HARMONIUM-GENERAL

Harmonium is basically a foreign instrument. As the name suggests it is an effective·nusical instrument to create harmony of notes-the basic tenet of the Western Music. But

t fits admirably in the Indian style of Music rooted in melody of notes, owing to itsnfinite adaptability and range of adjustments. It entered India along with the Westernnfluence brought during the British rule. It is an instrument which needs no tuning like

lither stringed or wind-instrument of accompaniment. Besides the setting of keys of this·nstrument is so simple that one can fix every key according to the pitch of one's voice·.nd play it easily.

Coupler Harmonium: This is also like a simple harmonium with the difference of an.xtra reed-board fitted between the upper reed board and the keys and wires of that reed-

·.oard are connected with the keys. On account of this arrangement when we press any of·he keys of this harmonium, the keys of the second octave press down themselves, givingthe harmonic affect of different sound notes. Since it increases the volume of the sound, its quite popular with the Devotional-Music Singing Groups (Bhajan Mandalies) andhe Nautankiwalas (the musical-drama playing groups).

kale-Change Harmonium: The design of this Harmonium is like simple harmonium,he only difference being that in it the keys are not fitted over the key-board. They areitted over a plate which is connected with a tape. On moving that tape sideways the keys.hemselves leave their place to fit on another note. Hence the especial usefulness of this.ype of harmonium for those who are accustomed to playing with one note only.

IHow to Handle Your Harmonium

Harmonium might not be as delicate an instrument as Sitar or Sarangi is, but a slight'.:oncussion on its body would result in its going off the key. Hence it should be handled·,ery carefully. Following are some useful tips to handle your harmonium properly:

1. Remove the cover of the keys.2. Open the bellows.3. Pull out the stops as per your requirement of the volume of the sound.4. Always put the fingers on the key before blowing out air through the bellows.5. For a right handed person, in playing the harmonium the left hand is used to press

the bellows while the right hand fingers slide over or press the keys.6. Do not put fingers in straight position on keys. The straight fingers cannot press

keys swiftly and it might affect the free movement of fingers. So play always withyour fingers bent in a semicircular form.

7. Normally, the first, second and third finger of the right hand (for the right handedperson) are employed in playing upon keys. The fourth finger is also sometimesused, depending upon the requirement.

8. Never press the keys heavily. Besides restricting your free movement of thefingers, the heavy pressure would also produce a collision sound of the keys withthe body of the harmonium. This will not only produce a discordant sound butdamage the brass-spring of your harmonium.

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9. Normally all the fingers are used on all the keys, both black and white, but itwould be better if you do not use your thumb to press black keys. The use ofthumb should be restricted for white keys only.

Measures Ensuring Safety of Your Harmonium: The harmonium should not bekept in damp place. It may loosen the joints of the bellows. It should be protected fromthe exposure to high temperature. This exposure spoils the polish and colour of yourinstrument and also damages the reed board. Never put fingers into the holes made in theslits in which the valve is fitted. Wrap the upper side and sides of the instrument in paperor cloth before placing it in the covering box to prevent damage by small germs andinsects. Never leave your instrument uncovered in the open.

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Shruthi

On the Harmonium, every reed represents a semi-tone or half a Shruthi. It is calledSwara Sthana. Please note the Hindustani, Carnatic and Western version of

shruthi's on the Harmonium. It is important to note the M (or Ma) lies on the sixthposition away from the tonic or basic note S (or Sa). P (or Pa) lies on the eighth

position away from S or Sa irrespective any Shruthi chosen. In Prashantinilayam,the students follow the Carnatic version.

HINDUSTANI CARNATIC WESTERN

White 1Black 1White 2Black 2White 3White 4Black 3White 5Black 4White 6BlackSWhite 7

11-11222-112344-11255-11266-1127

CC SharpDD SharpEFF SharpGG SharpAA SharpB

1 P = 1st white, s" white, 8th white2 P = 2nd white, 6th white, 9th white3 P = 3rd white, 7th white, ro" white4 P = 4th white, 8th white, 11thwhite5 P = 5th white, 9th white, rz" white6 P = s" white, 10th white, 13th white7 P = 7thwhite, 8th black, 14th white1-112 P = i" black, 4th black, 6th black2-112 P = 2nd black, s" black, 7th black4-1I2P = 3rd black, 6th black, 8th black

Jai Sai Ram

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Important Points on Notations, First Lesson on Rag Yaman from Kalyan Thhat

Notations:

In Indian Classical Music there are standardized notations to make it easy for everyone to read the music. The notations are as follows:

An underline mark to indicate a Komalnote: as is DHA.

