RAMANUJACHARYA DASA ~I_-

Singil~g Metliod

(Part One)

Based on the Traditional

North Indian System Of Music

\' .

. ').. "i \) .

A Vaisnaua Harmoniilln and SltrQgingMelhod

--------------------

Basad an th~' Yr~ilitl~~a!

Nal1'1 Imiian System of Musfc

Dr' iliam3Ru,hlchaiV3 Oasa

A VAISNAVAHARMONIUM

• •

AND SINGING METHOD

Part One

mahiiprabhol; kTrtana-m:tya-gfta_ vaditra-madyan-manaso rasena romiiiiea-kampiiSru-taraitga_bhiijo vande gurolJ srT-carat!iiravindam

"Chanting the holy name, dancing in ecstasy, singing, and playing musical instruments, the spiritual master is always gladdened by the sankTrrana movement of Lord Caitanya Mahiiprabhu Because he is relishing the mellows of pure devotion within his mind, sometimes his hair stands on end, be feels quivering in his body, and tears flow from his eyes like waves. I offer my respectful obeisances unto the lotus feet of such a spiritual master."

-Sr, S~T Gurv-astaka

Persons who are interested in the subject matter of this book or who would like to make suggestions for the forthcoming sequel

may correspond with the author at this address:

Ramanujacharya Das ISKCON POBox 56003 Chatsworth 4030 South Africa

© 1995 A Vaisnava Harmonium and Singing Method by Rarnanujacharya Dasa,

All rights reserved.

Printed by Optimum Prim, Durban, South Africa

DEDICATION

To all of the followers of Srila Prabhupada

His Divine Grace A. C. Bhak:tivedanta Swami Prabhupada Founder-Acarya of the

International Society for Krishna Consciousness

Acknowledgements

By the causeless mercy of the Supreme Personality of Godhead, SnKrgla, we received the inspiration, direction and strength to produce this book. Combined with the merciful blessings of our beloved spiritual master, Sma Prabhupada, the work was completed. For musical inspiration I am first of all indebted to Srila Prabhupjda, and then to my godbrothers Acyutinanda Prabhu, Agnideva Prabhu, Vaiyasaki Prabhu and Dhrstadyumna Prabhu. For musical instruction I am deeply grateful to Silman Anandrao Lingayat, Srlinan Bansi Hariram and Snman Nandlal Pareekh,

As far as the production of this book is concerned, I am deeply indebted to SnHari Prabhu (South Africa) who worked with me for many hours composing this book on his computer. His tremendous effort in this regard is largely responsible for the completion of this work. I also thank His Holiness Bhakti Chiru Swami, who is-my guide and very dear friend, for kindly writing the forward. Sriinin Krishen Sehgal and Sevi Ras Prabhu, both of Bombay, gave important insight into the _use of the ragas while going through the manuscript with me. Jenny Rajamooni was responsible for the beautiful cover design. SnKrish Soobramoney of Optimum Print in Durban graciously printed this book out of his great generosity. Smita Krsna Prabhu aJso helped considerably.

I want to thank these and all the other devotees who helped and encouraged me. I hope this presentation will find favour with the Vaisnavas so they may be pleased to bless us.

Contents

Forword xi

Preface xiii

The Tals (Rhythm Cycles)

Description and Playing of the Harmonium 3

The Seven Swaras 4

The Various Positions of Sa 5

Advice for Singers 6

Position B] -- Playing the Basic Scale 7

The Almikiirs 9

B 1 ] Hare Krsna Mahii-rnantra 10

B 1. 2 Paffca-tatrva Maha-rnantra 12

B 1. 3 Hare Krsna Maha-mantra 13

B I. 4 Hare Krsna Maha-mantra 14

B 1. 5 Nama-sankTrtana ) 6

B 1. 6 Hare Krsna Maha-mantra ) 7

B ). 7 Gurudeva 18

Playing the Vikrt Notes 19

The Ten Parent Scales or Thiiths 20

B 1. 8 Sma Prabhupada P;3{l~ti 21

B I. 9 Bhoga-arati 23

B I. 10 Hare Krsna Maha-mantra 25

B 1. 11 Paffca-tattva Maha-mantra and Hare Krsna Maha-mantra 27

B 1. 12 Sivama-sn-:gaura-pada-padme PrarthaiJi 29

B 1. ) 3 Hare Krsna Maha-rnantra 31

B 1. 14 Bhaja hrr Re Mana SnNanda-nandana 33

B I. 15 Sri" Damodara~!aka 34

B 1. 16 I~~a-deve Vijnapti 37

Position B2 41

B2. I Govinda Jay Jay 42

B2. 2 Hare Krsna Maha-mantra 44

B2. 3 SnDasavatara-stotra 46

B2. 4 SiiNrs.imha Pranama and Prayer to Lord Nrsirnha 48

B2. 5 Govi~da Jaya Jaya, SI1I<r~rya Govinda Har~ Murare

and Om Nama Bhagavate ViSudevaya 52

B2. 6 Jaya Radha-Madhava and Hare Krsna Maha-mantra 5S

B2. 7SiiNrsimha Pranarna and Prayer 10 Lord Nrsirnha 59

B2. 8 SnT~lasT-kTrtan~ . 63

B2. 9 SnTUlaslPradak~inaMantra 65

B2. 10 Hare Kr~l}a Maha-mantra 67

B2. II Sapar~ada-bhagavad-viraha-janita_vjlipa 69

B2. 12 Raghu-pati Raghava 71

B2. 13 Hare Kr~J}a Maha-mantra 74

B2. 14 Gaura-arari 76

B2. 15 Panca-tattva Maha-mantra (Gaura-arati melody) 79

B2. 16 Hare Kr~lJa Maha-mantra (Gaura-irati melody) 8]

Position B3 85

B3. J Jay Raghu-nandana 86

B3. 2 Hare Krsna Mahi-mantra 87

B3.3 SnRidhlka-stava 89

B3.4 SnSnGurv-astaka 90

B3. 5 Sma Prabhupada Pr8J)ati 92

B3. 6 Paii'ca-tattva Maha-mantra 94

B3. 7 Hare Krsna Maha-mantra 96

' .. "

Position W7. 99

W7. I Hare Krsna Maha-mantra 100

W7. 2 Savara~a-·sn-gaura-pida_padme Prirthana 101

W7. 3 SiiNima-klrtana 103

W7. 4 Hare Krsna Maha-mantra J 05

Appendix A - The TUning of the Harmonium ] 07

Appendix B - The Names of the Harmonium Keys

According to the Western System 108

Appendix C - The Twelve Positions of Sa I 09

Appendix D - The Vocal Ranges 112

Appendix E - A Description of Raga J J 3

A Description of the Characteristics of Some Prominent Ragas 116

Appendix F - Drones, Hannonies and Chords ] 23

Select Bibliography 125

Glossary 127

Foreword

Krsna consciousness is integrally related with music. In the spiritual sky every word is music, therefore, the best means to attain the spiritual sky is through music -- sanlar/al1a. When Snla Prabhupsda started the Hare ~~Qa movement in America, what attracted people most was his music; therefore it is very important for the devotees ofISKCON to learn how to sing and play music properly.

Music not only helps one go within oneself, itaJso has a sublime effect on the listeners.

When the holy name of the Lord is sung with a melodious tune, even a brute is transformed into a saint. Music has the power to literally melt a rock or make a mountain fly.

I am sure this book by Riminujacharya Prabhu will help the devotees of ISKCON get the much needed guidance for entering into the world of music. This book has been specifically designed for the devotees ofISKCON. I am confident that the devotees will find this book very useful and a good help in understanding the basics of Indian music.

Ramanujach"arya Prabhu has studied Indian classical music with dedicated enthusiasm and is undoubtedly the right person to write this book. I am sure that the devotees who are interested in learning music will be thankful to him for this service which he has rendered for the pleasure of SrTla Prabhupada.

Bhakti Charu Swami ISKCON Guru, GBe and Minister of Culture

Preface

This book is especially meant for the members of the International Society for Krishna Consciousness. Its purpose is to teach them how to sing and play the harmonium according to what has come to be known as the North Indian or Hindustani system of music. In India there are two main systems of classical music, the Karnatic or South Indian system and the Hindustani or North Indian system. The three main places of pilgrimage for the Gaudiya Vaisnavas, Vrndsvan, Mayapur and Jagannath Puri, are aJ] located in areas where the North Indian system is followed. More importantly though, our aciiryas used this system of music. We shall therefore learn Indian music according to this system.

The harmonium is not originally an Indian instrument. Indeed, it was invented in 1840 by one Alexandre Debain of Paris. When the British were ruling India, they brought their musical instruments with them, one of which was the harmonium. While fading out of use in the Western countries, the harmonium has become increasingly popular allover India, primarily as an accompanying instrument for devotional singing. Although not originally a Vedic instrument, its acceptability was demonstrated by our spiritual master, Snla Prabhupada, who played it on many occasions while singing in pure devotion.

Sometimes devotees, especially from Western backgrounds, find it difficult to relate to and understand the music of His Divine Grace in particular and Indian music in general. To a large degree this is due to their past exposure to Western music and their lack of exposure to Indian music. While the two systems of music have many things in common, there are differences as well. Western music is based upon such concepts as harmony, modulation and counterpoint which are not found in Vedic music. On the other hand, Indian music is based upon the concept of raga, the melodic basis of the classical tradition. When properly understood and appreciated the ragas create an emotional impact upon the listener which is different from that effected by Western music. The rhythms used and the emphasis in the rhythms are also different. These and other concepts will be introduced and developed in this book.

The idea in presenting this book is to use the mantras, prayers and devotional songs, and their melodies which are, for the most part, familiar to the members ofISKCON. In this way, the learning of the harmonium, singing and the art of music will be most relevant and useful. It is hoped that the Vaisnavas will be pleased with this humble effort of ours to present a method for learning our traditional system of music. Hare Krsna,

Ramanujacharya Dasa

July, 1995

Sri SilRadba Rii'dhan&,lla Mandir Durban, South Africa

1

THE TALS (RHYTHM CYCLES)

Before learning to play the harmonium we shall first learn how to keep time by counting the llils or rhythm cycles which will be used in this course.

In Indian music liiI means a rhythm cycle which contains a particular number of beats called matriis. The lals are expressed with memory assisting syllables called bois. The bois correspond to different kinds of strokes on the percussion instruments (mrdanga, tabla, pakhiiwaj, dholak etc.).

