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

with Kirit Dave and Ashesh

August 7 to 11, 2017 Shiva Ashram, Petrópolis – RJ

2017 Brazil Prabhat Samgiita Tour July 29 to September 3

 Porto Alegre – RS :: July 29 – workshop and concert – with Kirit and Ashesh  Caxias do Sul – RS :: July 30 – workshop and concert – with Kirit and Ashesh  Pelotas – RS :: July 31 and August 1 – concert and talk – with Kirit and Ashesh  Campinas – SP :: August 4 to 6 – talk and workshop – with Kirit and Ashesh  Campinas – SP :: August 6 – workshop – with Kirit and Ashesh  Petrópolis – RJ :: August 7 to 11 – intensive training course – with Kirit and Ashesh  Petrópolis – RJ :: August 12 – workshop and concert – with Kirit and Ashesh  Petrópolis – RJ :: August 15 – talk – with Kirit  Rio de Janeiro – RJ :: August 19 to 20 – workshop – with Kirit  Juiz de Fora – MG :: August 22 – talk – with Kirit  Brasília – DF :: August 24 – talk – with Kirit  Alto Paraíso – GO :: August 25 to 27 – concert and workshop – with Kirit and Ashesh  Paranaguá – PR :: August 29 – recital – with Kirit  Pontal do Sul – PR :: August 30 to 31 – concert and workshop – with Kirit  São Paulo – SP :: September 1 to 3 – concert and workshop – with Kirit and Ashesh

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ACKNOWLEDGEMENTS

Organizing Committee of 2017 Tour:

Coordinator: Mahesh Counselor: Kirit Committee Members: Ashesh, Jyotiprakash, Jiivanii, Lavanya, Mahesh, Nirmegha and Parabhakti

Local Organizers:

Jyotiprakash and Parabhakti – Porto Alegre Devishrii and Krsna – Caxias do Sul Lalan – Pelotas Ashesh, Dhrtiishvara and Akashadiipa Deva – Campinas Cristina Roquete – Campinas Maurinho and Mahesh – Petrópolis Chris/Fraternidade – Petrópolis Nirmegha – Rio de Janeiro Luciano Souza – Juiz de Fora Manorainjan – Brasília Satyavan – Alto Paraíso Khalsa Kaur – Paranaguá Tannistha – Pontal do Sul Vishnu – São Paulo

Volunteers of Intensive Training:

Kirit – Main Teacher and Counselor Ashesh – Tabla player and Teacher Jyotiprakash and Parabhakti – Teachers Mahesh – Coordinator Ragamayii – Translator Maurinho and Mahesh – Local organizers

Front page picture: saimusicalinstruments.com

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INDEX

INTRODUCTION TO PRABHAT SAMGIITA ...... 6 PRONUNCIATION AND LANGUAGE SYNTAX ...... 7 A WORD ON RAGA AND TALA ...... 8 GLOSSARY OF HINDUSTANI CLASSICAL MUSIC ...... 11 MUSICAL NOTES AND NOTATIONS ...... 13 INTRODUCTION TO TAALS ...... 14

ON RAGA BHAIRAVI ...... 15 SWARA VISTARA OF RAGA BHAIRAVI ...... 17 Doyal probhu balogo tomay ...... 18 Gan geye tumi ...... 19 Shur toronge mohono ronge ...... 20 Composition in Dhrupad style ...... 21 Madhur Bhairavi ragini (Lakshan Giit) ...... 22 Muraliya bhayi bairan ...... 23

ON RAGA DESH ...... 24 SWARA VISTARA OF RAGA DESH ...... 25 Amar Krishno kothay bal re ...... 27 Amar tore okatore ...... 28 Tomar kotha bhebe bhebe ...... 29

ON RAGA DARBARI KANADA ...... 30 SWARA VISTARA OF RAGA DARBARI KANADA ...... 31 Meghmeduro rate ...... 32 Shubho chetonay ...... 33 Tumi je eshe chho aaj...... 34 Tora man darpan kehlaye ...... 35

ON RAGA BAGESHRII ...... 36 Shapone khoñj peyechhinu ...... 37 Shapone she eshechhilo ...... 38

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Tomare jobe dekhe chhinu ...... 39 Tomar name tomar gane ...... 40 Vrindavanam parityajya ...... 41 Bageshrii Composition - Notes ...... 42 Bhashao noyon jole (Ananda Samgiit) ...... 44 Lakshan Geet ...... 45 Lakshan Geet - Notes ...... 46 Paayal Baaje ...... 47 Paayal Baaje - Notes ...... 48

HARMONIUM KEYBOARD WITH NOTES ...... 49 Prabhat Samgiita Para Todos Movement ...... 50

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INTRODUCTION TO PRABHAT SAMGIITA

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.