A dot below the note is to indicate that the note is in the lower octave.

A dot above the note is to indicate the note is in the higher octave.

An inverted comma above Ma is to indicate that it is Teevra note.

An'S" or a dash is to indicate that the matra should be pronounced as an 'Ah" or 'Ee'rather than the note itself.

Example: DHA S S S or DHA -- -- -- is pronounced as Dha, ah ah ahNI S S S or NI -- -- -- is pronounced as Nee, eee, eee, eee

A bracket under a set of notes to indicate that all the notes in the bracket should bepronounced in one matra: Example is PaDhaNISa

Finally, as we have learned in our ealierlessons, the basic octave is comprised. of thefollowing: Middle octave(middle SA) SA RE GA MA PA DBA NI SA (higher SA)

However most songs or bhajans cover three octaves on the harmonium or keyboardNormally, one should have voice range covering two octaves.

EXPLANATION OF SOME KEY WORDS

JATI (CASTE):

Audhav (5 notes/tune), examples of Ragas are Bhoopali, Durga and Shiv RanjaniShadhav (6 notes/tune), examples of Ragas Puriya, Marva and SohniSampurn (7 notes/tune), examples of Ragas Yam an, Bhairav and Bhairavi

There are Sub-Castes:For example: 5 notes in Aroh (ascending) and 6 notes in Avroh (Descening), 5 notesin Aroh and 7 notes in Avroh, 6 notes in Aroh and 5 in Avroh, 6 in Aroh and 7 inAvroh, 7 notes in Aroh and 5 notes in Avroh, 7 notes in Aroh and 6 notes in Avroh.Examle: In Bhimpalasi Raga, there are 5 notes in Aroh and 7 notes in Avroh

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VADI: The most important note (mukhya swar) in a RAGA or tune is called VADI.In other words, while playing on the harmonium we are stopping or playing on thisrote often.Example: GA is VADI in Yaman and Bhoopali Ragas

SANVADI: Another important note or tune which is taken in the Raga less thanVadi but more than other notes or tunes.For Example: NI in Yam an and DHA in Bhoopali

VARJIT SW AR or Note: In some RAGAS, some notes are not present. In otherwords these notes are not played.

STHAYI: In songs or bhajans, the beginning portion of the rendering of the bhajanis called Sthayi (mostly played in the Madhya-middle octave, or Mandra Saptak,lower octave)

The other portion ofthe song or a bhajan or geet is called ANTARA (mostly playedin TAR-Higher octave or MADHYA, middle octave.

It is important you understand these terminologies and it will become easy for younot only play on the harmonium and render the songs very effectively.

RAG YAMAN (Kalyani)

Kalyan, Yaman or Kalyani Rag or tune originates from Kalyan Thhat. In this Rag,Ma note is Teevra and other notes are Shudh or Pure notes. Sometimes in some

songs, one can use Komal Madhyam or Ma Note, then it is called Iman Kalyan. Jatiof this Rag is Sampurn, meaning there are 7 shudha notes or swaras in this Raga.

Thaat: Kalyani or Klayan

Jaati: Sampurn Rag (7 notes in Aroh and Avroh)

Singing Time: First part of the night (Rat Ka Pahala Prahar)

Varjit Swar (Missing Notes): Komal RE, GA, DHA, NI

Vadi Swara (Main Note): Shudda GA

Samvadi Swara (Second most important note): Shuddha NI

PAKADorMUKHYAANG(Most Important Notes in this Raga or Tune)

Ni. ReGa, ReGaMa'Pa, Ma'Dha, PaMa'GaRe, Ni.ReSa

G:,

OrNLReGa, GaMa' Pa Ma' Ga, NLReGaRe, Ni.ReSa

OrNI.ReGa, ReGa, Ma' Ga, Re Sa

Alaap

1. Ni.ReGa, ReGa, Ni.Re, Dha.Ni.Re, Sa2. Ga, Re, Sa, Ni.Dha. Ni.Dha.Pa., Dha.Ni.ReGa, Ni.Re, Sa

3. Re, Ma'Ga, Pa, Ma'Dha Pa, GaMa'DhaPa, Ma'Ga, Re Ga, Re, Sa4. GaMa'DhaNi, Ma'DhaNi, DhaPa, NiDha, Pa, DhaPa, Ma'PaMa'Ga, ReGa,