In each tal there are beats with different degrees of importance. The most strongly emphasized beat is the sam (pronounced "sum ") which is usually the first beat of the rhythmic cycle of the tiil. The other important beats are called tiilis, and the unstressed (empty) beats are called khdlis. T5ffmeans "a clap" and khiilimeans "empty." To keep time, the beats are indicated by clapping hands. The sam and the tans are counted by clapping with the right hand upon the left palm, and the khiilfs by waves of the hand. The other beats are counted by tapping the fingers of the right hand upon the left palm, starting with the little finger, then the ring finger, middle finger, and so on, according to the number of beats between the important ones. In musical notation the sam is indicated by the symbol "X"; tbe falfs are indicated by the numerals 2,3 etc.; and the khiiliS are indicated. by the symbol "a."

The tdls are divided into khandas or chambers. The first beat of each khanda must be either the sam, a fmlor a khalr. In musical notation the khandas are separated by vertical lines.

There are many different tiils used in Indian music, but we will be using only three in this course. They are listed on the following page in the order of their frequency of use.

Each ftil is shown by four Jines. On the first line are shown the sam, the liilis and the khlili, indicated by the symbols and numerals X, 2, 3 and o. On the second line are shown the mdtriis (beats), indicated by numerals. On the third line are shown the bois which make up the !hekii, the rhythmic pattern used to indicate the tal. (A particular (iii may be played with a variety of {heklis. It is not necessary to Jearn the !hekiis at this point, but they are nice to know.) On the forth line are shown the claps, wave of the hand, and fingers tapped which are used to indicate the various miitriis of the tiil.

You should learn to keep the time of these tiils by these various hand movements. This should be done very steadily and regularly. and with a moderate speed.

Keherwii taJ or Kaharwii tiil (eight miitras)
X 0
1 2 3 4 5 6 7 8
Dhii Ge No Ti Na Ka Dhin Nil
clap little ring middle wave little ring middle
finger finger finger finger finger finger
nntiil or Tritiil (sixteen miitriis)
X 2
2 3 4 5 6 7 8
Dhli Dhin Dhin Dhii Dhli Dhin Dhin DhCi
clap little ring middle clap little ring middle
finger finger finger finger finger finger
0 3
9 10 I ] 12 13 14 15 16
Dhii Tin Tin To Tii Dhin Dhin Dhii
wave little ring middle clap - -little ring middle
finger finger finger finger finger finger
Diidrii tiiI (sicl: miitriis)
X 0
2 3 4 5 6
Dhii Dhin Nil Dhii Tin Nii
clap little ring wave little ring
finger finger finger finger
The common kartal rhythm is shown as follows in keherwd liil.
X 0
1 2 3 4 5 6 7 8
Ching Chi Chi Ching Chi Chi
-'.
This sign " __ " indicates either an extension of the previous malra or a rest. 2

DESCRIPTION AND PLAYING OF THE HARMONIUM

The harmonium is basically an organlike keyboard instrument which has from one to three sets of metal reeds. It is played by pressing the keys of the keyboard with the fingers of one hand while simultaneously pumping in air through the reeds with the bellows with the other hand. Its range is from three octaves (37 keys) to three and a half octaves (42 keys). The sets of reeds may be of three registers=bass, male and female. Tbe harmonium may also be fitted with extra reeds for drone notes which are called irutis. On the front of the instrument are various knobs. Generally the large knobs control the sets of reeds and the small knobs control the drones or [rutts.

While using the harmonium please remember:

I) Do not pump the bellows while the stops are closed or the keys are not pressed, and 2) Do not pump with more force than necessary.

Eitber of these practices may damage the joints, seals and reeds of the instrument.

For an essay on the tuning of the harmonium please see Appendix A. It is not necessary though, to read or understand this essay in order to follow the course.

THE LAYOUT OF THE KEYBOARD AND THE NAMES OF THE KEYS

~
~ --

low octave middle octave high octave
(mandra saptok) (madhya soptak) (Iaf saptak) ultrahigh octave (ati fiir saptak)

Octave (saptak) is defined as follows:

1. a note seven degrees above or below another.

2. the interval between a note and its octave.

3. a series of notes filling this interval.

According to the Indian system the keys are named as follows:

~ N \ M . -.::t V)
...:.:: ...:.:: I ~ ~ ..::.:
{.} o u u o
! to 01:1 ! ro 01:1 to
- -- -- - -
COl c::o i \1Xl I CO I o::l
I I I I LI
, ,.-- I L.J \
-1N ("'"I i "<t I V) \0 l""- I
Q.) Q.) Q.) Q.) Q.) Q.) Q.)
..... - ....... .... i ...., .... ....
:.2 :.c . _ ...... .- .a .-
- t ..c: ~ ~ I
~,:;?; ~ :;?; I ~ E$ .~ Black and White are abbreviated as ,B anr'-'.',(,respectively. So B I means Black 1 or the first black key, and so on. Similarly WI means White I or the first white key, and so on.

In this course we will be using the Indian system for identifying the keys. The names of the keys according to the Western system are given for reference in Appendix B, although we will not be using this system in tbis course.

3

THE SEVEN SW ARAS

In North Indian musical theory seven notes (sworas) are recognised. The names of these are $0(110, Rsabh, Gl1ndhiir, Madhyam, Pancam, Dhaivat and Nisad; or in the commonly used abbreviated forms: Sa, Re, Ga, Ma, Pa, Dha and Ni. These notes are referred to in the Srtmad Bhagavatam in the following places: 1.6.32,3.12.47 and 6.5.22. There in the verses and purports of the Bhagavatam it is stated that these seven musical notes come from the Sarna Veda, that they are originally called [abda-brahma or spiritual sound, and that they are transcendental and are specifically meant for transcendental songs. It is also described that during the creation Lord Brahma's sensual activities became manifested as these seven notes of music.

The Indian nomenclature is comparable to that of Western tonic-solfa (Do, Re, Mi, Fa, Sol, La and Ti). There is no absolute or fixed pitch attached to the notes, and the ground-note (the note which serves as the point of reference of the scale) is called Sa, irrespective of its pitch. In other words, Sa may be established on anyone of the seven white or five black keys of the harmonium's octave.

Of these seven notes, Sa and Pa (the first and fifth notes) are "immovable notes" (acal swaras)-- they have no flat or sharp positions, and Pa is always a perfect fifth above the Sa. The remaining five notes are "movable Dotes" (cal swaras). These each have two possible positions, a semitoue (one key on the harmonium) apart. One of these is called iuddh (pure) which is comparable to the "natural" of the West. In the suddh scale composed of Sa, Pa and the five movable notes in their suddh position, the distribution of tones and semitones corresponds to that of the Western major scale.

When the movable notes are not in the suddh' position, they are called viktt-- altered. The vikrt notes will be described later on.

There are three registers (sthans or saptaks} which are generally recognised, each extending from Sa to the Ni above: middle (madhya); high (tar) and tow (mandra}, These are determined according to the position of Sa which may vary in pitch, and do not correspond to the three octaves of the harmonium keyboard, unless. of course, Sa is established 00 key WI.

4

THE VARIOUS POSITIONS OF SA

In this course the term "position" refers to the position of Sa, the starting note of the

scale. Sa may be established on any of the twelve notes of the octave, consisting of seven white keys and five black keys. In this course we will only be using the following four positions: BI, B2, B3 and W7. We will be studying each of these four positions one by

one. Diagrams of the fuddh (major) scale in each of these four positions along with the respective fingerings are given below. For charts showing all twelve positions, please see Appendix C. On the diagrams "I" means thumb, and 1, 2 and 3 mean the first, second and third fingers respectively. Also Sa, Re, Ga, Ma, Pa, Dba and Ni have been shortened to S, R, G, M, P, D and N. A dot above the 'S' indicating Sa denotes the Sa in the high register or high Sa.

Bl

B2

B3

W7

::, R.

M P D

r-r-
G N HI ~W

.}. -r1.;;t.3-r1

s M P 5

f - ~-11l
R Cr 0 N 1 1 J S R. c,.

P D

s

I
~J~~ N llJ

a, 3T

a T I

p 0 N

r-""r'"" I
I
. u . _jJ
S M S T

I .;tT

5

ADVICE FOR SINGERS

"There are many professional chanters who can perform congregational chanting with various musical instruments in an artistic and musicaJ way, but their chanting cannot be as attractive as the congregational chanting of pure devotees. If a devotee sticks strictly to the principles governing Vaisnava behavior, his bodily luster will naturally be attractive, and his singing and chanting of the holy names of the Lord will be effective. People will appreciate such kiitana without hesitation."

-Sn-Caitanya-carilamr;ta. Madhya-ma, Ch. 11, Text 95, Purport

The purpose of this course is not merely to learn how to play the harmonium. but also to generally learn the science of music, and to learn how to train and control the voice. The human voice is actually the most important of musical instruments. The perfection of its use, of course, is the glorification of the Supreme Personality of Gcdhead Sri'Krsna and His pure

devotees. "

The following are some useful recommendations for singers.

1. While singing, absorb yourself in remembering your spiritual master and Sri'Krsna,

2. Sing with feeling and emotional involvement (bhliva).

3. Maintain celibacy (brahmacarya).

4. Don't take any intoxicants or stimulants.

5. Sing sweetly and melodiously.

6. Pay attention to the rhythm and melody.

7. Sing with confidence. (This comes with practice.)

8. Pronounce the words properly and clearly.

9. When singing before other people, maintain pleasant facial expressions.

10. Singing on an empty stomach is better than singing directly after a meal.

II. While singing, do not drink sweet or very cold drinks. Water is the best drink. 12. The best time for practicing is early in the morning before breakfast.

) 3. While singing, maintain good posture. Keep your spine straight. Maintain control of your abdominal muscles. Keep the throat relaxed.

14. Practice complete breathing through the nostrils. Complete breathing involves complete exhalation and complete inhalation. (For a complete explanation of complete breathing, breath control and yogic breathing please consult the following two books which are listed in the bibliography: How to Sing and Yoga Self-Taught.)

15. The practice of pr'ii1Jiiyama is helpful for strengthening the diaphram and the lungs, and for developing control of the breath.

16. Gargle with wann salt water in the morning.

17. Before learning how to sing the words of a selection, learn how to sing its notes first. (Sa, . Re, Ga, Ma, etc.) This will be further explained a little later.

For an essay explaining the various vocal ranges, please see Appe-ndix D.

6

POSITION BI -- PLAYING THE BASIC SCALE

Now let us study position B] starting on the first black key. The following diagram shows the keys played along with the appropriate fingering.

r- r r- r-r r r r-r- - , r r--
G N l~ 5 R

M P D

5

N.B. Beginning students often find it helpful to apply to the appropriate keys stickers upon which the names of the notes or their one-letter abbreviations are written.

.....

Our first exercise is to play and sing the [uddh scale while ascending and descending.