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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.

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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.

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

9 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.

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.

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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. 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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INTRODUCTION TO TAALS

Taal (or Tala): rhythmic cycle Matra – Beat (Measure of time) Tali: Emphasized beat (represented by “X” and #s) Khali: Not emphasized beat (represented by “O”) Vibhag: subdivision of a taal – delimited by vertical bars

Taal Dadra – 6 Matras Dha Dhin Na Dha Tin Na 1 2 3 4 5 6 X O

Taal Rupak – 7 Matras Tin Tin Na Dhin Na Dhin Na 1 2 3 4 5 6 7 O 1 2

Taal Kaharwa (1) – 8 Matras Dha Ge Na Ti Na Ke Dhi Na 1 2 3 4 5 6 7 8 X O

Taal Kaharwa (2) – 8 Matras Dha Te Te Dhin Tin Ta Te Te Dhin Tin 1 2 3 4 5 6 7 8 X O

Taal theka – 8 Matras Ghe Na Ghe – Ghe Na Tu Na Ghe – Ghe Na 1 2 3 4 5 6 7 8 X O

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

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

Ek Taal – 12 Matras Dhin Dhin Dhage Tirkat Tu Na Kat Ta Dhage Tirkat Dhin Na 1 2 3 4 5 6 7 8 9 10 11 12 X O 2 O 3 4

Teen 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

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ON RAGA BHAIRAVI

Bhairavi is an ancient raga but it has slowly evolved into different variations. Original Bhairavi was called Komal Bhairavi and only used komal (flat) notes.

Sa re ga Ma Pa dha ni Sa", Sa" ni dha Pa Ma ga re As.

Shuddha rishabh (Re) was introduced next. Its arrival was so significant, that it was accepted not only in Thumari but also in Khayal and even in Dhrupad styles, which are very strict classical styles.

Examples: Sa, dha‟, ni‟ Sa Re ga~ re Sa. Pa, dha Pa Ma Pa ga, ga Re ga Ma ga~ re Sa.

Then shuddha dhaivat (Dha) was introduced.

Example: ni‟ Sa ga Ma Pa, ga Ma dha Pa, re ga Ma Pa Dha ni dha Pa.

Tivra madhyam (ma) arrived after that: Pa dha Pa Ma Pa ga, ga Ma ma Ma ga~ re As.

Shuddha nishad (Ni) came after that. It is generally used in Thumari forms. Also it is prominent in Punjabi (North West ) style of singing and their folk music.

Sa, re Ni‟ Sa, Ni‟ Sa re Sa, Sa re Sa re Ni‟ Sa, ni‟ Sa re Sa re Sa dha‟ Pa‟, dha‟ ni‟ Sa re ga~ re Sa, re ni‟ Sa.

Shuddha gandhar (Ga) came the last. It is used very sparingly and is difficult to apply. ni‟ Sa ga Ma Ma Ga, Ma Ma Ga, Ma ga Ma ma Ma Ga, ga Ma re Sa.

Original Bhairavi: Purvang: ni‟ Sa ga Ma, ga~ re Sa Uttranga: (i) ga Ma dha Pa, dha Pa Ma Pa ga Ma re Sa (ii) ga Ma dha ni Sa”, re”, ni Sa” dha Pa, (iii) OR ga Ma Pa dha ni Sa”, re”, ni Sa” dha Pa ga Ma dha ni Sa”, dha Pa Ma Pa ga Ma, Sa ga Ma Pa ga Ma re Sa.