ReSa5. GaMa'DhaNI, SA*, Ma'DhaNiRE*SA*, DhaNi, Re*Ga*, Re*, Sa*,

NiDhaPa, GaMa'DhaNi, DhaPa, Ma'Ga, ReGa, Re, Sa

Kalyan RagAroha (Ascending): SA RE GA MA" PA DHA NI SA *

Avaroha (Descending); SA* NI DHA PA MA" GA RE SA

Ragas Based on Kalyan (Yarnan)Yam an Kalyan, Hanswadhani, Shudh Kalyan, Kedar, Hindol, Bhopali etc

We will Learn and master (irst the Rag Yaman

Alankar Practice (Start at Black 2, Middle Octave)Sa

Sa Re GaSa Re Ga Ma'

Sa Re Ga Ma' PaSa Re Ga Ma' Pa Dha

Sa Re Ga Ma' Pa Dha NISa Re Ga Ma'Pa Dha Ni Sa*

And Repeat Practicing backwards several timesChord Practice for a song

Pa. Sa GA (Chord), Dha Re Ma (Chord), Re Pa Ni (Chord) & PaGa*SA *(Chord)

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Ganesh Song in Yaman Raag

Jai Ganesha Jai Ganesha Jai Ganesha Pahima(paSa*Ga*Chord), Sa*Sa*Sa*Sa*, Ni Ni Ni Ni, Dha Dha Dha Dha, Ma Pa Dha

(RePaNi Chord)Ma'Ma'Ma'Ma', Ga Ga Ga Ga, Re Re Re Re, NiReSa (SaPaGa Chord)

Jai Ganesha Jai Ganesha Jai Ganesha RakshamaMa'Ma'Ma'Ma'(ReDhaMa chord), Ga Ga Ga Ga (SaPaGa chord)ReReReRe

(paN iRe chord) Ni Re SaJayaho Shamho Nandana Jayaho Gowri Nandana

GaGa Ma'Ma' Dha Dha Dha-(ReMaDha) Sa*Sa*Sa*Sa* NiRe*Sa*Sa*(PaSa*Ga*)

Jayaho Vighna Nashaka Jayho Vishwa PalakaGa*Ga*Ga*Ga*1 Re*Pa*Ga*Ga*lRe*PaGa*Ga* (PaSa*Ga*)

Re*Ga*Re*Sa*NiI Ni Re*Sa*--Sidhi Data Budhi Data Maha Ganapate

Sa*Sa*NiniDhal Dha Ni Dha PalMa'Dha Papa Ma Ga(Chord ReMaDha) and Papa Ma Ga

Maha GanapateGa Pa Gaga Rere Sa Sa

(SaPaGa Chord) followed by Ga Ga Re Sa

Come back to Sa Pa Ga Chord.

Hanuman Song in Yaman Raag

Jai Hanuman Jai Hanuman(PaSaGa) SaSaSaSa SaPa-- --/GaGaGaGa GaRe-- --

(paNiReChord)Marutiraya Jai Hanuman

NiNi ReRe GaGaPaPa ReReGaReSa (PaSaGa chord)Anjanekumara Jai Hanuman

(SaPaGa) PaPaPaPa PaPaPaPalMaDhaPaMa' GaGaGa-(PaSaGachord)Rama Duta Jai Hanuman

NiNiReRe GaGaPaPalReRe GaReSaSa-(PaSaGa Chord)

Rasa Vilola Nandalala

Rasa Vilola NandalaRadha Madhava NandalaRasa Vilola Nandalala

Nanda Kishora NandalalaNavaneeta Chora Nandala

Nandalala Sai Nandala (song 1201 A)

Start with SaPaGa ChordGa Re Ga Pa Ga Re Sa Sa (SaPaGa): Rasa Vilola

Ni Sa Nini Dha Ni Sa Sa Sa Sa (SaPaGa chord): Nandalala

Ni Re Ga--Ga Ga Ga--(SaPaGa): Radha Madhava

Ni Re Ga Ma Pa Ma Ma Ga (SaPaGa): NandalalaRepeat first line (Rasa Vilola Nandala)

Sa-- Ga Ma Pa Pa Pa Pa (SaGaPa-midOctave): Nanda Kishora

Ma Pa Mama Ga Ma Pa Pa Pa: Nandalala (SaGaPa-midOctave)

