Hindustani Vocals

Foundation
Hindustani Vocals
Foundation

A book by

Spardha Learnings Pvt. Ltd.

Copyright © 2020 Spardha Learnings Private Limited.

All rights reserved.
www.spardhaonline.com
CHAPTER 1

The Fundamental Sound 01 to 03

CHAPTER 2

Swara Practice 04 to 08

CHAPTER 3

Taal and Cycle 09 to 17

CHAPTER 4

Introduction to Keys and Scales 18 to 23

CHAPTER 5

Simple Alankaar Level 1 24 to 29

CHAPTER 6

Alankaars with Taal 30 to 39

Spardha School Of Music

Chapter 1
The Fundamental Sound

Welcome to Hindustani Vocals Foundation Course !

Indian Classical Music(ICM) is considered to have its origins from the hymns
present in Vedas. ICM can be studied owing to various mythological stories
from the Puranas which also mentions various Ragas and Taalas.

As suggested from its origins, ICM has a spiritual side thereby having a
meditative effect of the mind and body

Lets start with our first lesson, which is to receite "OM"

OM helps to stabilise your mind and improve concentration.
'SA' is the most important note in Music and is the starting point for any
musician or student is to sing 'SA'.

Exercise - 1.1
Use a keyboard or harmonium if you can, and ask your teacher for a note to
sing "Saa." You can connect TANPURA on Spardha portal and sing Saa .
Ask your teacher to guide correct pitch. ( eg. G# , A# , C# )

Exercise - 1.2
Practice Singing Sa in forms of OM, Saa, Aa,
Ee, Oo, Uu, humming.

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Breathing:

Breathing is a very important thing in singing. Having a good breathing

motion improves your vocal agility and makes your voice sound robust.

Exercise - 1.3

A Simple Breathing Exercise

Ex: Take a deep breath and say the numbers from 1 to as many as you can,
at a comfortable volume. Three times in a row, do this exercise. Every time
you do that, you must be able to add 5 or 7 to your count.

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Exercise - 1.4
Play a single note on the harmonium or keyboard, or listen to a recording of
your teacher playing a single note, and sing that note on Saa for as long as
you can. Do this for 5–7 minutes.

Exercise - 1.5
Sing "Saa" as many times as you can in 5 to 8 seconds. Ex : Sa, Sa, Sa,
Sa…

Practice Tips

It is important to sing from your stomach

Singing notes for longer time increases your breathing capacity
Practice Singing Sa everyday for 5 minutes daily ( Ex1.1 and Ex1.2)

Fun Activity:

1.Write a list of 5 songs you can imagine yourself singing on stage. Share
these songs with your trainer.
2. Go to the Practice Videos section in the portal and check the Education
Videos for reference. Try to learn from them

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Chapter 2
Swara Practice

We have been singing musical notes SA and AA in previous chapter. Now

lets understand what do swaras mean, why is it important, what are some
names of musical notes that you sing and where they come from.

Lets sing the basic musical notes of Indian Music Sa

( SA RE GA MA PA DHA NI SA )

Ni

Dha
Pa

Ma

Ga

Re

Sa
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Exercise - 2.1 Sing one note at a time

(Every note should be sustained for 2-3 seconds)

Exercise -2.2 Sing the first 4 notes

- SA RE GA MA

Exercise -2.3 Sing the next 4 notes

- PA DHA NI SA

Did you know?

Swaras are the sounds that are used in music to perform and express
emotions. The word is found in the Vedic literature, particularly the Samaveda,
where it means accent and tone. The word swara or svara is derived from
the root svr which means “to sound” or naad.

The basic swaras of Vedic chanting are udatta, anudatta and svarita. Vedic
music has madhyama or ma as principal note so that tonal movement is
possible towards lower and higher pitches

Why are musical notes important?

Imagine a world without colours. How would that look?
Your eyes want to see colours to enjoy the world. Likewise, your ears need
good sound to feel good and enjoy the world around you. Thats why musical
notes exist and they were discovered years ago and used for the purpose of
mental enjoyment. What we dont know are the exact people who discovered
these notes but we do have an idea that people who lived in caves discovered
music the way they were inspired to draw pictures to communicate with their
fellow cave mates.

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These names are in Sanskrit and it is believed to have come from a book by
the name Natya Shastra
Sa: Shadaj
Re: Rishabh
Ga: Gandhar
Ma: Madhyam
Pa: Pancham
Dha: Dhaivat
Ni: Nishad

Did you know?

All the musical notes that we have sung till now are said to have been
originated or inspired from the sound of Animals:

Sa is inspired from Peacock

Re is inspired from bull

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Ga is inspired from Goat

Ma is inspired from Dove

Pa is inspired from
Nightingale

Dha is inspired from Horse

Ni is inspired from Elephant

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Isn’t it surprising to see that nature inspires humans so much? Next time
when you hear the sound of peacock, see if you can find the sound of saa
and let your teacher know about this. Or maybe, find out the sound of Ni
from the elephant’s voice.