Three important pieces that will identify Bhairavi are: ni‟ Sa ga Ma re Sa Pa, ga Ma dha Pa ga Ma dha ni Sa”, ni Sa”~, dha Pa

Uttrang (second tetra chord) + Purvanga (first tetra chord): ga Ma dha ni Sa”, re”, ni Sa” dha Pa ga Ma Pa dha ni Sa” re, ni Sa”~ dha Pa

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Sindhi Bhairavi: In this very popular form of Bhairavi, there is a prominent use of shuddha nishad (Ni) and tivra madhyam (ma). It is well suited for thumari in general, and is often used in Punjabi style of thumari and folk music.

Bhairavi is an ancient raga, and so Bhairavi has been sung in all vocal styles of the past, from older to modern, Dhruvpad, Khayal, Thumari, Dadra, Tappa, Bhajan. Please see my article “A Word On Raga and Tala” in this booklet.

Nature of aesthetics is different in these Indian classical vocal styles. The older Dhruvpad style is more serious, slower moving, with purist approach, less ornamental and rigid yet deeper in its effect. Thumari is a modern style. It is less rigid, more ornamental, faster moving, tolerates variants from norm, and leaves more room for abstract and creative use of notes, if it is done properly.

I want to acknowledge a great musicologist of India who passed away in January of 2010, Pandit Ramrang. Pandit Ramrang contributed immensely to the studies of Indian classical music by his 5 volume work, called Abhinav Gitanjali on grammar of ragas.

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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 Language Raga Tala Number Doyal probhu 341 Bengali Bhairavi Dadra balogo tomay

Doyal probhu balogo tomay, doyal name keno daka hay

Phule keno kañta thakego jhorna keno upalete bay.

Doyal name…

Kamol kumud gondhe bhora molin jole keno ba phote,

Jive bhora khushir dhora bijon pothe keno ba chhote,

Tarar mala prodip jala, amanishay keno cheye ray.

Doyal name…

Phuler mato shishu keno, ghano ghano keñde thake

Chañder aalo keno hashe kalo megher phañke phañke

Mandomodhur gandho baho attohashe shila jhonjhay.

Doyal name…

Calcutta, March 15, 1983.

Translation:

Oh! The merciful Lord, why are You called compassionate? Why do thorns surround the flower, why does lovely stream flow so rough?

Why does the lotus, filled with heavenly fragrance, grow in muddy water? The earth itself full of happy lives, yet why does it travel through the silent path? Why do stars, like the garlands of lights, shine in the darkest night?

Why must baby, fragile like a flower, cry incessantly? Why must the moonlight smile through openings of the dark clouds? Why must gentle fragrance accompany rudely laughing hail-storm?

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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.

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 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

21

Song Name Composer Language Raga Tala Madhur Bhairavi (Unknown) Sanskrit Bhairavi Dadra ragini (Lakshan Giit)

Madhur Bhairavi ragini

Sur lagat mridu re ga dha ni

Prat samay gavat guni.

Madhur Bhairavi …

Dha ga vaadi samvadi

Bhakti rasa shringarini

Shiva bhamini pujat niit

Shankar hiim dhaval shikhar.

Madhur Bhairavi …

Translation:

Bhairavi, a sweet ragiini (applies) Komal re, ga, dha and ni Scholars sing it in the morning. Beautiful indeed is ragiini Bhairavii

Vadi swara is dha, and Samvadi swra is ga Primary sentiment is romance and devotion Wife of Shiva uses (Bhairavi) in her prayers to Shankar, residing at the mountain peaks covered with snow The beautiful ragiini Bhairavii indeed.

22

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

23

ON RAGA DESH

Desh is a popular raga, well suited for light classical and seasonal compositions. This raga is very similar to raga Sorath but unlike in Desh, Ga is not allowed in Sorath. In this raga shuddha Ni (in aaroha) and komal-ni (in avaraoha) are used. Re is the most prominent note (Vaadi) and Pa is the next most prominent note (Samvaadi). Vaadi, samvaadi and nyaas notes are generally the resting point of the musical phrases. Proper “conversation” between vaadi and samvaadi allows for the systematic improvisation (samvaad) based on the rules of the raga. Although Desh has similarities with Tilak Kamod and Khamaj ragas, the proper use of vaadi helps differentiate them.