Ma Ma Ma Ma Ga Ga Re Re ReGaReSaNiniSa (PaSaGa)Navaneeta Chora Nandalala

Nandalala Nandala (Fast tempo playing at the end)Ni Ni Sa Re (PaNiRe Chord) ReGaReSa (Pa.SaGa Chord)

Jaya Jaya Jaya Jaya GurudevaJaya Parameshwara Sai DevaJaya Shiradeeshwara GurudevaJaya Partheeshwara GurudevaJaya Jaya Sadguru Sri Sai Deva

(Song No. 659A)

GaGaReRe SaSa SaSa (Jaya3x)SaSaReSaNi (Re.Pa.Ni chord) GurudevaNiSaReReReReRe(Jaya Parameshwara)

ReGaReSa (SaPa.Ga) (Sai Deva)SaGaMaPaPaPaPaPa(SaGaPa-midoctave)

(Jaya Shiradeeshwara)MaDhaPaMaGa-- (Guru Deva: Pa.SaGachord)

GaMaPaDhaDhaDhaDha(ReMaDha)(Jaya Partheeshwara)

PaNiDhaNiDhaPaPaPa(RePaNi)(Gurudeva)

Sa*Sa*Sa*Sa*NiNiDhaPa(Jaya Jaya Sadguru): RePaNichordReReGaReNireSaSa (SaPaGa)

Sri Sai Deva

Other songs/bhajans in Kalyan are as follows:1. Deva Dvottama, Darashna do Prabhu, Koti Pranam

2.Jaya Ho Jaya Ho Gajanana and Sundara Vadana

3. Jaya Jaya Jaya Guru Deva4. Jaya Hanuman Jaya Hnuman

5. Anadamaya BhagawanWe will practice few of these songs and see how these are composed so that you can

learn how to play and learn the style of composition. Once we have mastered

1t'B

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learning how to play some of the easy songs in this Raga, and we will learn othersongs derived from Kalyan Thaat (eg., Bhopali, Hanswadhani etc)

In Loving Service to SaiRamesh K. Nayak

rnayaksai@yahoo.com301-839-5883

Pa.SaGa ChordLowerPa

NI. (hold) or Ni.Ma.Re ChordLowerNi &Ma

Ni.SaReMa.Ni.Re Chord (Gmajor)

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Practice these Alankars in Yam an Raag: Start at the Middle Octave, means Teevra Ma* means Higher note Sa*

SA RE GA MA' PA DHA NI SA*SA' NI DHA PA MA' GA RE SA

Practice each line in Ascending (Aroh) and Descending Scales (Avroh)1. SaReGa, ReGaMa', GaMa'Pa, Ma'PaDha, PaDhaNi, DhaNiSa* (Repeat both ways)

2. SaReGaMa', ReGaMa'Pa, GaMa'PaDha, PaDhaNiSa* (Repeat both ways)

3. SaGa, ReMa', GaPa, Ma'Dha, PaNi, DhaSa* (Here you skip one note)

4. Salvla', RePa, GaDha, Ma'Ni, PaSa* (Here you skip two notes)

5. SaSaRe, ReReGa, GaGaMa', Ma'Ma'Pa, PaPaDha, DhaDhaNi, NiNiSa*(3 notes at atime, both ways up and down)

6. SaReRe, GaMa'Ma', PaDhaDha, NiSa*Sa* (Both ways up and down)

7. SaSaReReGa, ReReGaGaMa', GaGaMa'Ma'Pa, PaPaDhaDhaNI, DhaDhaNiNiSa*

8. Sa, ReSa, GaSa, Ma'Sa, PaSa, DhaSa, NiSa, Sa*Sa, SaReGaMaPaDhaNiSa*Sa*,NiSa*, DhaSa*, PaSa*, MaSa*, GaSa*, ReSa*, Sa*Sa*, Sa*NiDhaPaMa'GaReSa

If you practive these alankars, then you can easily learn how to play songs composed inYarnan Ragas

Sargams to chant Sai Gayathri Mantra:. (lower octave note)

OM SAYEESHW ARAYA VIDMAHE

SATHYAReSAsaPa.SaGa (Chord)

DEVAYANI.reSA (Pa.SaGa chord)

DHEEMAHInLReSa

TANNOSANIniNi.Ma.Re chord

PRACHODAYATNi.SaReSa Back again to Pa.SaGa Chord

Om Sri Sai Ram

RAG HANSADHWANI

That: Kalyan

Jati: Audhav-Audhav (5 notes)

Vyarj Swar (absent notes): MA and DHA

Vadi Note: RE Sanvadi Note: PA

Singing Time: Night (Ratri Ka Doosra Prahar)

AROH (Ascending notes): SA RE GA PA NI SA*AVROH (Descending notes): SA* NI PA GA RE SA

Important Notes or Characteristic notes in this Raga (Pakad or Mukhya Ang)SA NLP A.REss GaPa GaRess SA

II.