The ascending scale is called droha and the descending scale is called avaroha,

liroha: Sa, Re, Ga, Ma, Pa, Dba, Ni, Sa

avaroha: Sa, Ni, Dba, Pa, Ma, Ga, Re, Sa

AN EX PLANA nON OF THE NOTA nON USED FOR THE MUSICAL SELECTIONS

On the first line at the beginning of the selection are the tiil signs -- X,'O, 2, and 3. Beneath this line are the letters S, R, G. M, P, 0 and N which stand for the swaras Sa, Re, Ga, Ma, Pa, Dha and Ni, and should be read as such. A dot above one of these letters denotes a swar in the high register -- i.e, S denotes high Sa. A dot below one of these letters denotes a swar in the low register -- i.e. ?-! denotes low Ni.

Beneath this line are the words of the selection.

Please note that the horizontal lines are divided into sections by vertical lines according to the khaIJ4as of the tal.

The swaras (notes) given within this sign'..__." should be sung or played within one malra (beat) time.

The swar followed by this sign ,,_on is to be extended for one matra. This sign may also indicate a rest. If it is used within the matra sign k- ..... ) with a'swar it means either an extension of the previous note or a fest if used initially.

7

Play the basic scale in various speeds in the B 1 position as follows:

Based on the Bildval !ha!h

Keherwii tal (8 matras)

x

o

x

o

4 beats per note:

s

IR IG 1M
In I.N Is
IN In -- Ip
IG IR -- Is p s

M

2 beats per note:

S R jG M Ip D -- IN S
S N In p 1M G IR S
1 beat per note
S R G M Ip D N S Is N 0 p 1M G R S
112 beat per note:
~. 9!:!~ ~ ~I~ DP J.1G.~ Ig, @1..~ ~I~ -ill! ... MG,,~
......__
You can also sing Hare K.r~~a while playing the scale like this:
X 0 X 0
S R G M P D N S S "N D -p M G R S
ha- re krs- no ha- re 1.:7". l1a krs- na krs- no ha- re ha- re
ha- re ra- ma ha- re ra- mo rli- ma ra- ma ha- re ha- re
... -~ .. Play these notes over the low, middle and high octaves of the keyboard. It will not, of course, be possible to sing over the whole range.

I

8

THE ALANKARS

Alankar literally means an ornament or an embellishment. The alankars are a type of musical exercise. They help the student to gain technical facility in singing and playing. The iuddh scale, sung and played while ascending and descending, is the first alankiir. We have

already learned this. .

Here is a list of aU the alankiirs which we will learn. Please practice them well in different tempos.

9

1. arona: S, R. G, M, P, D, N, S

avaroha; S, N, n,.p, M, G, R, S

2. arona: SRG, RGM, GMP, MPD, PDN, DNS

avaroha: SND, NDP, DPM, PMG, MGR, GRS

3. arona: SRGM, RGMP, GMPD, MPDN, PDNS avaroha; SNDP, NDPM, DPMG, PMGR,MGRS

4. arona: SRGMP. RGMPD, GMPDN, MPDNS avaroha; SNDPM, NDPMG, DPMGR, PMGRS

,5. arona: S G, R M, G P, M D, P N, D § (N R)

avaroha: S D. N p. D M, P G, M R. G S, (R 1:1)

NB. With this alankiir you need to adjust the fingering as noted below.

arona: S G, R M. G P, MD. P N, D S, (N R) I T 12 T2 13 2T 12 T2

avaroha: S D, N P, D M. P G, MR, G S, (R M 21 T2 31 2T'21 r : 21

Play this alankar over the whole keyboard. The notes which are in parentheses are used. for transition between octaves.

6. aroha: S~SRG. RSRGM, GRGMP, MGMPD, PMPDN, DPDNS avaroha; SRSND, NSNDP, DNDPM, PDPMG. MPMGR, GMGRS

Bl. 1 Hare K~~a Mahi-mantra

hare h:~a hare krwa krfl!a krsna hare hare hare rdma hare rama riima riima hare hare

Notes used: N S R G M P

N.B. 1. Before learning how to sing the words of each selection, learn how to sing its notes first, singing the syllables Sa, Re, Ga, Ma, Pa, Dha and Ni.

2. In position BI, N (low Ni) is on key W] of the lew octave .. ~

3. The term Biliivai {hath (pronounced like the word "tot") indicates that all the notes which are used in a particular selection are suddh. This will be fully explained later on page 20.

4. SthayTwhich means "permanent" is the first, and generally the basic melody ofa musical selection. Anlarawhich means "in the interior" is an alternate melody. or any melody except the first.

Based on Biliival !ha!h

Keherwii tal (8 matras)

Sthiiyf

x

o

x

0
R G
ha- re
ha- re
R S
krs- !fa
ra- ma M M G R G G
kr- $- !ta ha- re kr- ~- QQ
ra- ma ha- re ra- ma
R ,R G G R G S
Iq-- .r- tla ha- re ha- re
-s: ma ha- , re ha- re 10

r: <,

Antarii
X 0 X 0
S S
ha- re
ha- re
N S R G R G S N S
k[- s- na ha- re kr- s- na krs- lJa
rii- rna ha- re ra- rna ra: rna
R p M G R S
Iq-- ~- na ha- re ha- re
ra- rna ha- re ha- re 11

Bl.2 Panea-tattva Maha-mantra
{jaya) frT-krp.la- caitanya prabhu nitydnanda
SrT-advaita gadtidhar Srlviisadi-gaura-bhakta-vrnda
Notes used: SRGMP
Based on Bildval !hiiJh Keherwii tiil (8 matras)
X 0 X 0
p p
ja- ya
P M G S R G P M G
,- Jer- i- Ja-
sri f- na ca- an- ya
R G M P M G R
pra- bhu nit- ya- no- an- da
S S R G p P M
;_ dwai--- da- dha- -
sn a- to ga- ar
G G R S R R G R
,- va- sa- di bhak-ta
sn gau- ra
S S
vr- n- do 12

Bl. 3 Bare ~~a Mabi-mantra
hare krsna hare "r~'J'1 "r~a krwa hare hare
hare riima hare riima riima riima hare hare
Notes used: S R G M P D N S
Based on Bildvat !hii!h Keherwo tiil (8 miitriis)
X 0 X 0
S R G M P D N S
ha- re kr- s- ra ha- re kr- s- no
. I :e.
N S N D N N 0
krs- na kr- s- na ha- re ha-
N S N D P D M P G
ha- re rii- ma ha- re rq:~ ma
G M P M G G R S
ra- ma ra- ma ha- re ha- re 13

Bl. 4 Hare K~!la Mahi-mantra

hare "'frio hare /crp;a JcU(IO /crp;o hare hare hare riima hare rdma rlima riima hare hare

Notes used: S R G M P D N S

Based on Biliiva/ thdth

. "

Tinla/ (/6 m1nras)

Sthayl

x

2

o

3

G R
ha- re
ha- re
S G M P D N D P D P M G
kr- ~- IJa ha- re Ia:- .f- IJa krs- IJa
ra- ma ha- re rli- ma- rif- ma
R G M p M G
Jer- s- IJa ha- re ha- re
ra- ma ha- re ha- re 14

Antard
X 2 0 3
S N
ha- re
ha- re
S S N S N D P D N D P M G
/q'- ~- fJa ha- re kr- ~- fJa krs- na
ra ma ha- re rli- rna ra- rna
R G M P M G
kr- s- na ha- re ha- re
ra- ma ha- re ha- re 15

Bl. 5 Nima-sankTrtana by Siila Narottama Dasa Thakura
(1) hari haraye namah krsna yadavcfya namah
yadaviiya mlidhaviiya kesaviiya nama"
(2) gopal govinda rdm irT-madhusiidan
giridhlirl gopfhlilh madan-mohan
N.B. I. For the remaining verses and the translations please consult a song book.
2. This selection is in the Bengali folk style.
Notes used: S R G M P D N S
Based on Bildval !hii_th Keherwii tiil (8 miitriis)
Sthliyl
X 0 X 0
G M
ha- r;
P p p p p p P M D P D M P G
ha- ra- ye na mah kr~- na yZi- da- vZi- ya na- ma- ha
G p M P G M R G S R P M G G G
yii- da- vii- dha- ke- ~ ha
yo ma- va- yo sa- va- yo na- ma-
Antard
N N S D N P M D P D M P G
go- pal vifl- da ra- ' - dhu- sii- do-
go- m ST/ ma- an
, .-- <,
G p M P G M R G S R P M G
gi- rl- dha- -t go- _pT- na- ath ma- dan mo- ha- an 16

Bl. 6 Hare K~~a Mahi-mantra
hare krf'Ja hare krsna krsna ktflJa hare hare
hare riima hare rdma rdma riima hare hare
N.B. This selection is in the Bengali folk style.
Notes used: SRGMPDNS
Based on Bildval !hath Keherwii tal (8 mdtrds}
Sthiiyr.
X 0 X 0
p P p p p p P P M D P D M P M G
ha- re krs- na ha- re krs- I}a krs- na krs- na ha- re ha- re
G p M P G M R G 1:0- R G M G G G G
ha- re ra- m ha-. re ra- m m rd- m ha-c--r« ha- re
Amara
N N N S D D p P M D P D M P M G
ha- re krs- na ha- re krs- na krs- na krs- na ha- re ha- re
..
G P M P G M R G· S R G M G G G G
ha- re ra- m ha- re ra- m ra- m ra- m ha- re ha- re 17

Bl. 7 Gurudeva by Snta Bhaktivinoda Thikura
(1) gurudevl
krpii-bindu dijii. . koro' ei diise
f[1}apekha ali hina
sakala sahane, bala diyii k07O'
nija-mane sprhii-hTna
N.B. I. For the remaining verses and the translations please consult a song book.
2. This selection is in the Bengali folk style.
Notes used: DSRGMPDNS
Based on Bildval !OO!h Keherwa tal (8 matriis)
X 0 X 0
S G P
gu- ro- de- ev
P D P G M G R R G P M G
lcr- pa bin- du di- ya ko- ro e- dfi se
R G R S S 'D S R
tr- na- pe- kha a- ti hi na
.
D D S N D G D G D D S N D
sa- ka- la sa- ha- lie ba- la di- ya ko 70
P D P M G M G R
ni- ja ma- ne spr- hli hi- na 18

PLAYING THE VlKf:!.T NOTES

Until now we have only been playing the suddh notes but now we shall introduce the playing of the vikrt notes as well. The vikrt notes, or notes in their altered forms, have been mentioned on page four. As mentioned there, Sa and Pa are "immovable notes" (acal swaras} and each has only one form which is iuddh. The remaining five notes are "movable notes" (cal swaras) and each has two possible forms. One form is called suddh and the other is called vikrl -- altered.

In the case of Re, Ga, Dha, and Ni, their vtkrt forms are a semitone (one key on the harmonium) lower than their suddh counterparts and are called komal -- soft, tender. A line underneath a note indicates a komal form. For example, Ga indicates "komal Ga." The altered Ma, however, is a semitone above the suddh position, and is called tivra -- intense, sharp. A small vertical line above Ma indicates its tivra form. For example, Ma means tivra Ma.