Aaroha: Sa, Re, Ma, Pa, Ni, Sa” Avaroha: Sa”, ni, Dha, Pa, Ma, Ga, Re, Ga, Sa Pakad: Re Ma Pa ni Dha Pa, Ma Ga Re, Ni‟ Sa Vaadi: Re Samvaadi: Pa Thaat: Khamaj Time: Evening, 2nd prahar. Jaati: Odav Sampurna Sentiment: light, seasonal, folk tunes, romantic, yearning

24

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.

25

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.

26

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. 27

Song Name Song Number Language Raga Tala Amar tore 3527 Bengali Desh and touch Dadra okatore of Jayajayvanti

Amar tore okatore ki na diye chho, Ki na diye chho-go probhu, ki na diye chho Bhab jogote alakhkhe-te eshe boshe chho. Amar tore ...

Koite kotha mori laje, ki chhilo mor aaj ki achhe, Chhilum dhulor pore hotadore, kachhe tene chho. Bhab jogote ...

Moner majhe chhilo na roop, jole ni deep shugondhi dhup Chhilum bhoyal rate tomisra te, kole tule chho. Bhab jogote ...

Aaj bujhe-chhi shabi tomar, eka tumi sharatshar Mor ek-tara te nirab prate, gane heshe chho. Bhab jogote ... Calcutta, May 12, 1986. Translation:

You gave me so much, bountifully, and patiently (Oh Parampurusha) You gave me everything You came and took seat in the invisible world (of my) ideation.

I feel ashamed to say, that none belongs to me I was in dust without any dignity, You came (then) and brought me close to You.

I am unable to see You in my dhyan I do not have candle, nor the fragrant incense (to welcome You) I was caught in fearful darkness of night Then You came and took me in Your lap.

Today I realize that all belongs to You. (And) only You are the essence of life. (Then)You came in the quiet morning In the song of my instrument.

28

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.

Calcutta, July 14, 1983.

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.

29

ON RAGA DARBARI KANADA

Darbari Kanada, composed by the great Tansen sometime in the 15th or 16th centuries, 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 and in descent also, but only with a specific movement of notes. Therefore jaati of the raga is called “Shadav Vakra Sampurna”, meaning a “nonlinearly complete” raga. In descent, going from Sa” to ni directly is not allowed, but must progress by going through dha.

It is of the “Kanada Prakar” meaning the notes 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 talas 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 strictly classical in nature, 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. 30

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.

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 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… Calcutta, March 2, 1990.

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.

33

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 Calcutta, July 5, 1983.

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. 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

ON RAGA BAGESHRII

(or BAGESHVARI)

Raga Description: Bageshvari means Saraswati, or the Goddess of learning. Bageshrii is classified under Kafi that. Aaraoha: ni‟ Sa ga Ma Dha ni Sa” (Re and Pa not allowed, Varjit) Avaroha: Sa” ni Dha Ma, Pa Dha Ma ga Re Sa (Notice that Pa is taken in Vakra fashion). Pakad: Dha‟ ni‟ Sa Ma, Ma Dha Ma ga Re, Ma ga Re Sa. Vaadi: Ma and Samvadi: Sa. Time: Second prahar of night (between 9PM to midnight). Being that it is part of Kafi, ga and ni are komal. The note Pa is used very sparingly but it must be used sufficiently and in Vakra fashion for the most part in this raga. Jati of the raga is Odav-Sampurna. It is a major raga in classical theory, and also a very popular raga.

Swara Vistara: Sa, ni‟ _ Dha‟ Sa, Dha‟ ni‟ Sa, Ma, ga Ma, ga Re Ma, Ma Dha, ga Ma Dha, ni Dha, Ma ga, ga Re Ma Dha ni Dha, Dha Ma Dha ni Dha Ma ga, Ma ga Re Sa. ga Ma Dha ni, Ma ga Ma Dha ni, ga Ma Dha, Ma Dha ni, Sa” ni, Re” Sa” ni, Sa” Re” Sa” ni Dha, Ma Dha ni Sa” ni Dha, ga Ma Dha ni Dha Ma, ga Ma ga Re _ Sa. Sa ni‟ Dha‟, Ma‟ Dha‟ ni‟ Sa, Dha‟ ni‟ Sa Ma, ga Re Ma, ni‟ Dha‟ ni‟ Sa Ma, ga _ Ma, ga Ma Dha Ma, ga Ma Dha ni Dha Ma, Ma ni Dha, Ma ga Ma, Dha ni Sa”, Re” Sa”, ni Sa” Re” Sa”, ni Dha, Ma Dha ni Sa”, ga” Re” Sa”, Re” Sa” ni Dha, Ma Dha ni Sa” ni Dha Ma ga, Ma ga Re _ Sa.