Songs in this Raga:This raga is really based on carnatic style and many Ganesh bhajans are composed in thisraga.

1. Ganesha Sharanam Sharanam Ganesha2. He Shiva Nandana Sai GajananaiEashwaramba Nandana He Jagavandana3. Maha Ganapate Namostute4. Sai Gajanana Deenavana/Sindhura Vadana Sritajana Palana

We will learn how to sing and play the famous Ganesh song:

GANESHA SHARANAMGa*Pa Sa* (Chord) Sa*-4x Ni Ni Pa Pa

SHARANAMGaPaNi Ni

GANESHARe*Re*Re*Re*

SHARANAMNi Ni PaPa

SHARANAMNi Re* Ni Pa

GANESHA SHARANAM SHARANAM

GANESHA SHARANAM SHARANAM

SAYEESHA SHARANAM SHARANAM SAYEESHA (4x)

GANESHASa*Sa*Sa*Sa*

(Ga*Pa Sa*chord)GANESHAPa Ni Re* Re*

(PaNiRe* chord)

GANESHA

GANESHA

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DEVISONG (Yarnan Raag)

SAISHWARI AMBA JAGADISHWARlPaSaGa SaGaGa- RegaReNiReSa PaPa (SaGaPa )ReReGaReGaReNiReSaSa

KALYANISaGaPa GaPaSa*Sa*

KANCHIPURI KAMAKSHINiNiDhaPa Ma'DhaPa-(SaGaPa) Ma 'PaMa'maGa

SAISWARI(Same as first line)

AMBA JAGADISHWARl

PARTHISHWARISaGaPa Ma'Ma'GaMa'Pa

AMBASaGaPapa

PARMAESHW ARlMa' PaMa' GaMa' PaPa

MATANGI MADURAPURI MINAKSHIGaPaSa*Sa* NiNiDhaPaMa'Pa (SaGaPa) Ma'PaMa'Ma'Ga

GANESH SONG (Hanswadhani Raag)

SAI GAJANANA DINA VANA(PaSaGa)Sa*Ga*Re*Re*Sa*Sa*NiPa GaP aNiNi Sa*Sa*Sa*Sa*(GaPaSa*)

SINDHURPaNiSa*Re*Re*Re*-(PaNiRe*)(GaPaSa*Chord)

VADANA SRITAJANA PALANASa*Re*Ga*Re* Sa*Sa*NiPa

AMBIKA TANAYA AMARADISHWARA(PaSa*Ga*) Ga*Ga*Ga*-Re*Pa*Ga*Ga* Re*Ga*Re*Sa* NiSa*Re*Re*(PaNiRe* chord)

AGANITASa*Ga*Re*Sa*

GUNA GANANiPaNiSa*Re*Re* (PaNiRe*)

ANANDASa*NiNiPa (SaPaGa)

DAYAKAGaP aGaReSas a-( aGaPa chord)

JAISAlRAM

RAG BHOOPALIBhoopali Rag originates from Kalyan Thaat. In this Raga or tune, Ma (Madham) and Ni

(Nishad) notes or swars are absent. Therefore, the Jati of this Raga is Audhav-Audhav, allpure notes or Shudha Swars.

Vadi Swar: Ga (Gandhar)Sanwadi Swar: Dha (Dhaivat)

Singing time: Night time (beginning) or Ratri Ka Pratham Prahar

This is a very simple (saral) and madhur (sweet) rag.