The following is a diagram showing where all the notes, both fuddh and vikrt ; are played in the middle octave of the B) position.

S R

C"1 P D

~ 11
1 J3, Q: (y I N
,..., Q .t± l

J

The following is an list of the notational symbols for the notes and tbeir meanings.
I. S Sa'" 8. P Pa*
2. R komal Re 9. Q. komal Dba
3. R suddh Re 10. D suddh Dba
4. Q. komal Ga ]1. N komal Ni
5. G suddh Ga 12. N suddh Ni
6. M suddh Ma 13. S (bigh) Sat
7. M t",ra Ma • Sa and Pa are always fuddh and have no vikf;t forms; therefore there is no need to indicate that they are fr:ddh.

19

THE TEN PARENT SCALES OR !HA!HS
According to the present system of North Indian music, there are ten primary or parent
scales called !ha!hs (pronounced very much like the English word "tots"). The ragas evolve
from these scales. This order of ten !ha!hs was proposed by the noted musicologist Papdit
Vi~!lu Narayan Bhatkhal)~e at the turn of this century, and it has gained wide acceptance
among musicians and musicologists of North India. It is a system for classifying the ragas.
Bhitkba~ge's ten !h"li!hs are as follows:
NAME OF THATH NOTES
. ,
Bilaval Sa Re Ga Ma Pa Dba Ni Sa
Kalya!l , Ni Sa
2 Sa Re Ga Ma Pa Dha
3 Khamaj Sa Re Ga Ma Pa Dha Ni Sa
4 Bhairav Sa Re Ga Ma Pa Dha Ni Sa
,
5 Purv! Sa Re Ga Ma Pa Dha Ni Sa
Marva Sa I Dha Ni
6 Re Ga Ma Pa Sa
1 Kifi' Sa Re Ga Ma Pa Dba Ni Sa
8 AsavarT Sa Re Ga Ma Pa Dba Ni Sa
9 BhairaVl Sa Re Ga Ma Pa Dha Ni Sa
10 ToP. , Sa
Sa Re Ga Ma Pa Dha Ni Bhatkba9ge named these ,rha,rhs after well known ragas only to facilitate recognition. Under Btliivat fha/h, for instance, there is Raga Btliival and a number of other ragas of the same type. So also with the other _rho!hs.

As we can see, a Jha!h is simply a particular grouping of seven swaras in their order of succession and does not have swara yarra, that is, ascending or descending runs of notes. Also: it never incorporates the suddh and vikrt of the same note. It bas no color of its own but is merely a base from which ragas of a particular color and character are derived.

20

x

o

Keherwd tal (8 matriis)
X 0
P
na-
R R G R S
om vi- is- 'Ju pii- dii ya
R G .M G R bhii- --

ta- le
G R S
us: an- la
R S
mi- ne The following two selections (B I. 8 and B 1. 9) are based on the Khamii] ,Ihli{h.

Before learning them practice the a/aiJkQrs using the scale of this !hii!h ( S R G M P D N S ).

"'

Bl. 8 SnlaPrabhupida Pra~ati

nama om vi~-pQdiiya kr~-pref{haya bhu--tale snmate bbaktiveddnta-svdmin itt nOmine

namas te sarasvate deve gaura-vlr(1T-praciiri1}e hirviie~a-ifinyavadi-pli.fcatya...lfeia_tari1Je

Notes used: N S R G MP

N.B. This melody is based on KhamaJ thiifh which has a komal Ni. In position BI, J;:f (low koma/Ni) is on key W7 of the low octave.

Based on Khamiij !hath

P M G
rna o-
R R G /R -- S
krs- na pre- !rh5--- ya
, .
p P M G R
~- te bha- ak- ti
SrJ- ma- ve-

S

S R G

mi-

ni- ti na-

21

x 0 X 0
P M G R G M G R S
na- ma- Sfe sa- ra- sva- Ie de- ve
R G R S S R G M G R
va- rT - ri-
gau- ra pra- ca- ne
P M G R S G R S
nir- vi- .- ~- di
se- sa su- nya- va-
N N N S R G R S
pas- cat- de- ~ ta r;-
ya sa !Ie .. ,

22

~
HI. 9 Hhoga-arati by Srila Bhaktivinoda Thakura
(1) bhaja bhakata-vatsala irf-gaurahari
sn--gaurahari soh; gOf(ha-bihlirl
nanda-Jafomatf-Citta-hiirT
(2) belli ho '10, diimodara, aisa akhann
bhoga-mandire bosi' koraho bhojana
N.B. For the remaining verses and the translations please consult a song book.
Notes used: SRGMPDNS
Based on Khamtij !hii!h Keherwd fiil (8 miitrds)
SthliyT
X 0 X 0
R G
bha- ja
M p M G R S R G M G R S
bha- ka- la at- Ia ~- ha- ri
va- sa- Sri gall- ra
.
M M R M p D N S N D P D P
'- ha- ri hi ~!ha bi- hii" r1
Sri gau- ra- so- go-
M M M M G M P D P D P M G R S
'- ha- ri hi ~!ha bi- hii rl
Sri gau- ra- so- go-
M M M G M P D P D p M G R S
no- an- da ja- so ma- If ci- it- ta ha- rT
<, 23

Antard
X 0 X 0
M 1vf. M M P p. P D D S N D P D P
be- Iii ho' 10 dO- ma- da- ra a- i- sa e- kha- no
M M Mt M p D P D P M G R S
bho ga man di- re ba- si' ko- ra- ho bho- ja- na 24

HI. 10 Hare K~~a Maha-mantra

hare krsna hare krsna krsna krsna hare hare

.. '" .. ",. . ..... .. ...

hare ramo hare rlima rama riima hare hare

N.B. 1. In this selection both the komal Ni and the suddh Ni are used.

2. Besides being a beautiful melody for the maha-mantra, this is also the melody to a well known Hindi cinema song.

Notes used: S R G MP DNN S R.

Keherwii tal (8 matriis)

SthliyT
X 0 X 0
S R
ha- re
G G M IP M P G :R G R S R
kr- ~- na Ju:- re kr- s- na krs- na
'.' _, ,
G G M P M P G G M
kr- s- no ha- re ha- re ha- re
p N r D p M D P M
ra- mo -,- ha- re ra- mo ra- ma
p p M D P M p G
ra- ma ha- re ha- re 25

Antara
X 0 X 0
P D
ha- re
. . . ·
S S N S R S N D P P D
/cr- s- ra ha- re Ja:- s- na kU- na
.
. . · .
S S N S R S N D P p D
/cr- f- na ha- re ha- re ha- re
.
·
H N D 13. s N D P M P D
rs- ma ha-· re rif- ma ra- ma
S p G P M G
ra- ra ha- re ha- re 26

HI. 11 Panca-tattva Maha-mantra and Bare K!1~a Maha-mantra

{jaya) SrT-krf'!'1-caitanya prabhu nityiinanda sri-advaita gadtiilhar irTviisadi-gaura-bhakta-1p7da

hare krsna hare krsna krsna krsna hare hare

••• ..... J. • ,.

hare riima hare riima riima riima hare hare

I

Notes used: G M M P D N S R

N.B. In this selection botb the suddh Ma and ffvra Ma are used.

Keherwa liil (8 m'Gtr'Gs)
SthiiyT
X 0 X 0
1 G M
ja- ya
I . I:
P M P N S N p
'- krs- i-
Sri ~ ea- an- ya
M D P M G M p D P
pra- bhu ni- tya- na- an- da
.
S S S R S N N S N /D D P M
"'- dvai- -- ta dii- dha- ar ,- va- sa- di
sri a- ga- STl-
M D p M 1 :- M P D P
gau- ra bhak-ta Il- do 27

Antard

x

o

x

o

.

S S

ja- ya

.

S

Continues the same as in the sthiiyr.

srT

Sthiiy;
p p M PIN S N 1 :- p
ha- re krs- 1Jl2 ha- re s- na
M :1 p :1 G M P Dr
krs- krs- ha- re ha- re
S S R :J N S N I :- p
ha- re ra- ha- re rna
M :./ p M G M P DIP
ra- ra- ma ha re ha-] re Antarii

s

.

S

Continues the same as in the sthliyT.

.

R

ha- re

krs-

28

The foilowing two selections (BI. 12 and Bl. 13) are based on the BhairavT!hii~h. Before learning them practice the alankiirs using the scale of this tOOlh (S R Q M P D N S ).

B1. 12 Sivarana-srT-gaura-pida_padme Prirthani by Sma Narottama dasa Thakura

(I) srf-krsna-caitanya prabhu doy(i koro more tomd hinii Ire doyiilu jagat-samsiire

(2) patita-piivana-hetu lava ava/iira

mo soma patita prabhu nii pdibe (ira

P

N.B. I. For the remaining verses and the translations please consult a song book.

2. The following two selections are not onJy based on the BhairavT!hii!h. they are also in Raga Bhairavi; For an explanation of the term "raga" please see Appendix E.

3. There are differences of opinion regarding the best time of day appropri ate for singing thi S raga, Some say during the first prahar of the day; some say during the first two prahars of the day; and some say .at any time. (Aprahar'is an approximately three hour period. a quarter of a day or a quarter of a night.)

Notes used: S R G M P D N S R
Riiga Bhairavi' Keherwd tiil (8 mlitrCis)
SthiiyT
X 0 X 0
S SIR S I =- S --I D
irT krs- na ca: i- an- ya pra-
p 12 1 :0- M 1 Q D P I:
do- yii ro mo-
S :.1: 12 : 1 : M I G
la- na do- ya
M :-1 : R -I s s I -
ja- SQ- am- sa.. re ~- 29

bhu

111

Antarii
X 0 X 0
p P M Q M P N 12 p
pa- ti- ta pa- va- na he- flf
p Q N S N D P N D
la- va a- va- fG- ar
G.. 0 p Q ~ s ~ Q p
mo sa- ma pa- fi- fa pra- bhu
p M P Q M P 0 P
I1Q pli- i- be a- ar 30

31

HI. 13 Hare K~~a Mahs-mantra

hare k7;s/!a hare krf!la krsna !a:s.,!a hare hare hare rlima hare riima rdma riima hare hare

N .B. In the second antarliboth the komal Re and the suddh Re are used, therefore it is in Raga Sindhu Bhairavi. The singing limes for Raga Sindhu BhairavTand Raga BhairavT are the same. (See B 1. 12, N.B. 3.)