Taans: 1. ni‟ Sa ga Ma Ma ga Re Sa, ni‟ Sa ga Ma Dha Ma ga Ma, Ma ga Re Sa, ni‟ Sa ga Ma Dha ni, Dha Ma ga Ma Ma ga Re Sa, ni‟ Sa ga Ma Dha ni Sa”ni Dha Ma ga Ma Ma ga Re Sa, ni‟ Sa ga Ma Dha ni Sa” Re” Sa” ni Dha Ma ga Ma Ma ga Re Sa. 2. Ma Ma ga Ma ga Re Sa Sa, Dha Dha Ma Ma ga Ma ga Re Sa Sa, ni ni Dha Dha Ma Ma ga Ma ga Re Sa Sa, Sa” Sa” ni Dha Ma Dha ni Dha Ma Ma ga Ma ga Re Sa Sa, ga” Re” Sa” Re” Sa” ni Dha Dha, Ma Dha ni Dha Ma ga Re Sa. 3. Sa Sa Sa, ga ga ga, Ma Ma Ma, Dha Dha Dha, ni ni ni, Sa” Sa” Sa”, Sa Sa, ga ga, Ma Ma, Dha Dha, ni ni, Sa” Sa”, Sa ga, ga Ma, Ma Dha, Dha ni, ni Sa”, Sa” Re” Sa” ni Dha Ma Dha ni Sa” ni Dha Ma ga Ma ga Re Sa Sa.

36

Song Name Song Number Language Raga Tala Shapone khoñj peyechhinu 76 Bengali Bageshrii Dadra

Shapone khoñj peyechhinu shapon majhei bhalobeshechhi.

Shapon majhei chena-shona shabi she je jene gechhi.

Shapone khoñj...

Balgo tora shapon sheshe, kothay hara holo je she.

Jagoraner bastabete, chole gelo heshe heshe.

Shapone khoñj...

Shonar shapon abar ki re, mor jibone ashbe phire.

Shei ashatei beñche achhi, shei ashatei jege achhi.

Shapone khoñj...

Calcutta, November 4, 1982.

Translation:3

In dream I found Him, in dream I loved Him. In dream I came to know Him, to know all there is to know.

Tell me, when the dream ended, where did He disappear to? In the reality of wakefulness, He went away, smilingly.

Will that golden dream again return into my life? With that hope alone I live, with that hope I remain awake.

3 Source: http://prabhatasamgiita.net/. 37

Song Name Song Language Raga Tala Number Shapone she eshechhilo 78 Bengali Bageshrii Dadra

Shapone she eshechhilo, shapon majhei chole gelo.

Na boliyai chole gelo, na dakitei eshechhilo.

Shapone she...

Hiyar majhe gopon kone, na bolitei boshechhilo.

Nijer hate nada diye, tontrite shur bajiyechhilo.

Shapone she...

Tule noyon mukher pane, bolte she ki cheye chhilo,

Na-jani kon obhimane, na janiyei chole gelo.

Shapone she...

Calcutta, November 5, 1982.

Translation:4

In dream He appeared, in dream He departed. Without speaking, He went away. Without being called, He came.

Without being told, He sat down into the secret corner of my inner heart. With the strike of His own hand He strummed a tune on the strings.

Gazing at my face, He wanted to say something. What offended Him, I do not know. Without telling me, He went away.