AROH NOTES: SA RE GA PA DHA SA *AVROH NOTES: SA * DHA PA GA RE SA

PAKAD (Chararatic notes): GA RE, SA DHA, SA RE GA, DHA PA GA, RE SA

Practice Lessons (Alankar) *means high noteSa Sa, Re Re, Ga Ga, Pa Pa, Re Re, Ga Ga, Pa Pa, Dha Dha

Ga Ga, Pa Pa, Dha Dha, Sa*Sa*/Sa*Sa*Dha Dha, Pa Pa, Ga GaDha Dha, Pa Pa, Ga Ga, Re Re, Pa Pa, Ga Ga, Re Re, Sa Sa

Dha Sa Re Ga, Pa Dha Sa* Re*, Ga*Re*Sa*Dha, Pa Ga Re Sa

There are many bhajans in this raga (Jaya Jagadeesha Hare, ShriradipuriBhagawaan, Shree Rama Charanam, Rama Rama Jaya Raghukula, Giridhara

.Gopala He Giridhara)

Jaya Jagadeesha Hare Jaya Govinda Hare(PaSaGa) SaSaSaSa SaReGaReGa- (PaSaGa) Ga'PaPaPaPa DhaPaGaReSaRe

(PaNiRe)

Nityanananda Brahmananda Jaya Gopala HareSa*S*Sa*SA*DhaPaPa--(SaGaPa) PaDhaPaDhaPaGaGa-PaDhaPaGa

ReReGaReSaSaAruna Chala Shiva Om Trishula Dharaka Om

PaPaPaPa DhaSa*Re*Re* Ga*Ga*Ga*Ga* Re*Re*--(PaNiRe*) Re*Re*Re*Re*Re*Sa *Re*Ga *Re*Ga *Re*Sa *Sa * (paSa*Ga *)

Hari Narayana Om Sai Narayana OmRe*Ga*Re*Sa* DhaPaDhaRe* (PaNiRe*) Re*Ga*Re*Sa* DhaPaRe*Sa*Sa*

(PaSa*Ga*) chordJaya Devi Bharati Vidya Dayini Anna Poorna Mata Om

(SaGaPa) PaPa Dha Sa*DhaPaPaPa PaDhaPaDha PaGaGaGaPaDhaPaGaReRe (PaSaGa) ReGaReSaSaSa (PaSaGa) chord

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lIt

Shradipuree Bhgagwaan Parthipuree Bhagawaan(PaSaGa) GaPaDhaPa GaReSaReReRe-ReGaRe (PaNiRe) GaReGaPa

DhaPa GaReRe, ReGaReSaPremaswaroopa Premavataara

Sa*Sa*Sa*Sa* Sa*ReDhaDha DhaDhaDhaDha SaDhaPaPa (PaSaGa)(Sa*Sa*Sa*Sa*Sa*Re*Ga*Ga*Re*Re*Sa*Sa*): second time Premaswaroo ... pa

Sai Natha BhagawaanPaPaDhaDha Sa*Sa*Re*Re*Sa* (Sa*PaGa*)

Sai Natha BhagawaanGa*Ga8Re*Sa*DhaDha Ga*Re*Sa*Sa* (Sa*PaGa*)

Budham Sharanam Gachhami(PaSa*Ga) Ga*Ga*Ga*Ga* Re*Ga*Re*Sa* (PaSa*Ga*)

Dhammam Sharanam Gacchami(PaNiRe*) Re*Re*Re*Re* Sa*Re*Sa*Dha (PaNiRe*)

Sathya Sayeesha Sharanam GacchamiPaPa Ga*Ga*Re*Sa*Dha (SaMaDha) Ga*Ga*Re*Re*Sa*Sa* (PaSa*Ga*)

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Popular Rama song: Sri Rama Charanam

Sri Rama Charanam, Sri Rama Charanam Sri Rama Charanam BhajeySaSsSaSaSaReSaDha, SaSaSaSaSaReSaDha, SaSaSaSaSaRePaGa (Pa Sa Ga)

Sri Rama Charanam, Sri Rama Charanam, Sri Rama Charanam BhajeyGaGaGaGaPaGaRe, ReReReReGaReSa, SaReGaReSaReDhaSaSa (Pa Sa Ga)

Vaidehi Ramam Vaikuntha Ramam(Pa Sa Ga) Ga Pa Pa Pa Pa Dha Dha Sa Dha Pa

(Pa Sa* Ga) Bhopala ChoodamaniPa Dha Sa* Sa* Sa* Sa*Re* Sa*DhaSa*Sa*Sa* (Sa*PaGa*)

Bhopala ChoodamaniGa Ga Ga Re Sa* Sa*Re*Sa*Re*Dha Re*Sa*Sa* (Sa*PaGa*)

Aathmabhi Ramam Prabhu Sai Ramam•.. ~ .•.... ; .... ,.~,Ga Ga Ga Pa Ga Re Re Re Ga Re Re Sa I