Notes used: SRRQMPQt{S
Raga Bhairavi' Keherwa fell (8 mdtriis)
SfhCiyT
X 0 X 0
. . .
p Q N D tl s s s S
ha- re Jcr:- s- l1a ha- re kr- s- na
ha- re ra- ma ha- re ra- ma
N -_ S N 12 p p p Q p
kn- ~Ia Iq-- s- ~Ia ha- re ha- re
ra- rna ra- ma ha- re ha- re
M Amara I
P Q D P M M Q R Q R M Q R R s S
ha- re krs- na ha- re kJ'~- fla krs- na krs- lJa ha- re ha- re
ha- re ra- ma ha- re ra- ma rli- ma rii- ma ha- re ha- re
--, <, Raga Sindhu BhairavT
Antard 2
X 0 X 0
P P P P P P P P
ha- re kr- s- na ha- -- re Ja:- ~- na
p p D N ID P D P M
or
p :Q N S N p N :Q p
krs- ~la Ja:- ~- fJa ha re ha re
Q Q Q M G R R R
ha- re ra- m ha re ra- m
S IB M Q B. s s
ra- m -I ~;- rna ha re ha- re -~

32

BI. 14 Bhaja hu Re Mana SnNanda-nandana by Govinda dasa Kaviraja
(1) bhajahii re mana frl=nanda-nandana-
abhaya-carandravinda re
durlabha mdnava-janama sat-sange
taroho e bhava-sindhu re
N.B. 1. For the remaining verses and the translations please consult a song book.
2. See B1. 13, N.B.
Notes used: 1:'l S R R G M P D N S R Q
Riiga Sindhu Bhairavi' Keherwd tiil (8 matrQS)
X 0 X 0
P P M P P P P 12 N 12 p M
bha-i ja- hi1 ,- nan- da da-
re ma- na Sri na- an- na
G G Q R R Q M I -- Q R s
or
N N N S R .Q M Q R s
a- bha- ya ca- ra- na- ra- vi- in- do re
S S S S S S N N N D P P
or
G Q Q R G R S N S N 12 p p
dur- la- bha I ma- no- va ja- na- ma sa- at- san- ge
Q G Q R G M G R S
t: c._- ro- ho e bha- va sin- dhu re 33

Bl. 15 SrTDimodarastaka by Satyavrata Muni

(1) namamiSvarain sac-cid-iinanda-rfipmh lasat-kwJifalam gokule hhriijamlinam yaiodii-bhiyoliikhaliid dhiivamlinam pariimr-r!am atyantato drutya gopya

(2) rudantam muhur netra-yugmam mrjantam kariimbhoja-yugmena siifanka-netram muhuh sviisa-kampa-trirekhanka-kcu;ttha sthita-graivain dlimodoram bhakti-baddham

N.B. I. For the remaining verses and the translations please consult a song book. 2. SeeBI. I3,N.B.

Notes used: S RR Q M P 12 N S R

Raga Sindhu BhairavT

D5drii tal (6 matriis)

Slhayr

x 0 x 0
2 3 4 5 6 2 3 4 5 6
S G S G y!! M Q I: ~p I:
~-
md-mis-va- . cid nan-da ni- am
110- ram sac S e G Ie M Q R ~B S
la- sat /cuI] -10- lam go- ku- Ie bhrii-ja -mii- na-
p p p p p J2 p M ~IM
----
ya- 50-00 bhi- yo- ,,;~ kha- llid dha-va-mii- no-
S G S G ~ M G R ~B s
~
pa- ra- mr~- tam at- yan- ta- to dru-tya go- pya am

am

34

35

Anlara
X 0 X 0
S S S S SR S S N S N Q p
-- ~ '----=--
ru- dan-tam mu- hur ne- Ira yug- main mr-jan: fa- am
~ D P M M M R G G M P
~
lea-ram bho- ja yug- me- na sa- tan-ka ne- Ira- am
. " S N D IP
S S S s, l~ s s N
...____ :::::ka kan- tha
mu-huh ivii- sa I kam- pa tri- re-
P D 0 P M M Q R MG R S
~ ~
sthi-ta grai- vam di1- mo- da- ram bhak-ti bad- dha- am SthayT
X 0 X 0
P P P P 12 p M ~~ M
ha- re kr~- lJa ha- re krs- lJa
ha- re ra- ma ha- re ra- rna
S g G MP M Q R MG R S
'------"" ~
krs- lJa krs- ra ha- re ha- re
ra- ma ra- ma ha- re ha- re
Antard
S S S SR S N SN 12 p
<s:» ~
ha- re krs- ra ha- re krs- !la
p 12 p M R G M P
Iv!- na krs- na ha- re ha- re
S S S SR S N SN 12 P
---=- ---==--
ha- re ra- ma ha- re ia- rna
P D P M Q Q R S
ra- ma ra- rna ha- re ha- re --~

. ....

36

Bl. 16 I~~a-deve Vijnapti by SiiJa Narottama dasa Thakura

( I) hari hari! bifale janama gonliinu

manu~a-janama paiya, riidha-kr~lJa na bhajiya.

jiiniya suniya bisa khli;nu

(4) hii hCi prabhu nanda-suta, V[¥1bhiinu-sUtii-jul(1,

kOrllPQ karoho ei-bdro

narottama-ddsa koy, na !heliho riiiiga pay.

loma bine Ice ache amlira

N.B. I. For the remaining verses and the translations please consult a song book.

2. Verses 2 and 3 are sung the same as verse 1 excluding the first line.

3. During September of 1969 in England Snla Prabhupada said that this was his favourite bhajan. (SPL, vol. 4, p. 48)

4. The sthGji is in {fn tal and the an/ara is in keherwa lal

5. This melody can also be used for Sri Guru-vandana (sr';:gllnJ-carana-padma) excluding the first line (Introduction)

6. This selection is in the Bengali folk style.

Notes used iD ~ S R G M M P D N N S R

Introduction (sung and played without taf)

s

s

R

M

G

M G R

s

ha- ri

ha- ri

bi-

fa- Ie ja- na- rna

D N R S

"

37

go- 110- i- 1111

Sthayr Tin tiil (J 6 matras)
X 2 0 3
I M
R R ~ S R P M P
ma- nu- ,sya ja- na- ma -- pa- i- ya
M M G R S G R S
ra- dha kr- s- !1a na bha- -- ji- ya
M M P M G M G R S D
.
ja- ni- '" ni- bi-
ya su- ya sa
S S R G M G R R M p D
ne. [; nu ja- n; ya su
p .M G R S S S R G M G
fli- ya bi !a khii- [: nu
R 38

An/ora Keherwa tal (8 matriis)
X 0 X 0
R R M G R R R R RMG R iG G R S
----
or
Q__f_ M G R G R S
ha ha pra- bhu nan- da Sll- ta vr-sa -bhii -nu su- la: jli- ta
SR M M P P D N 0 P M G R
--
ko-ru -!lQ ka- ro- ho e- bCi- 70
DO S N D 0 D D S N D IN N D P
..._______ ...___...
or
~S N D N D p
na-rot -ta ma dZi- sa ko- oy nil the -li- ho ran- ga pd- ay
P p -p p p P D N D P M G R
or
S R M M P P D P M P D P M G R
10- ma bi- ne ke a- che Ci- ma ra 39

I
R u- P N
- 5

M P

.

S

POSITION B2

Earlier in the course on pages 4 and 5 we explained that Sa may he on any of the twelve notes of the octave. Diagrams of the iuddh scale, or Bilaval fhiilh, along with the respective fingerings were given. Up until now all of the selections which we have learned have been in the B I position with Sa on the first black key of the octave. Now we will learn to play in the B2 position.

One advantage of playing in the B2 position is that lower notes, for example low Pa, can be more easily sung. Another advantage is that certain melodies which do not have higher notes, carry and project better at a louder volume when sung in a higher position. Also, when introductory prayers, for example B]. 2 and B 1. 8, are followed by a selection in the B2 position, the introductory prayers should also be sung and played in the B2 position.

The fol1owing diagram shows the keys played, along with the appropriate fingerings for the scale of Bildval ,tha!h in the B2 position.

~ T 1;1...:3 T I:l.

If you have stickers applied to the keys of your harmonium which designate the notes in the B I position, you can now move them to the new locations.

Practice the alankiirs which are given on page 9 in this new position. AJso please practice the following selections in the B2 position: B). I, B 1. 2 and B 1. 8

41

B2.1 Govinda Jay Jay
govinda jay jay. gopii/ajay jay
riidha-ramana hari, govinda jay jay
Notes used: l;i S R G M P D N S
Based on Bildval tooth Keherwd tm (8 matrlis)
SthiiyT
~
X 0 X 0
S R R N S ~ R G G M R S
go- vin- da ja- ay ja- ay go- pa- lo ja- ay ja- ay
Antarii 1
M M M M M P G G M R S
ga- vin- do ja- ay ja- ay ga- -- pd- lo ja- ay ja- ay
Antara 2
p P P P P R G M P ·M G
go- vin- da ja- ay ja- ay go- pa- la ja- ay ja- ay
Amara 3
. . .
p S S S S S N N S D P
go- vill- do ja- ay ja- ay go- pa- lo ja- ay ja- ay
Antaro 4
D D D D D P D N S N D P D
go- -- vin- do ja- ay ja- ay go- -- pa- la ja- ay Ja- ay 42

x p

o

D P M G S

x 0

R G R G R S

s

ra- dhii ra- ma- ~/a ha- ri go- -- vin- da ja- ay ja- ay

43

B2. 2 Hare ~~a Mahi-mantra
hare krf1!a hare kr!'JCl kr~!1'1 krP.'a hare hare
hare rlima hare rlima rama riima hare hare
Notes used: r:p ~ S R G M P D N
Based on Billival/hCi.fh Keherwii tal (8 matrDs)
Sthiiyf
X 0 X 0
S P D S G R G R S
ha- re kr~- ra ha- re us- !7a
G M P P M G R G
Iq-- f- ra kU- na ha- re ha- re-
G M P M G R P M G R S
ha- re ra- rna ha- re ra- rna
G R S 1;-1 J? p D S
ra- mo ra- mo ha- re ha- re 44

Antara
X 0 X 0
P p p P D N D -p M D
, ha- re kr~- na ha- re Jcr- $- lJa
D p M G R S R G 1--
krf- !7a krs- na ha- re ha- re --
G M p M G R p /: G R S
ha- re ra- ma ha- re ma
G R S N D f D S
'rii- ma ra- ma ha- re ha- re 45

,.,

B2.3 SrfDasavatara-stotra (from Gita-govinda) by Jayadeva Gosvami'

(I) pralaya-payodhi-jale dhrtavdn asi vedam vihita-vahilra-caritram akhedam kesava dhrta-mfna-farfra jaya jagadiiQ hare

N.B. For the remaining verses and the transl.atjons please consult a song book
Notes used: P J? ~ S R G M P D N
Based on Billivallha!h TIn tal (16 miitriJS)
X 2 0 3
S S
pra- Ia-
S ~ S R R R S S R S R G
ya pa- yo- dhi ja- le dhr- la- va- na- si
M M G P P P G R S· NS
-..:..._....
ve- da- am vi- hi- fa va- hi- Ira ca- R

G M G

da-

am

R

s

ri-

Ira ma- khe-

46

+-,

X 2 0 3
P G M
ke- r
sa- va
p p I:~ p 0 N 0 P M G pp 0 p
..._____..
dhr- ta na sa- rT- ra ja-ya ja- ga-
M G S R 1M P p D P
di- sa ha- re ja- ya ja- ga-
G R S NS R G R S 0 P 0 S R
~
di: , ha- ja- jt;l-
sa re ya ga-
G R S N Is
di= sa ha- Ire 47

H2. 4 Sri N~imha Pranama and Prayer to Lord Nrsimha

namas te narasiinhZiya prahladQhlada~ine hirG!JyakaSipor vaksah- 5i la-!aiJka-nakhlilaye

ito nrsimhar parato nrsilhho

yato yato yami tato nrsimha[1 bahir nrshhho hrdaye nrsimho nrsimham adim saranam prapadye

lava kara-kamala-vare nakham adbhula-imgam dalila-hiraflYakasiplJ-lanu.bh_nigam

kesava dhrta-narahari-riipa jaya jagamsa hare

jaya nrsimhadev, jaya prahliid mahiirCij

N. B. For the translations of these verses please consult a song book.
Notes used: ~ J? ~ S R G M P D N S
Based on Bi/iival/hCi!h Keherwa fiil (8 matriis)
X 0 X 0
P P D p M G R G R S S
na- ma- ste na- ra· sim- ha- ya pra-
R p r M G R G R S ~ S S
hla- eta- hIli- do dii yi- ne hi-
.
S S S N D P D P M G p
ka- ' . va- ~a- ha
ra- pya- st- po- or
S R R R R G P M G R S R S
or
S R P P P M G R G R S N S
-'. la tan- ka khii- la-
st- na- ye
48 x 0 X 0
P
i-
P P D P M G R G R S S
10 11[- siln- hah pa- ra- to nr- sim- ho ya-
R p P M G R G R S N S S
to ya- to ya- mi ta- la nr- sim- har ba-
0
S S S S N 0 P 0 P M G P S
hi- ir nr- siln- ho hr- da- ye nr- sim- ho nr-
R R R R G P M G R S R S
or
R p p P M G R G R S N S
0 ha- di- , dye
sim- ma- im sa- ra- !la- am pra- pa- 49

x 0 X 0
S R S R G G G R r G G G R S
ta- va ka- ra ka- ma- 10 va- re na- kha- -- mad- bbu- to
M M -. r p p P D P M G
~ . Ii- hi- ko- si-
srn- ga- am da- ta ra- l1ya
R M G R S I :,_ p p
pu (a- nu- bhrn- - ga- am ,-
SQ- va
p p G P D N I :- p M G I-~ !.!! D P
dhr- ta- no- ra- ha- ri po -- ja..yaja- ga-
M G S R M G M P M
dl: Sa ha- re ja- yo ja- ga-
G R S NS R G R S D P D S R
'-!_- ,
.dj:. , ha- ja- ja-
sa re yo ga-
G R S N S
elj: Sa ha· re 50

x 0 X 0
R G
jo- yo
ja- yo
M [MJ M M M G R G {G] G G G R S
nr- sim- ha de- ev jo- ya nr- sim- ho de- ev ja- ya
pra- hlad ma- ss: ra- aj ja- ya pra- hliid ma- ha: ra- .{ij ja- ya
R [R] R R R G M G R [RJ S N S
n[- sim- ha de- ev ja- ya nr- sim- ha de- ev
pra- hliid ma- hii- ra- oj ja- ya pra- hliiiJ ma- ha: ra- uj 51

The following selection (B2. 5) is based on the KalyQlJ .Ihii!h. Before learning it practice the alai1kiirs using the scale of this thath (S R G M P D N S ) in the B2 position.

. . .

B2. 5 .Govinda Jaya Jaya, Sri K.I'lpa Govinda Hare Murire and Om Namo Bhagavate Vasudevaya

govinda jaya jaya, gopdla jaya jaya riidhli-ramara hari, govinda jaya jaya

srf-kri!la govinda hare muriire he nlit/i.o nIirayara'v(isucieva

om namo bhagavate viisudeviiya

N.D.I. The above verse irl-Iq~t'a govinda hare murdre etc. is from the Padma Purdna. It is
cited by Sma Prabhupada in the purport of verse 1.16.30 of the SrTmad-Bhagavatam.
2. 0';' namo bhagavate viislideviiya is the invocation to the SrTmad-Bhagavatam .
• I
Notes used: p ~ S R GM P D
Rdga Yaman Tfn tal (J ~ f!lGtras)
Sth7iyf
X 2 0 3
S S S N S D N S R S N N D D
or
S R G R S N D D
go vin- da ja- ya ja- ya go- pii- la ja- ya ja- ya
N R R G R G P G R S N R S S
or
R R R
ra- dna ra- ma- ~/a ha- rt go- -- vin- cia ja- ya ja- ya
-, 52

Amara
X 2 0 3
J , M
p p p p p p P M D P M G G
go vin- do ja- ya ja- ya go- pa- la ja- ya ja- ya
~ R R G R G P G R S N R S S.
or
R R R
ra- dha ra- ma- !1a ha- ri go- -- vin- da ja- ya ja- ya 53

S G R S R S t;::. S R S N D
sri krs- na go- vin- do ha- re mu- ra- re
N R R R G R G P G G R S N R S
he na- tha na- ra- ya- na va- su- de- va
Antard
I M
p p p P D P M P D P G
, krs- vin- da ha-
sri na go- re nu- ra- re
N R R R G R G P G G R S N R S
he na tha na- ra- ya- t1a va- su de- va SthayT
X 2 0 3
S G R S S R S N S R S N D
0- om na- mo bha- ga- va- te va- SIl- de- va- ya-
N R R R G R G P G R S ~ R S
0- om na- mo bha- ga- va- te vii- SIl- de- va- ya
Antard
I M
p p p p P D P M P D P G
0- om na- mo bha- ga- va- te va- SIl- de- vii- ya
N R R R G R G P G R S N R S
0- om na- mo bha- ga- va- te va- SIl- de- va- ya 54_

The following selection (B2. 6) is based on tne Jrajf_/hflJh. Before learning it practice the alankiirs using the scaJe of this !ha!h (S R Q M P D N S ) in the B2 position.

B2. 6 Jaya Ridbi-Midhava by Bhaktivinoda Thakura and Hare K!"!~a Mabi-manlra.

jaya radJul-madhava, jaya kuiija-biharr

jaya gopf-jana-vallabha, jaya giri-vara-dharf

jaya jaJodii-nandana. jaya braja-jana-rat'ijana,

jaya jiimuna-ffra-vana-ciii1, jaya Ictiifja-bihiirl

hare krwa hare Ja:~ krflJO krsna hare hare hare rtima hare riima riima riima hare hare

N.B. For the translation please consult a song book.

Notes used: 1;'I S R Q M ~ D N S

Based on the KiijT !ha,th.

Tin eu (J 6 matras)

x

2

o

3

s S
ja- ya
R S R M P Q G M
ra- dha mii- dha- -- va ja- ya
R N N s R Q R S S S
ku- lIn- ja- bi- ss. rt ja- ya
N N N N D p M P
Ig-o- pT ja- na VQ- al- Ia- bha
I 55

X 2 0 3 P P
ja- ya
M M M M P M 51 M Q
gi- r; va- ra dJijj.. rl ja- ya
R R N S G R S S S
gi- ri va- ra dhd- -- r/ ja- ya
N N N D P M P -- 1 p p
ja- .- dQ da- ja-
so- na- an- na ya
M M M M p M 51 M G
bra- ja- ja- ..... ja- ja-
na ra- an- na ya
R R N S Q R S S S
bra- ja ja- na ra- an- ja no ja- ya
R R R R R R R P M G M G
jii- mu- na fi- ra va- na ca- rT ja- ya
R ~ :;-I ~a- R S -- 1
kun.. ja rT - 56

"SthiiyT
X 2 0 3
S S
ha- re
ha- re
R R S R' M p Q .Q M
kU- ~a ha- re Iq- ,f- ro kr~- ~a
ra- ma ha- re -s: ma ra- ma
R J:i s Q R S
/crf- tta ha- re ha- re
ra- ma ha- re ha- re
Antara J
p D
ha- re
ha- re
N N D N S N D N 0 P M M M
krs- ra ha- re- kr- f- !10 kr.r- IJa
ra- mo ha- re rii- mo rd- ma
R M M P D N D P
kr- of- !la ha- re ha- re
ra- ma ha- re ha- re 57

Now the !hath changes from KOft to Biliival and the Ma of Kiijibecomes the Sa of Bikival. The position also changes from B2 to B4 with Sa on the 4th black key. This change is called modulation. The first line of given notes are according to position B2 and the second line of notes which are in parentheses are according to position B4. The eu also changes from tin tiil to kehelWQ tOl.

Antarii 2

x

N N
(M M
10;- ~- ~a
ra- ma
p p
(R R
kr!- !'a
ra- ma Keherwa liil (8 matriis)
0 X 0
P D
(R G)
ha- re
ha- re
D p D D P M
G R G G R S)
ha- re 10;- ~- !Ul krs- !ta
ha- re rli- ma r~ rna
D p M M
G R S S -)
ha- re ha- re
ha- re ha- re 58

namas te narasimhdya prahliidiihliida-diiyine hiraryakasipor vaksahSi lii-!anka-nakhiilaye

The following selection (B2. 7) is based on the Asavarr,tha_th. Before learning it practice the alaftkiirs using the scale of this .thii.fh (S R Q M P 12 N S ) in the B2 position.