4 Source: http://prabhatasamgiita.net/ (with adaptation in the order of sentences). 38

Song Name Song Number Language Raga Tala Tomare jobe dekhe 1848 Bengali Bageshrii Dadra chhinu

Tomare jobe dekhe chhinu, Jani ni tabo porichoy

Mukher pane cheye mone, Deke chhinu gitimoy, jani ni…

Tomar hasha tomar chawa, Bhorlo praner jato chawa

Shur shagore bhaber ghore, Tomay pelum monomoy, jani ni…

Tomar majhe pelum ami, Manobotar pritir har

Tomar daker phañke phañke, Mukto praner ki jhoñkar

Moner bina tomay lina, Gailo takhon didha hina

Tomar rage onurage, Tomari giit he chinmoy

Calcutta, September 17th, 1984.

Translation:

When I saw you, I did not know who You were Desiring You with all my mind, I looked at You, oh the (One who is) song personified (But) I did not know You.

Your smile, Your wishes, fills my heart with all fulfillments In the dense ocean of the musical notes, I found You with my mind (But) I did not know You.

Within You I found the garland of love for humanity In Your calls, I felt the sounds of free hearts The Bina (musical instrument) of my heart has merged in You, and (so) sings without hesitation In Your raga, in Your love, singing Your song oh the (One who is) cognition personified.

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Song Name Song Language Raga Tala Number Tomar name tomar gane 33 Bengali Bageshrii Dadra

Tomar name tomar gane hoyechhi aponohara,

Añdhar pane chola pothik, peyechhe alokdhara.

Tomar name...

Matal hava moher dore, jodi ba chay bañdhte more,

Mishthi heshe bolbo tare, bheñgechi pashanokara.

Tomar name...

Shakol pran-i aadoraniyo pronam nao amar,

Shakol man-i otuloniyo nao go namoshkar.

Eshechhinu cholar jhoñke, modhur matoi phulokoroke,

Ajke mohon namer dake, hoyechhi bañdhono chara.

Tomar name...

Anondonogor, October 7, 1982.

Translation:5

O Lord, by your name and by your song I have lost myself. The traveler moving towards darkness has found the beacon of light.

If the ropes of worldly attachments want to tie me with great force I will tell smilingly that I would break stone prison.

O revered by all living being, accept my salutation. O unfathomable by all minds, accept my reverence.

I have come with the momentum of movement like a sweet bud of flower. Today with the call of enchanting name I have become free from bondage.

5 Source: http://prabhatasamgiita.net/. 40

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

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

Vadantu yad mahajanaha Nindantu yad niitinipunaha Bhashante yad pragya janaha Bhavagokule dhitisthami Padam ekam na ...

Kule kule niipa tamale Priiti Vrindavane atule Yamuna kule suniile Praktoh hum evam vadami Padam ekam …

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 will remain established in the sentiment of Gokula.

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

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Bageshrii Composition - Notes

Teen Taal Notes: Alap (slow tempo) "_" means prolongation of previous note n' S g M D n S", S" n D M, M P D g, M g R S; n D M g, M g R S. "-" means pause Gat "( )" means connected note Matra 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 Sequence: 0 3 X 2 Time Line# 1:09 1 S" S" n n D M P D g g R M g R S _ repeat line 1 1:27 2 S M g _ M n D _ D g" R" S" n D MD nS" 3 S" S" n n D M P D g g R M g R S _ 1:41 4 g M D n S" _ S" _ D n S" M" g" R" S" _ repeat line 4 5 n S" nS" R"S" n D MD" nS" n S" nS" R"S" n D MD" nS" 6 S" S" n n D M P D g g R M g R S _ 7 ------2:16 8 D n D P D M g R M _ _ M D M Dn S" repeat line 8 2:30 9 g M D n S" _ R"n S" g _(R) g M g R S _ 10 D n D P D M g R M _ _ M D M Dn S" 2:45 11 g M D n S" _ S" S" Dn S"M" g" g" R" R" S" _ repeat line 11 2:59 12 D n S" M" g" R" S" - g _(R) g M g R S _ 13 D n D P D M g R M _ _ M D M Dn S" 14 D n D P D M _ _ S _ (S) _- n' D' S _ 15 (S) _- D' n' S M _ _ g _ _ _ R _ S _ 3:27 16 D n D P D M _ _ D'n' SM _ _ g R M _ 17 M _ g M D _ (PD) _ MP Dg _ _ Mg R S _ 3:41 18 D n D P D M _ _

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Matra 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 0 3 X 2 Time Line# 3:41 18 D n D P D M _ _ S g M D _ _ g M 19 _ _ gM D _ _ MP Dg _ _ R M g R S - 3:56 20 D n D P D M _ _ g M D n D _ (PD) - 21 M D M n _ _ D _ MD MD nS" _ (n)S" _ (n)S" _ 4:10 22 g M D n S" _ (n)S" _ (n)S" _ nD Mg gM Dn S" _ 23 g M D n S" _ Dn S"M" _ _ g" _ R" _ S" _ 24 g M D n S" _ Mg RS D'n' Sg MD nS" Dn S"M" g"R" S" 25 g M D n S" _ S" S" Dn S"M" g" g" R" R" S" _ 26 D n S" M" g" R" S" - g _(R) g M g R S _ 4:45 27 D n D P D M g R M _ _ M D M Dn S" 28 D n D P D M D' n' S M _ Mg Rg Mg R S 4:59 29 D n D P D M S g M D _ DP PD nD P M 30 D n D P D M M" g" R" (R")S" _ R"S" nS" R"S" n D

5:13 31 D n D P D M g R M _ _ M D M Dn S" 32 D n D P D M _ _ n'S gM Dn DM MP DP Mg RS 5:27 33 D n D P D M _ _ Sg MD nS" nD MP DD Mg RS 5:34 34 D n D P D M _ _ gM Dn S"g" R"S" nD PD Mg RS 5:41 35 D n D P D M _ _ Mg RS D'n' Sg MD gM Dn S" 5:48 36 D n D P D M _ _ D'n' Sg MD nS" Dn S"M" g"R" S" 37 S"n nD nD DM PD nD Mg Mg RS - n'S gM Dn DM Mg RS 6:02 38 D n D P D M _ _ Mg RS nD Mg M"g" R"S" _ - 39 gM Dn S"n Dn DM MP DD Mg RS MP DD Mg RS MP DD Mg 40 RS Dn D P D M _ _ S"n Dn DM gM gM Dn S"n S" 41 Sg MD nD PD nD Mg Mg RS Mg RS D'n' Sg Mg RS D'n' SM 42 gM Dn DM gM Dn S"g" R"S" nD MD Mg RS n'S Mg RS n'S _ 6:38 43 D n D P D M _ _ S"n S" nD n DM D gM g 44 gM gM DM Dn Dn S" gM Dn S" gM Dn S" gM Dn S" _ 6:52 45 D n D P D M _ _ D n D P D M _ _ 46 D n D P D M _ _ g R M _ 43

Song Name Song Number Language Raga Tala Bhashao noyon jole - Bengali Bageshrii (with Dadra (Ananda Samgiit) shuddha gandhar)

Bhashao noyon jole, ogo doyamoy Rakho rakho more tomaro chorono tole. Bhashao…

Jani tumi chhada michhe aar shab ei bhabo shonshare Tabu tumi jiboner parama dhana bhule jai bare bare Tomare bhuliya shoda dube roi, bhabo kalo kolahole. Bhashao…

Jonome jonome ami tomare bhuliya Dhulo khela loye kataye chhi din jamini Jonome jonome ami.

Dur koro mor jato maya ghor, jalo ontore aalo, Muchhe dao mor hridoyo majhare, jomiya chhe jato kalo E poran jeno shoda dube roye, bhakoti porimole Bhashao…

Acharya Nityasatyananda Avadhuta Ananda Samgiit, November 1970. Translation:

Float me away in tears, oh the compassionate Lord Keep me ever at Your feet

I know that all except You in this world is transitory Yet, again and again I forget that You are the true wealth. Forgetting You, I remain spellbound in the false endeavors of the world

Lives after lives forgetting You, I wasted days and nights, playing with the dusty worldly objects.

Remove oh Lord, my deep illusions and light the lamp in my heart Wipe out the life times of dark ignorance collected in my heart May my life ever remain engrossed in Your devotions.