Sri Rama Charanam BhajeySerRe Ga R~ Sa Re Dha Sa "-Dha Pa'

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Sri Rama Charanam BhajeyPa Dha Pa Ga Re Sa Re Ga

Sathya Sai Rama Charanam BhajeyPa Pa Ga Pa Dha Pa Ga Re Dha Dha Sa

ARATHIPRAYER

1(;·

OM JAI JAGADHEESHA HARE, SWAMI SATHYA SAI HARESaPaGa Sa Sa Sa Sa! Sa Sa Ni Sa Re(4x) ReReReGA Ma Ma PaPa DhaPaMaGaMaReReRe Re(4x)

BHAKTA JANASAMRAKSHAKA,BHAKTAJANASAMRAKSHAKAReGaReGa MaMaMaGa Re Ga Ga Sa

PARTHI MAHESHWARAReReReRe ReGaRere SaSaNiNiDha

OM JAI JAGADEESHA HAREReReReRe GaRe'SaNi SaSaSaSa

Repeat the same for the subsequent lyrics

Narayana Narayana Om Sathya Narayana Narayana Narayana OmSa (8x) Ni Sa Re Re Re Ga Re Ga Re Ga Ma Pa Dha Pa Ma Ga Re Re

Narayana Narayana Om Sathya Narayana Narayana Om Sathya Narayana Narayana OmGa Ga Ga Ga Ma (4x) Ga Ga Re Re Sa Sa Re Re Re RE Ga Re Sa Sa Ni Dha

Om Jai Sadguru DevaRe Re Ga Re Sa Ni Sa CPaNi Re chord)

That Bilaval (Shankarabharanam)

Arch (Ascending): Sa Re Ga Ma Pa Dha Ni Sa*Avroh (Descending): Sa* Ni Dha Pa MaGa Re SaVadi Swar: DhaSanvadi Swar: GaGayan Samay (Singing Time): Morning time at the beginning timeExample of songs: Hey Sai Jagannatha and Chitta Chora Muralivala

Rag Alhaiya Bilaval: This raga is from bilaval that. Jati of this raga is sampurnmeaning all notes are shudha. Vadi Swar or note is Dha and Sanvadi note is Ga.Singing time is pratahkal ka pratham prahar meaing early morning hours. In thisraga, in Aroh or ascending, Ma is absent and in Avroh, komal Ni~ will be used.

Aroh: Sa, Re, GaRe, GaPa, Dha, NiDha, Ni Sa*Avroh: Sa* Ni Dha Pa DhaNi_ DhaPa, MaGa, MaRe, Sa

Pakad (Important notes): GaRe, GaPa, Dha, NiSa*

BOLO NARA YANA JAI JAI VITTALA(Pa.SaGa) SaReGaRe SaDhaReSA (Pa.SaGa) Pa.Pa.Dha.-Sa 4x

SAI NARAYANA RANGA RANGA VITTALA(Pa.Ni.Re) ReRe SaReReReRe- SaReGaRe SaSa ReRe (Pa.Ni.Re)

BOLO NARA YANA JAI JAI VITTALA (same as first line)

GOVINDA VITTALA RUKUMA YI VITTALA(Pa.SaGa) SaGaPaPa-- DhaPaGaRe ReGaPaPa GaDhaPa-

GOPALA VITTALA PANDURANGA VITTALA(SaMaDha) MaMaMaMa MaDhaPa PaGaReSa SaReGa-(SaPa.Ga)

SRI RANGA VITTALA SAI RANGA VITTALA(Pa.Ni.Re) ReReReRe ReGaMaPa GaReSaDha SaSaSa-(SaPa.Ga)

Other popular songs in this raga:Mana Mohana NandalalSathya Swaroopini MaaHari Hari Hari Hari Hari Hari BoloNarayana Hari Nama Bhajore

Rag SHANKARA (derived from Bilaval Thaat):

That: Bilaval Jati: Audhav

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Jago JagadoGa Ga

Udharini MaaPaResa NiNi Sa

Samay (Singing time): Ratri Ka Doosra Prahar, Late Night timeMissing Note (Vyarja Swar): Ma or Madhyam During Aroh: ReVadi Swar: GaSanvadi Swar: NiAroh: Sa GaPa NiDha Sa*Avroh: Sa* Ni Dha Pa, GaPaGaReSaPakad (characteristic notes): PaGa, GaPa ReGaReSaOr Sa, GaPa, NiDha, Sa*Ni, PaGa, Pa, Ga, ReSa