B2. 7 SnN_rsirnha Pranama and Prayer to Lord Nrsimha

ito nrsimha!1 parato nrsiThho

yato yato ydmi tato nrsimha/1 bahir n,rsilnho hrdaye nrsilnho nrsimham iidim saranam prapadye

lava kara-kamala-vare nakham adbhu/a-sriigam dalita-hiraryakaSiplI-tanu-bh,.ngam

keiava dhrta-narahari-riipa jaya jagadiSo. hare

jaya nrsimhadev, jaya prahlOd mahiiraj

N. B. For the translations of these verses please consult a song book.

Notes used; ~ NSRQMP12
Based on the AsCivarT".fha_lh Keherwii lal (8 matriis)
X 0 X 0
S R G M G R S N S P
na- te si- .. ha- pra-
mas- -- na- ra- tm= ya
p M G R G M Q R S l?
us. dii- hlZf- da da: yi- ne hi-
S R Q M Q R S ~ S
ra- alJ- ya- ka- si- po- or vak- sa- ha
p p M Q M P M Q R Q R S
". la ta- ka- !cho- la-
SI- an- na- ye
59 x 0 X 0
P
i-
S R Q R M Q R S N S P
to nr- sim- haIJ pa- ra- 10 nr- siln- ho ya-
P M G Q R Q M Q :J:h p
to ya- to ya- mi to- to nr- ba-
S R Q R M Q R Q R S P
hi- ir nr sim- ho hr- do ye nr- sim- ho nr-
p p M Q R Q I: -- ( ; R S
si- im- ha- di- , dye
ma im sa- ra- am pra- pa- 60

x 0 X 0
P S S R 'G R Q M P M
la- va ka- ra ka- ma- Ja va- re na- --
M Q R Q R S
kha- miid- bhu- ta s.m- gam
~ S R Q M P M Q R
da- li- la hi- nya ka- ~, pu
ro- SI-
M G R S P S R
ta- nu bhrn--- gam ke- Sa- va
G R S p S S R Q R S p S S R
dhr- la na- ra- ha- ri ru- pa ja- ya ja- ga
Q R Q M P D P M M M M p
dr: sa ha- re ja- yo fa- ga
M Q R S R S N S R R R R Q
d[- , ha- ja- ja-
sa re yo go
M Q R S
ar. sa ha- re 61

Here the position modulates from B2, AsiivarT{hii(h to B3, Bildval !hii!h. The first line
of given notes are according to position B2 and the second line of notes which are in
parentheses are according to position B3. This process of modulation was described at the end
of the last section.
X 0 X 0
M P
(R G)
ja- ya
ja- ya
D [Q] Q D .Q p M P [P] P P P M G
(M [MJ M M M G R G [G] G G G R S)
m;- siln- ha- de- ev ja- ya nr- sim- ha- de- ev ja- ya
pra- hlad ma- ha- rli- Cij ja- ya pra- hliid ma- ss: r{i- ii} ja- ya
M [M] M M M P .Q p M [M] Q R G
(R [R] R R R G M G R [R] S N S -)
nr- sim- ha- de- ev ja- ya nr- s;,;,- ha- de- ev
pra- hliid ma- ha- ra- aj ja- ya pra- hliid ma- ha- ra- aj 62

The following selection (B2. 8) is based on the Khaniaj !hu{h. Before learning it practice the
alankiirs using the scaJe of this !ha!h (S R G M P D N S) in the B2 position.
B2.8 Sri Tulasi-krrtana
(1) namo namo tulasi! kr~a-preyasr (nama namo)
(braje) rlidha-kr~a-sevii pabo ei abhilii_sf
(2) je tamara iarCl1}a loy. lara viiiicha p'iir{UJ hoy
krpd kori koro tlire brruJiivana-b7iil
N.B. For the remaining verses and the translations please consult a song book.
Notes used : SRGMPDNS
Based on the Khamaj {hath Keherwii tal (8 matras)
Slhiiyf
X 0 X 0
G S R G R S S
na- mo na- ma tu
S R G R S R G M P M
la- sT Ia:- f- na- pre- ya- Sf
G S R G R S [S S]
na- ma na rna (bra- je)
D D N D p D M G
ra- dhii Ia:- f- na se- va pd- ba
G G R S R G M P M
e- a- bhi- kf- Sl 63

Amara
X 0 X 0
M R M M P D N D P
je , 10
to- ma- ra sa- ra- !ta oy
p S N D P D p M
Iii- _,,; cha pii- iir- na ho
ra van- oy
D M ~ D P D M G
kr- pa ko- ri' ko- ro ta- re
G G R S R G M P M
brn- dii- va- na ba- sT 64

B2. 9 SrTTulasT Pradaksina Mantra

Based on the Kalyan !ha.th

Keherwa riil (8 mamis)

ydni kiini ca papam brahma-hatyadikiini co tdni lani prara.fyanti pradalqif)ah pade pade

N.B. 1. For the translation please consult a song book.

2. There are two different melodies given below. Either may be used

First melody:

,

Notes used: R G M P D

x 0 X 0
I 1
P G G G R G P M -9 G .. M G G R M G
ya- l1i ss: ni ca pa- pa- IIi bra-hma ha- tyii- di- ka- ni ca
, , I
P P M P ·D D P M P M ® G R M G
ta- ni la- ni pra- nG- sYa1l- ti pra- dak- ~i-~lalJ pa- de pa- de 65

Second melody:
Notes used: P DN S R GMP
...
Based on Bildvat thiith Keherwa tiil ( 8 matriis}
X 0 X 0
S S D S R M G R
yii- ni ka n; ca pa pa ni
G G P M G R R G R S
bra- hma ha- tyli- di M- ni ca
G S M G -- IR G S N
syon--
m- ni tii- ni I pra- ~a- ti
N N N D P D N S R S
pra- da- ak- Sl t,ab pa- de pa- -- de 66

, I

67

B2. 10 Bare K~~a Maha-mantra
/ hare krsna hare krsna krsna kr,pJa hare hare
hare ramo hare rdma riima rdma hare hare
N.B. Raga Yaman KalyiiIJ uses both suddh Ma and {Twa Ma. The singing time for this raga is
during the first prahar of night.
,
Notes used : ~ 1;> l';J S R G M M P D
Raga Yaman Ka/ym,l Keherwii tal (8 matras )
Sthiiyi
X 0 X 0
I? 11
ha- re
S S P I? s I:
lcr- s- ra ha- re kr- s- ...:.
R R R G M p G R R G
kr- ~- na kr- s- no ha- re ha- re ha- re
M G R S R G R S
ra- ma ha- re ra- ma
p N S R G R S N s·
ra- mo ra- mo ha- re ha- re Amara J
X 0 X 0
I
P P P p M P D P M
ha- re kr~- ~ ha- re Ja:- $- na --
M M G M D P M G R R G
/cr- $- !1a kr- $- na ha- re ha- re ha- re
M G R S R G R S
ra- ma ha- re ra- ma
p N S R G R S N S
ra- ma ra- ma ha- re ha- re
An/ara2
I I
P M P M P D M G R
ha- re kr~- {la ha- re kr- -r- 1}Q
ha- re ra- ma ha- re ra- ma
N R G R G P G R S
krs- lJa kr-r- fJa ha- re ha- re
ra:- ma ra- ma ha- re ha- re 68

B2. 11 Sapanada-bhagavad-viraha-janita-vilapa by Sma Narottama disa Thikura

(1) je ani/a preme-dhana korulJli pracur heno prabhu kothd gelii iiclirya-!hiikur

N.B. 1. For the remaining verses and the translations please consult a song book.

2. This melody can also be used for Savarana-sri-gaura-pada-padme Prarthana (Srikrsna-caitanya prabhu doya koro more). for Vaisnave Vijnapti iei-baro kanl1;tii koro vaisnava goslii) and ,(with a slight variation in the first line which is shown on the following page) for SnVraja-dhima mahimiimrta tjaya riidhe, jaya krsna, jaya vmddvan ).

3. This melody is in the Bengali folk style.

~ S R P M G R
ko- ru rra pra- ell
I
S N D N D P P M P D ~
ur he- 110 pra- bhu ko- Iha ge- Iii
D .p M G R P M P D
or
G R
G- ear- ya Iha- ku- --
P -~,
or
S
ur
69 I

Notes used : N SRG MMPDN

Tfh uu ( 16 matriis)
X 2 0 3
S R G M G R G R S
je a- ni- 10 pre- ma dha- - no Here is the first line of the melody for So Vreja-dhiima-mahimamrta which onJy varies with the previous melody in the second kh01!tfa, otherwise the two melodies are the same.

x

2

o

3

s

R

R

G

10-- ~-

IJO

M G

R

s

ja- yo

ra- dhe

ja-

yo

70

R

ra-

m

The end part of the following section (B2. 12) is based on the Bhairav !hath. Before learning it practice the alankars using the scale of this thath (S R G M P D N S) in 'the B2 position

B2.12 Raghu-pati Raghava

raghu-pau riighava rajii-ram patila-piivanasnii ram

siki ram suii ram

bhaja mana pyZire sfta ram

TRANSLA nON

Lord Ramachandra is the ruler of the Raghu dynasty; the king of Ayodhya; the deliverer of the fallen, conditioned souls; and the divine consort of Silmati SHit Devl.

My dear mind, just worship Their Lordships Sn Sn Sita Rama with great love and devotion.

N.B. 1. When a raga is designated as misra (mixed) it means that notes which are not strictly in the raga are sparingly used. In this selection the komal dhaivat which is not used in pure Raga Ka-n is used in the second line of the first antarii Therefore it is a misra raga.

2, At the end of the first line the mind (pronounced "meend") sign is used. The swaras (notes) given within this sign -- are subject to mind or gliding of the notes.

Notes used in the main section: D N S R G G M P D D N

."-:" - --- ~

Riiga Misra Kiiji

Keherwii tdl (8 mdtrds)

Slhiiyi

x

s

0 X
g_ S Ii! D N
ra- gha- va ra- o

s

S

s

R

M G M

ra- ghu pa- ti

g G R

s

~ D N

R

rd-

m

s

pa- fi- (a pa-

"

va- na Sl-

ta

71

Antard J
X 0 X 0
G G G M M G M
SI fif ra- m sl= ta ra- m
R R M M P Q p Q R S
bha- ja ma- na pya- -- re S1- to ra- m
Antard 2
p P P P P N D P M R S R M P
ra- ghll pa- ti ra gha- va ra- ja ra- m
M p R S N D ~ R S
pa- fi- la pa va- no S1- Iii ra- m 72

Ending
Notes used: t;l S R G M P
Raga Bhairov Keherwii tal (8 matras)
SthayT
X 0 X 0
s R s N S R s N
ra- ma ra- ma ra- ma ra: ma
S R s R G
ra- ma ra- ma ra- m
Antarii
-------------
M M M M G M G R
ra- ma sJ: Iii ra- ma rs: m
G p M G R I :- - /:
ra- ma ra- ma -- 73

82. 13 Hare Krsna Maha-mantra

hare krsna hare kr~lJa k1:?'a kr~!la hare hare hare riima hare riima riima riima hare hare

I

Notes used: D N S R G M P D

-:-- .. ~ -

Raga PiiryadhaniiSrl

SthliyT

x

10;- s- ~a
rii- ma
G R G
Iu- s- lIa
rli- ma Tin tat (16 marras)

2

o

3

P G

ha- re ha- re

s

s s R N
.
or
N D N
.-
ha- re /0:- §- 1}a
ha- re rli- ma
P G B S
ha- re ha- re
ha- re ha- re N R

krs- !1Q rii- rna

74

X 2 0 3
,
P M
ha- re
ha- re
I
p P P P M G G G
10:- s- na ha- re kr~ .r- na krs- lJa
ra- ma ha- re rii- ma ra- ma
r ,
G MGM .Q p G R s
......___....
kr- ~- !fa ha- re ha- re
rli- ma ha- re ha- re 75

82. 14 Gaura-irati by 5ma Bhaktivinoda Thakura

(l jaya jaya gdracander dratiko soMa jtlhnavT-ta!a-vane laga-mana-lobha

(gauranger iiratiko soMa jaga-jana-mana-Iobhii) (nita; gaura) hari bol, hari bol, hari bol, hari bol

(5) iankha baje ghafJ_fa baje baje karatdla madhura mrdanga biije parama rasdla

(sahkha baje ghWl!a biije madhur madhur madhur bdje) (ni/ii; gaura) hari bol, hari bol, hari bol, hari bol

N.B. I. For the remaining verses and the translations please consult a song book.
2. This melody is in the Bengali folk style
.
Notes used: .r- J? ~. S B R G M M P Q D N
Kehetwa lal (8 malras)
SlhayT
X 0 X 0
P P M G R R .IS R G M
ja- ya ja- ya go- ra- co- on- de-
G R S N S R G R S N D
er a- ra· ti- ko so- bha
S R G M G R S
ts- hna- w ta- la
N D p D S R G S M G
va- ne ja- go ma- 110 Io-
R
hi,;;
-
76 p

An/ora 1 X

o

x

o

ja-

D

1.2 D N P

M G

yo

R

G P

M G

Continues the same as in the slhtiyr:

ja- ya

77

Antard 2
X 0 X 0
G G G G G M P M G
- . fi- ko bh1i
gau- -- ra- all- ge- er a- ra- sa-
R R S R G p M G
fa- ga ja- na ma- na 10- bhii
D D D N D P p P M G
gall- -- ra- an- ge- er li- ra- fi- ko so- bhii
R R S R G p M G
ja- ga ja- na ma- na /0- bha
(D 0) I I
D N G M P M G
(ni- tii; gall- raj ha- ri bo- 01 ha- ri
sung when repeating
, I
M G R G M G
bo- o! ha- ri bo- o/ ha- ri
R
bo- 01 78

B2. IS Panca-tattva Maha-mantra (Gaura-arati melody)
(jaya) srl-kr.p;o-caitanya prabhu nitydnanda
irT-advaita gadiidhara srTviisiidi-gaura-bhakta-vrnda
Notes used: P D N S R R G M P 12: D N
Keherwa tal (8 matras)
Sthiiyf
X 0 X 0
P P
ja- yo
p M G R R R G M
"- krs- i-
Sri no ca- /a nya
G R S 1':'T S S R G R S N D
pra- bJm ni- (ya- na- an- do
D N S R S N N S N D D P 0
'- dvai- -- ta ga- da- dha- ra SrI- va- SQ- di
Sri a-
S S S R G S M G R
gau- ra bhak-ta vr- n- do 79

Antara

x

o

x

o

p p

ja- ya

D Q D N I:
,-
Sri
R G P M G
krs- na M G

Continues the same as in the sthoyl:

80

B2.16 Hare Krsna Mahi-mantr!l (Gaura-arati melody)
hare kr.pJa hare kr.pJa kr~{Ja kr~ra hare hare
hare riima hare rlima rdma ramo hare hare
Notes used: P D N S R R G M P D D N
.... -.... ~
Keherwa tal (8 matras}
SthCfyT
X 0 X 0
P P M G R R R R G M
ha- re krs- na ha- re kr- $- na
G R S N S R G R S N D
krs- na kr- s- na ha- re ha- re
.. ,
D N S R S N S N I? p
ha- re Ta ma ha- re ra- -- __ ma
~ D S R G S M G R
ra- ma ra- mo ha- re ha- re 81

Antard I

x

o

x

o

p

ha-

o

D D N P

M G

re

R

G p

M G

Continues the same as in the sthiiyT:

krs- na

82

Antarii 2
X 0 X 0
D D D N D P D P M G
ha- re kr- $- f}a ha- re kr- ~- na
ha- re rii- ma ha- re rs. ma
R R S R G p M G
kU- ra kr:- $- fJa ha- re ha- re
rli- ma rii- ma ha- re ha- re
Antard 3
R G
ha- re
ha- re
M M G R G G R S
/q"- $- !Ia ha- re Ja:- s- na krs- fJa
rs. ma ha- re rli- ma rii- ma
R R G G R G S
kr- ~- !,a ha- re ha- re
rli- ma ha- re ha- re 83

POSITION B3

After having learned to play various selections in positions Bland B2, we will now learn to play in the B3 position. The B3 position is useful for melodies which go even lower than those in the B2 position.

The following diagram shows the keys played, along with the appropriate fingerings, for the scale of the Biliiva/ !hii.th in the B3 position.

- I~
1 t;'\ t;I M N
- -- 5 R G-

p 0

.3-,- l"l. TI ~ 3 T

J

-;t.. T I

If you have stickers applied to the keys of your harmonium which designate the notes in the B2 position, you can now move them to the new locations. Because some of the melodies in the B3 position go rather low, apply stickers to the keys which go down to low Ga.

Practice the alankdrs in this new position. It will be difficult to sing the higher notes.

Do the best you can.

85

B3. 1 Jay Raghu-nandana

jay raghu-nandana jay siyli ram jay srya riim jay jay sfyii rdm

janala'"7.vallabha jay sryii ram dasaratha-nandana jay siYii ram

TRANSLA TION

All glories to Lord Ramacandra, the beloved son of the Raghu dynasty. All glories to 5nSn Sita Rama.

Lord Ramacandra is the lover and beloved of the daughter of Janaka Maharaja. Snman Sifi Den All glories to Sn Sif Sita. Rima. Lord Rima is the beloved son ofMabaraja Dasaratha, All glories to Sff Sn $ita Rima.

N,B. The word slyii in the above song is a Hindi form of the name "Sita."

Notes used: P;t::!SRQMPQ
.
Raga AsiivarT Keherwd tal (8 mll/ras)
Sth11yT
X 0 X 0
'~ Sl S S S S S ~. R R R
ja- ay ra- ghu na- an- da- na ja- ay Sl- ya ra-
R R R R S R G M R R S
ja- ay 5T- ya ra- am ja- ay ja- ay sT- ya rif-
Antara
S S S R M M P P P P
ja- na- kT va- al- la- Ma ja- ay sT- ya ra-
~
M M M M p M Q P 'M QI R R S
da- sa- ra- tho na- an- da- na ja- ay Sl- ya ra-
,-
86 am

am

am

B3. 2 Hare K~Qa Maha-mantr3

hare krS!!a hare krsna krsna krsna hare hare hare riima hare rlima rama riima hare hare

N.B. When an asterisk (.) appears beneath a note, it means that the note is only played instrumentally and not sung. In this selection the respective notes played and sung previous to these exclusively instrumental notes should be sustained while these instrumental notes are played.

Notes used: P D N S R Q P D

Raga Misra Sivarailjanl

Keherwa tal (8 matras)

SlhCiyI

x

o

x

0
P D S R
ha- re Ja:- -f-
ha- re ra-
R S D S
D
ha- re Ja:- s-
ha- -
re ra-
• D

*

•

na rna

*

o

o

D

•

R

s Q R S N D P
D
10:- ~- ,!a kr~- ~Ia ha- re
ra- rna ra- mo ha- re
.. //(1 rna

D 0
.. ..
S
P P
I"e
I"e
.. .. ..

o

P

P

p

haha-

..

87

Antara
X 0 X 0
S R Q
ha- re Icr- s-
ha- re ra-
P D P D P
G G Q G
lJa ha- re /q"- ~-
ma ha- re ra-
.. .. .. ..
Q R Q R S S D
S S S S
~la krs- na krs- na ha- re
ma ra- ma ra- ma ha- re
.. .. .. ..
S R
D D D D D
ha- re
ha- re
.. .. .. .. .. 88

89

SrrRaahiki-stava ~
B3.3 by Srila Rilpa Gosvami
(chorus) riidhe jaya jaya madhava-dayite
gokula-taru'!l-mm;u!afa-mahite
(1) diimodara-rati-vardhana-vefe
hari-n;~ku!a-v!nda- vipinese
N_B. For the remaining verses and the translations please consult a song book.
.
Notes used: PDNSB,RGMMPD
~ Keherwa tal (8matras)
SthayT
X 0 X 0
M G R S R G R S D S D P
ra- dhe ja- ya ja- ya ma- dha- va da- yi- te
I
p N R R M D P P M G R R G R
go- ku- ia ta- ru- n7= ma- an- da- la ma- hi- re
I R
M R M P R P D D P M G
go- ku- la ta- ru- nt man- da- la ma- hi- te
Amara
I
p P N R P P P P P M D P
as. da- dha- ~
mo- ra ra- ti va- ar- na ve- se
M M M G M R G M D P M G R
ha- nis- ku- , as pi- /
n ta =vr- n- vi- ne se B3. 4 SrTSrrGurv-a~~aka (morning melody) by Snla Visvanatha CakravartiThikura

(1) samsiira-diivQnaia-li(iha_Ioka_ IriirQya kiirurya-ghaniighanatvam priiplasya kalyiitla-gurarravasya vande gllrof/ srT-carar'iiravindam

(2) mahiiprabho/:J kTrlana-nrtya-gTta_ vad! Ira-miidyan-manaso rasena romiinca-kampasru-taranga_bhlijo vande guro/:J srT-cara{liiravilldam

N.B. 1. For the remaining verses and the translations please consult a song book.

2. This "morning melody" is in Raga PrabhiitT. The word prabhiitlcomes from the word prabhiit which means daybreak or dawn. The singing time for this raga is during both the last prahar of night and the first prahar of day. Stila Prabhupida insisted that mangal-liralfbe sung using this melody.

I

Notes used: G M M P D N S R G M P

Raga Prabhiill

lin tal (I6 matras)

Sthliyf

v

..

2

o

3

P

S

N

p

,

M P

D

P

ka

D

M

G

sam- sa~ ra do-

va

na- 10- II- dha 10-

s

s

s

s

R

s

N

s

s

P

p

D

tva- am

Ira- lIa-- ya kii-

gha- na- gha- na-

P

.

s

s

R

G

R

s

N

s

s

N

D

priip- las- ya ka- al- YG- 110 [[11-

nor- 110 110- as- ya

o s

G

N

P D

vi-

i17-

da- am

R

s

I~

'1 ca-

s

s

1'011- de

gn-.

ro-

oh

.§rT

ra'-

no- ra

90