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Song Name Composer Language Raga Tala Lakshan Geet - Hindi Bageshrii Teen Taal

Aaroha: ni‟ Sa ga Ma Dha ni Sa"

Avaroha: Sa" ni Dha Ma, Pa Dha Ma ga Re Sa

Baagesari Madhur Raagini,

Mrudula Ga Ni Madhyam Ansha Suhaat,

Prathama Sura Karat Ruchir Samvaad || Antaraa ||

Rasa Vaahini Shrungaar Karuna,

Samaya Nisa Jaan Gaata Guni Harakhi || 1 ||

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Lakshan Geet - Notes

Teen Taal

Aroha: ni' Sa ga Ma Dha ni Sa" Notes: Avaroha: Sa" ni Dha Ma, Pa Dha Ma ga Re Sa "_" means prolongation of previous note "-" means pause Gat "( )" means connected note Matra 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 Sequence: 3 X 2 0 Line# 1 D n D P D S" _ _ n D P g _ R S - repeat line 1 Baa a ge e sa ri _ _ Ma dhu ra Raa _ gi ni - 2 S S R n'D' n' S _ M M MP DP M g R S M repeat line 2 Mri du la Gaa Ni Ma _ dhya ma Aa an sha Su ha a ta 3 M D M D n S" S" n R" S" R" nS" R"S" n D M repeat line 3 Pra tha ma Su ra Ka ra ta Ru chi ra Saa am va a da 4 D n D P D S" _ _ n D P g _ R S - repeat line 4 Baa a ge e sa ri _ _ Ma dhu ra Raa _ gi ni - 5 M D MD nS" n S" - - n S" nS" R" S" n D D Ra sa Vaa aa hi ni - - Shru un gaa a ra Ka ru na 6 M D MD nS" n S" - - n S" nS" R" S" n D - Ra sa Vaa aa hi ni - - Shru un gaa a ra Ka run - 7 D n S" M" g" R" _ S" n D M Dn S" n D M Sa ma ya Ni sa Jaa _ na Ga a ta Guu ni Ha ra khi 8 n S" M" g" R" S" _ n D _ M Dn S" n D M Sa ma ya Ni sa Jaa _ na Gaa _ ta Guu ni Ha ra khi 9 D n D P D S" _ _ n D P g _ R S - repeat line 9 Baa a ge e sa ri _ _ Ma dhu ra Raa _ gi ni - 10 D n D P D S" _ _ _ Baa a ge e sa ri _ _ _ 46

Song Name Composer Language Raga Tala Paayal Baaje - Hindi Bageshrii Teen Taal

Aaroha: ni‟ Sa ga Ma Dha ni Sa"

Avaroha: Sa" ni Dha Ma, Pa Dha Ma ga Re Sa

Paayal Baaje More Jhanjar Pyaare,

Kaise Aau Tore Milanaare || Antaraa ||

Jaag Rahi Mori Saas Nanandari,

Jiyaa Dar Paavat Rain Andheri || 1 ||

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Paayal Baaje - Notes

Teen Taal

Aroha: ni' Sa ga Ma Dha ni Sa" Notes: Avaroha: Sa" ni Dha Ma, Pa Dha Ma ga Re Sa "_" means prolongation of previous note "-" means pause Gat Matra 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 Sequence: 0 3 X 2 Line# 1 g g R S _ R D'D' n' S _ M M MP DP Mg R repeat line 1 Paa ya la Baa _ je Mo re Jhan _ ja ra Pyaa aa ree e 2 - M -D -D Dn S" n D MM P -D P g R M _ - Kai -se -Aa uu u To o ore e -Mi le na a re _ 3 - M -D -D Dn S" n D M P D P g R M - - Kai -se -Aa uu u To o re e Mi le na a re - 4 g g R S _ R D' n' S _ M M MP DP Mg R repeat line 4 Paa ya la Baa _ je Mo re Jhan _ ja ra Pyaa aa ree e 5 - M -D -n S" _ S" R" S"R" g" R" S" n S" n D repeat line 5 - Jaa -ga -Ra hi _ Mo ri Saa a sa Na nan da ri i 6 - DD -P D- D nS"n D M - MP -D M- g R M - - Jiya -Da ra- Pa aaa va ta - Rai -na An- dhe e ri - 7 g g R S _ R D' n' S _ M M MP DP Mg R repeat line 7 Paa ya la Baa _ je Mo re Jhan _ ja ra Pyaa aa ree e

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HARMONIUM KEYBOARD WITH NOTES

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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 India 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://en.prabhatsamgiita.org.

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