Jaga Dho Dharini Mata Durga(Pa Sa Ga) SaSa Gaga PapaNini NiDha NiSa* NiPapaJagaDho Udharini MaaGaga Pa Re NiRe SaJago Jago Maa Jago Jago Maa Jago Jago Maa JananiSa Sa GaGa Pa GaGa PaPa Ni PaPa NiSa*Ga* Re* NiRe*Sa*Sa* (Sa*PaGa)Hey Durga Devi Rani Chandi DeviSa* Re*Ga*gagaga ReSa* NiSa* Re*rere SaRe* (Pa Ni Re*)

Hey Shiva Ramana Jago MaaDaNi Sa*Sa* Re* Sa*Dha NiRe* Sa* (Pa Sa*Ga*)

Hey ShivaSa* Ni Sa*

Ramana Jago MaaNiDhaPaGa GaMa paGa

RAG PILOO originates from RAG KAFI:

Therefore first let us learn the basics of KAFI Rag which is an important Raga.

Jati: Sampoorna

Time: Any time

Vadi Swar or Note: PA

Sanvadi Swar or Note: SA

Aroh: Sa Re Ga Ma Pa Dha Ni Sa*- -

Avroh: Sa* Ni Dha Pa Ma Ga Re Sa

Pakad (Characteric notes): SaSa, ReRe, Ga_ Ga_, MaMa, Pa

Famous Ganesh Bhajan composed in this raga:

Pahi Pahi Gajanan_a Parvathi Putra GajavadanaGajanana Gajanana Gajanana Gajavadana/ Pahi Pahi Gajanana .....Mooshika Vahana Gajanana Modaka Hastha GajananaChamara Karna Gjanana Vilambita Sootra GajananalPahi Pahi.. ...Vamana Roopa Gajanana Maheshwara Putra GajananaVighna Vinayaka Gajanana Pada Namasthe GajananaTava Pada Namasthe Gajanana

RAGPILOO

This melodious raga derived from the Kafi Thaat shown above. Let us learn aboutthe notation and the characteristic notes of this raga. There are so many famousgeets and bhajans are in this melodious raga. In this raga, all 12 notes are used andin AROH (ascending) shudha swaras are used and in AVROH komal notes areused.

Vadi note or Swara: Komal Ga

Sanvadi: Teevra Ni

Singing Time: Din Ka Tisra Prahar

Aroh-Avroh Swarup or characteristics:

Ni. Sa,Ga Re Ga ,Ma Pa, Dha Pa, Ni Dha Pa, Sa*/ Ni Dha Pa Ma Ga ,Ni. Sa- - - - - -

Jq

Pakad or Characteristic notes:

~(,.

Ni. Sa, Ga_ Ni. Sa, Pa. Dha_. Ni. Sa

I

II

Songs:Jai Jai Prabhu GiridhariDanava Bhanjana Rama SaiChitta Chora Yashoda Ke BalSitha Rama Kaho Radhe Shyam Kaho

Famous Meera Bhajan:

Turn Bina Mori Kauna Khabara LeGovardhana Giridhari Re ...Mora Mukuta Pitambara SobheKundalakee Chhabi Nyaaree Re.. Turn Bina Mori. .Bhari Sabha Mey Draupadi ThhadeeRakho Laaj Hamaree Re.. Turn Bina Mori .Meera Key Prabhu Giridhara NagaraCharana Kamala Baliharee Re .....

This song can be sung in Piloo or Kalyan Rag and Kaharva Taal. Below is thenotation in Kalyan Rag which we have learnt earlier.

Sthayi:

Ga Ga Re Gal Re - Sa -/Pa Pa Ma! Pal Re - Sa-Turn Bina Mo-- Ri-Tum Bina Mo-Ri

Ni. - Re SalDha. Dha. Pa. IRe -Ni. Nil Re Ga Pa Ma!Kaun Kha Barale Go... Var dhana Giri

Ga Re I Sa- -Dha Ree Re ....

Antara:

Pa Ga Ma!lPa Pa Pa Pal Ma!Mo Ra Mu Kuta Pee tam

Re Re/Ga Gabara Sohe

Dha _ Dha DhalNi _ Pa PalMa! _Ga .JPaKun dhala Kee Chhbi Nyaaree Re

Anup Jalota's famous bhajan and he really became famous by rendering this Meerabhajan: