dolate bishho dole, she dolate bhubon bhole, She dolay egiye chole amor giti dur bimane. Eshe chhile …

She dolake jay na bhola, she e je duti mekhola She dola bhuliye jala, chetona aane monone. Eshe chhile …

Calcutta, September 1, 1987

Translation:

Oh Parampurusha You came in my heart, secretly and in privacy flooding my being with cognition dancing it in multitudes of colors.

The universe swings (dances) as He makes it swing The universe forgets itself, as He sways it Moving forward like an eternal song in the distant sky.

(None) can forget that swinging (dance) like a bright lovely wrapper forgetting all painful pangs bringing (peaceful) cognition to hearts.

31

Song Name Song Number Language Raga Tala Meghmeduro rate 4529 Bengali Darbari Tintala, Kanada Sitarkhani

Meghmeduro rate chhonde gite, Tomare ami probhu tushite je chai. Klishtho dhorate sheba dhalite, Shatoto tabo kripa kona jeche jai Meghmeduro rate chhonde gite

Pranero prokash mor tumi ektara, Digbhranto pothe tumi dhrubotara Atol opar tumi shahasro dhara, Khuñje khuñje tol nahi pai. Tomare ami probhu tushite je chai Meghmeduro rate chhonde gite

Jobe kichhu chhilo nako ekala tumi chhile, He Purushottamo ki kore dhora rochile Kisher aashe ek theke onek hole, E proshner uttaro nai. Tomare ami probhu tushite je chai Meghmeduro rate chhonde gite

Ananda Nagar, January 3, 1989

Translation:

In the midst of the dark cloudy night, and the songs and music Oh Parampurusha I want to please You. I will serve this universe suffering in sorrow. I keep begging for Your grace.

You are the light of my pranas, You are the pole star of the lost (traveler) Your depth immeasurable and vast like thousand flows Much as one may try, (but) can never measure your depths.

When there was nothing, You were there alone. Oh Purushottama how could You have created this universe? How did You become many from One? There is no answer to this question.

32

Song Name Song Number Language Raga Tala Noyoneri anjon 1370 Bengali Darbari Kaharva manosho ranjono Kanada

Noyoneri anjono manosho ranjono Tumi jonome morone shathi mor Monjhulo mohakashe ango laboni bhashe Tomate hoye chhi bibhor.

Proponcho porishore tomari mayamukure Shab kichhu ronito shinjito nupure Aañkhi tule dhoro aamare koruna koro Shab bhabe ogo chitochor.

Kichhui chahina ami tomari chorone Dao porabhokti aattoshomarpone Tomar obhishtho aamar je ishtho Tumi bidhu ami je chakor.

Calcutta, March 16, 1984

Translation:

(Oh Parampurusha), You are (close to me) like the makeup of the eye You are the colors (aspirations) of my mind You are my true companion in life and death. In this vast cosmos, full of beauty and sweet sound My mind is suspended, hypnotized in You.

Everything in this material world, bound in Your liila Is vibrating with sweet sound like an anklet Oh Parampurusha please grace me with Your kind sight You have stolen my mind.

I want nothing else in Your shelter, But grant me the Supreme devotion (so that) I can fully surrender Oh the dearest You are the essence of my love, meditation You are the moon and I am the bird Chakor.

33

Song Name Song Number Language Raga Tala Shubho chetonay 4775 Bengali Darbari Kaharva Kanada

Shubho chetonay priti dotonay, Eshe chhile tumi priyo aamar ghore. Mon jomunay dheu neche jay, Ujaner pane tumi chalale tare.

Nitto brindabone aachho bhokter shone. Shabakar kotha shune jao tumi protikhone. Shob bhab shob kaaj royechhe tabo monone Tumi achho mormo bhore. Eshe chhile tumi…

Nittanondo tabo lilanonder shathe Shob kichhu ghire achho he priyo oto-prote Onu-poromanu majhe he chiro achho jogote Kalatito kalgoto proti prohore. Eshe chhile tumi… March 2, 1990. Calcutta

Translation:

O Dear Lord, with auspicious awareness and gesture of love, You had come to my home. In the mental river Yamuna’, the waves go on dancing, towards upstream, whom You move.

In the Eternal Vrnda’van, You remain with the devotees, and keep on listening to the story of all each moment. All thoughts and actions are confined to Your mind. You have filled the core of the mind.

O Eternal Absolute Bliss, along with Your Playful Stance, You surround each and everything, individually and collectively, O Dear. Within each atom and molecule, You are ever present in the world, within and beyond the time, each moment.

34

Song Name Composer Language Raga Tala Tora man Musician: Ravi Hindi Darbari Bhajan darpan kehlaye Lyricist: Sahir Ludhianvi kanada theka

Tora man darpan kehlaye Bhale bure saare karmon ko, Dekhe aur dikhaaye Tora man darpan kehlaye

Man hi devta, man hi ishvar, Man se bada na koi Man ujiyara jab jab faile, Jag ujiyara hoy Is ujale darpan par praani, Dhool na jamne paye Tora man darpan kehlaye

Sukh ki kaliyan, dukh ke kaante, Man sabka adhar Man se koi baat chhupe na, Man ke nain hazar Jag se chaahe bhaag le koi, Man se bhaag na paye Tora man darpan kehlaye

Tan ki daulat dhalti chhaya, Man ka dhan anmol Tan ke kaaran man ke dhan ko, Mat maati mein raund Man ki kadar bhulane wala, Heera janam ganwaye Tora man darpan kehlaye

Translation:

Your mind is a mirror It witnesses all good and bad actions

Mind is divine, controller, mind is above all when mind is clear the world appears clear Do not allow any dirt to accumulate on the mirror

Mind is the base of all; Blossoms of happiness, and thorns of pains Nothing can be hidden from mind, mind has thousand eyes. One may run away from the world but cannot run away from the mind

The wealth of world is like diminishing shadow, the wealth of mind is immeasurable Do not rub your mind in dirt for the sake of worldly wealth The one who fails to appreciate mind, has lost the precious life

35

Song Name Song Language Raga Tala Number Tumi amay niye ele 949 Bengali Darbari Kaharva Kanada

Tumi amay niye ele, e kon alakay Madhuri bhore dile hiya jomunay e kon alakay

Chhalo chhalo uchhalo pritir jomuna jalo Aañkhi pate ujjalo amarari kajjalo Nondito hridi majhe, nitto nutano shaje Raja hoye ele, e kon mothuray, e kon alakay Tumi ...

Bhuloke duloke shab tuchha koriya dile Spandito hridakashe shudha dhara dhele dile Mohono bañshir tane lokatito e ki gane Aapono koriya nile aaji amay, e kon alakay Tumi ...

Calcutta, October 19, 1983

Translation:

In which celestial world have You brought me Oh Lord, And filled my heart's Yamuna with blissful sweetness.

The waters of Yamuna (love in my heart) is to the brim and turbulent My eyelids are brightened by the sight of Your heavenly light, Displaying ever new forms of decorations, You came as king of Mathura (of my soul) In the river Yamuna of my heart.

You have made the earth and heavens insignificant. You have poured the nectar in the vibrations of my heart With the charming melody of the flute and the heavenly song, You have made me Your own

36

Song Name Song Language Raga Tala Number Tumi je eshe chho aaj 647 Bengali Darbari Kaharva (2) Kanada

Tumi je eshe chho aaj, byathito joner kotha bhabite Shabar moner kalo nashite, shakol jibere bhalobashite

Tabo aasha poth cheye boshiya chhilo je dhora Bethar chinho tar chhilo je onge bhora Shukher shakol resh hoye giye-chhilo hara Klesher darun bhar bohite bohite.

Dhoraro bokhkhe jalo aaro beshi kore aalo Nipidito hiya majhe aaro beshi shudha dhalo Udatto shore shabare dak diye balo Uñchu shire shammukh pane cholite July 5, 1983. Calcutta

Translation:

You have come today, To think about suffering people, to destroy the darkness in all minds, and to love all living beings.

The earth was eagerly waiting for Your advent, marks of injury filled her body. Under the painful load of afflictions, all happiness was lost.

On the bosom of the earth, kindle more light. Into distressed hearts, pour more nectar.

Send out Your clarion call to all to move forward with heads held high.

2 N.E.: Can also be played in Teen Taal. 37

Song Name Song Number Language Raga Tala Tvam mama 3951 Sanskrit Darbari Teental & priyah Kanada Sitarkhani

Tvam mama priyaha tvamasi ameya Vasasi manasi vrajaraja Chandana charchitaha kaustubha nanditah Kinshukadhara Mathura rajaha Vasasi manasi vrajaraja

Tamal nipavane benuka svanane Hasadasi priyamama svapane jagarane Chintayamasi kripyam snapayasi Bahasi antaredhiraja Vasasi manasi vrajaraja

Agachhatu priya marme gabhire mama Tushare dhavalata hutashe dahika sama Ritambhara dyuti svayambhara priti Vishvatita adhiraja Vasasi manasi vrajaraja

Calcutta January 14, 1987

Translation:

(From PrabhatSamgiita.net)

O Lord, You are immeasurable. You have taken Your seat in the mental Vraja. O noble child of Mathura, Your body is anointed with sandal paste and decorated with kaostubha gems. It emanates the beauty of a red kinshuka flower.

In the tamala, kadamba and bamboo groves of Gokula, You appear before me, in my wakeful and sleeping states, with a charming smile, as if standing under the trees You are in my thought. You always shower Your grace upon all. You are the effulgent light in the core of every heart. Come, O dear Lord, into the depths of my heart.

Be with me like the inherent quality of whiteness in snow or the burning faculty in fire. Your effulgence engulfs every particle of the creation. Your overflowing love fills every microcosm. You are above and beyond the universe. You are the Supreme Lord of the intellect of every unit being.

38

Song Name Song Number Language Raga Tala Shonali bhor 130 Bengali Asawari Dadra jibone mor

Shonali bhor jibone mor, aabar ki re aashabe phire Shato bethar shato bedonar, shato lanchhanar aandhar chire Shonali bhor..

Kato prodosh, kato probhat, kato sharot boshonto rat Kato aasha, kato bharosha, bheshe gechhe oshru nire. Shonali bhor..

Purvakashe orun hashe, batash bhashe phulo shubashe Nabo borshe nabo harshe bethar sriti jay je shore Shonali bhor..

Calcutta Nov 20, 1982

Translation:

(From PrabhatSamgiita.net)

The golden dawn of my life, is it returning again? Piercing the darkness of countless pains, countless agonies, countless humiliations.

How many twilights, how many dawns, how many autumn and spring nights, how many hopes and aspirations have all passed by, floating away in tears?

On the eastern horizon the crimson dawn smiles, the fragrance of flowers floats in the air. With the new delight of the newyear, the memories of pain all vanish away.

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Song Name Song Number Language Raga Tala Vrindavanam 4425 Sanskrit Bagesri Dadra parityajya

Vrindavanam parityajya Padam ekam na gachhami Pashyami yad yada yada Vrajabhavam na vismarami

Vadantu yad mahajanaha Nindantu yad niitinipunaha Bhasante yad pragya janaha Bhavagokule dhitisthami

Kule kule niipa tamale Priiti Vrindavane atule Yamuna kule suniile Praktah evam vadami

Calcutta, August 30, 1988

Translation:

Leaving Vrindavan I do not go even a single step. Whatever, wherever I see, I will only remember Vrindavan.

Whatever may the scholars say, Whatever may the scriptural experts critic, Whatever may the realized persons say, I wil remain established in the sentiment of Gokula.

By the tamale trees on the river bank, Amidst the in-comparable love of my devotees, On the bank of the blue waters of Yamuna I declare, I will always remain

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HARMONIUM KEYBOARD WITH NOTES

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EXERCISES FOR VOICE AND HARMONIUM

PART 1

Note:

1. The comma ( , ) represents a single Matra (beat). So, for example 3rd EXERCISE is just twice the speed of the first one.

2. Practice first with hand clapping, and then on harmonium.

3. Repeat Exercise 1 after each exercise, maintaining the laya.

Raga Bilawal:

1. S, R, G, M, P, D, N, S” S”, N, D, P, M, G, R, S

2. SS, RR, GG, MM, PP, DD, NN, S”S” S”S”, NN, DD, PP, MM, GG, RR, SS

3. SR, GM, PD, NS”, S”N, DP, MG, RS

4. SG, RM, GP, MD, PN, DS” S”D, NP, DM, PG, MR, GS

5. SRGM, RGMP, GMPD, MPDN, PDNS” S”NDP, NDPM, DPMG, PMGR, MGRS

6. S, S R S, S R G R S, S R G M G R S, S R G M P M G R S, S R G M P D P M G R S, S R G M P D N D P M G R S S R G M P D N S” N D P M G R S

S”, S” N S”, S” N D N S”, S” N D P D N S”, S” N D P M P D N S”, S” N D P M G M P D N S”, S” N D P M G R G M P D N S” S” N D P M G R S R G M P D N S”

Raga Bhairavi:

7. S, r, g, M, P, d, n, S” S”, n, d, P, M, g, r, S

8. SS, rr, gg, MM, PP, dd, nn, S”S” S”S”, nn, dd, PP, MM, gg, rr, SS

9. Sr, gM, Pd, nS”, S”n, dP, Mg, rS 42

10. Sg, rM, gP, Md, Pn, dS” S”d, nP, dM, Pg, Mr, gS

11. SrgM, rgMP, gMPd, MPdn, PdnS” S”ndP, ndPM, dPMg, PMgr, MgrS

12. S, S r S, S r g r S, S r g M g r S, S r g M P M g r S, S r g M P d P M g r S, S r g M P d n d P M g r S S r g M P d n S” n d P M g r S

S”, S” n S”, S” n d n S”, S” n d P d n S”, S” n d P M P d n S”, S” n d P M g M P d n S”, S” n d P M g r g M P d n S” S” n d P M g r S, S r g M P d n S”

Raga Bhairav:

13. S, r, G, M, P, d, N, S” S”, N, d, P, M, G, r, S

14. SS, rr, GG, MM, PP, dd, NN, S” S” S” S”, NN, dd, PP, MM, GG, rr, SS

15. Sr, GM, Pd, N S”, S”N, dP, MG, rS

16. SG, rM, GP, Md, PN, d S” S”d, NP, dM, PG, Mr, GS

17. SrGM, rGMP, GMPd, MPdN, PdN S” S”NdP, NdPM, dPMG, PMGr, MGrS

18. S, S r S, S r G r S, S r G M G r S, S r G M P M G r S, S r G M P d P M G r S, S r G M P d N d P M G r S S r G M P d N S” N d P M G r S

S”, S” N S”, S” N d N S”, S” N d P d N S”, S” N d P M P d N S”, S” N d P M G M P d N S”, S” N d P M G r G M P d N S” S” N d P M G r S, S r G M P d N S”

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PART 2

1. SRSRGR, RGRGMG, GMGMPM, MPMPDP, PDPDND, DNDNS”N, S”N S”NDN, NDNDPD, DPDPMP, PMPMGM, MGMGRG, GRGRSR

2. SRGM, RGMP, GMPD, MPDN, PDNS” S”NDP, NDPM, DPMG, PMGR, MGRS

3. SRGM, RGRS, RGMP, GMGR, GMPD, MPMG, MPDN, PDPM, PDNS”, DNDP, MPDN, PDPM, GMPD, MPMG, RGMP, GMGR, SRGM, RGRS

Note:

1. Practice with bols (sa ra ga ma). 2. Practice also with aa‟k‟ar 3. Practice in raga Yaman (S R G m P D N S“)) 4. Pratice in raga Bhairav (S r G M P d N S”) 5. Pratice in raga Bhairavi (S r g M P d n S”)) 6. Practice all with electronic tabla in Teen Taal.

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PART 3

1. S S R G, S R R G, R R G M, R G G M, G G M P, G M M P, M M P D, M P P D, P P D N, P D D N, D D N S”, D N N S”

S” S” N D, S” N N D, N N D P, N D D P, D D P M, D P P M, P P M G, P M M G, M M G R, M G G R, G G R S, G R R S

2. S R S R, R S R S, R R S R, R S R S, S S S R, R S R S, R R R R, S R S S

R G R G, G R G R, G G R G, G R G R R R R G, G R G R, G G G G, R G R R

G M G M, M G M G, M M G M, M G M G, G G G M, M G M G, M M M M, G M G G

M P M P, P M P M , P P M P, P M P M M M M P, P M P M, P P P P, M P M M

P D P D, D P D P, D D P D, D P D P P P P D, D P D P, D D D D, P D P P

D N D N, N D N D, N N D N, N D N D D D D N, N D N D, N N N N, D N D D

N S” N S”, S” N S” N, S” S” N S”, S” N S” N N N N S”, S” N S” N, S” S” S” S”, N S” N N

3. S R G M | SR G M | SR -G M | SR GM | -S R- -G M

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