Download the Tanpura app and Listen to it. Try to hum with it and resonate
with the sound.

You can also use the app on Spardha Portal under Music Utility Section

Link :https://trainer.spardhaonline.com/utility/tools

Practice Tips

How to practice Swaras ?

Practice your 7 swaras in ascending and descending order for atleast 10-20
times a day with 1sec hold for every swara

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Chapter 3
Taal and Cycle

Taal: Taal is a musical term which denotes a group of beats repeated in

cyclical form. It can also be mapped back to Taali which also means a Clap.

Examples:

1-2-3-4|1-2-3-4|1-2-3-4|1-2-3-4

Green: Group of 4 beats

Cycle: Multiple groups of 4 beats

One can try to imagine geometrical shapes while counting Cycle of 4 beats.

4
2

To understand it in a better way, imagine your cycle. When you paddle

it, it goes around in circle. Goes up, and down. And it keeps on hap-
pening again and again. This repetition of up and down is called cycle.
Thats why what you ride at home is called as Bicycle.
( refer the picture above )

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Metronome:

Metronome is a device used to keep a track of beats and understand the

tempo or speed of the song. It has 2 main things, beats per bar and tempo.
Beats per bar will show the number of counts in a cycle and tempo will show
the speed of the metronome.

Students can connect the metronome from Spardha Portal.

Metronome

Exercise - 3.1

Use a metronome and keep the beats at 4 and tempo at 100. Now observe
the movement of the metronome and clap on every first beat.

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1.Use a c and observe your heart-beat. You will

feel that the beating is happening after a certain
time and the beating of heart looks as if it is
regular. You will observe that you hear is beating
after every second. This same beat is applied in
music. The reason why we are bale to understand
beat is because our body also does the
same thing.

2.Put on your television on 26th January or 15th of August (or if you want
to do it now, go on to YouTube) and watch the national celebration of Re-
public’s Day or Independence Day respectively. You will see our Honorable
Indian defense people marching. Do you remember how it sounds?

“Left right left….. Left right left….. Left right left….”, and it keeps on going.
This is also a great example of beat. What we are trying to tell is that you
already know what beat is. You ust need to realise and maintain it when you
sing

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The Five Elements of Tal

There are 5 elements of tal which we will look at in the following sections.
For now, here are basic

• Mātrā: These are the beats, or pulses, in a tal. Every tal has a fixed
number of mātrās (16, 10, 7, etc.)

• Vibhāg: The matras in every tal are divided into sections called vibhāg.
For example, the 16-matra cycle of tintal has four vibhags of four matras
each (4–4–4–4).

• Tālī-Khālī: Every vibhag in a tal is either a tālī vibhag, or a khālī vibhag.Tali

vibhags are stressed and shown by a clap. Khali vibhags are unstressed
and shown by a wave.

• Sam: The sam is the first matra of a tal. It is both the end of one cycle and
the beginning of the next. Sam is often a point of resolution, where many
improvisations and compositions will end.

• Āvartan: The āvartan is the full cycle of any tal. One avartan in tintal (a
16-matra cycle) is 16 matras long. One avartan in jhaptal (a 10-matra
cycle) is 10 matras long. Etc

Some basic taal to work on

Teen Taal 16 1 2
15
3

Beats: 16
12 13 14

Khand: 4 of 4-4-4-4 each

Taali: on 1st 5th and 13th beat
5

Khali: on 9th beat

6
11

10 9 8

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1. Count the followings beats and use Clap and Wave Accordingly

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

2.Now Replace the numbers with the Bols/Syllabus and recite the Teentaal
rhythm pattern. Listen to the Audio File below and recite along with it

Teen Taal Theka:-

1 2 3 4 5 6 7 8
Dha Dhin Dhin Dha Dha Dhin Dhin Dha
X 2

9 10 11 12 13 14 15 16
Dha Tin Tin Ta Ta Dhin Dhin Dha
0 3

\tana taala Oeka:-

1 2 3 4 5 6 7 8
Yaa \Ya/ \Ya/ Yaa | Yaa \Ya/ \Ya/ Yaa
X 2

9 10 11 12 13 14 15 16
Yaa \ta/ \ta/ taa | taa \Ya/ \Ya/ Yaa
0 3

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Audio File link:

https://youtu.be/SxRMsYre02k

True Or False :

1.Number of beats in Teentaal is 8
2.Sam is the first beat of every taal
3.Taali and khali are just the same thing in taal
4.Taal is not too important in Music

Did you know?

Indian Music is based on sounds and our rhythm or counting systems are
also based on sounds of tabla and mridangam.
The Tabla is capable of producing various simple sounds like Dha, Dhin,
Tin, The and some complex sounds like TiRaKiTa, TraKa ,Dhere Dhere
etc.

Why learning Taal and Rhythm is important ?

Melody and rhythm are two integral parts of music. They go hand in hand
and complement each other in the composition as well as during the rendi-
tion. Music is incomplete without either of them. Hence, as it is important to
sing in tune, it is equally important to understand the rhythmic aspect of it.
In Indian classical music, rhythm is maintained through Taal and lay.
Without Taal there can be no music. One who is good with taal has won
50% of the Music

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Practice Tips

Recite TeenTaal bols everyday in 2-3 different speeds for atleast 5min daily.
One can try to relate geometrical shapes with Taal and Cycles

Desh

Raag - Desh

Vadi - Re Samwaadi - Pa Varjaswar - Aarohi Ga Dha

Thaat - Khamaj Jaati - Odav-Sampurn Time - Second part of night

Swaara - Komal Ni in Avaroh Emotion - Shringar Ras

Aaroha - Sa Re Ma Pa Ni Sa

Avaroha - Sa Ni Dha Pa Dha Ma Ga Re Ga Ni Sa

Mukhyang - Re Ma Pa Ni Dha Pa Dha Ma Ga Re Ga Ni Sa

Lyrics
Vande Mataram, vande mataram
Sujalam suphalam malayaja shitalam
Shasya shyamalam mataram vande mataram
shubrajyotsna pulakita yaminim
Phulla kusumita drumadala shobhinim
Suhasinim sumadhura bhashinim
Sukhdam vardam mataram
Vande Mataram

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Vande Mataram
Notation

x 0
1 2 3 4 5 6 7 8
Dha Ge Na Ti Na Ka Dhi Na

S - R - - M P M
Van De Maa Ta
P - - - - - - -
Ram
M - P - - N S N
Van De Maa Ta
S - - - - - S R
Ram Su Ja
N - - D P - P D
Laa M Su Fa
M - - G R - - -
Laa M
R P M G R - - G
Ma La Ya Ja Shee Ta
S - - - - - - -
Laa M
S - R M P M P -
Sa Shya Shyaa - Ma Laa M
- P N D P - - -
Maa - Ta Ram
M - P - - N S N
Van De Maa Ta 3 times
S
Ram

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Antara
x 0
1 2 3 4 5 6 7 8
Dha Ge Na Ti Na Ka Dhi Na

M - P - N - N -
Shu Bra Jyo Tsna
N N S N S - N S
Pul La Ki Ta Ya Mi Ni
- - - - N - N N
Phu Lla Ku
S N S - P R S N
Su Mi Ta Dru Ma Da La
N D N D P - - -
Sho Bhi Ni M
R M G R R N D N
Su Ha Si Nim Su Ma Dhu Ra
D P D P - - - -
Bha - Shi Ni M
M P N - N - N -
Su Kha Dam Va Ra Da M
N S N S - - - -
Maa - Ta Ram -
M - P - - N S N
Van De Maa Ta
3 times
S
Ram

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Chapter 4
Introduction to Keys
and Scales
Identification of Harmonium keys/Piano(Suddha Swaras and Vikrit Swaras)

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Students are required to select a proper pitch suited for their voice. Teachers
should facilitate this process and provide guidance on same

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Raghupati Raghav
Raghupati Raghav Raja Ram
Pathita Pavan Sita Ram
Eshwar Allah Tero Naam
Sabko Sanmati De Bhagawan

RAGHUPATI RAGHAV Notation

1 2 3 4 5 6 7 8
Dha Ge Na Ti Na Ka Dhi Na

Asthayi

S S S S S - N D
Ra Ghu Pa Ti Ra - Gha V

N - R - R M G M
Ra - Ja - Ra - - M

R G - R S - N D
Pa Thi - Ta Paa - Va Na

N - G R S - - -
Si - Ta - Ra - - M

G - G G G - RS -
Es H Wa Ra All A Ahn -

R - G M G - M -
Te - Ro - Na - A M

R R M - P - DP -
Sa B Ko - San - Mati -

M - G R R - S -
De - Bha Ga Wa - N -

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Hum Honge Kamyaab

Hum Honge Kaamyaab
Hum Honge Kaamyaab Ek Din
Ho Ho Mann Main Hai Vishwas
Poora Hai Vishwas
Hum Honge Kaamyaab Ek Din

Hogi shanti charo aur

Hogi shanti charo aur ek din
Ho ho mann main hai vishwaas,
Poora hai vishwaas
Hum Honge Kaamyaab Ek Din

HUM HONGE KAMYAAB Notation

1 2 3 4 5 6 7 8
Dha Ge Na Ti Na Ka Dhi Na

Asthayi

GM
Hum
2 times
P P D D P MG - GM
Hon Ge Ka Ma Ya Ab - Hum

P P D N S - R S
Hon Ge Ka Ma Ya Ab E K

N - DN D P - D N
Di N - - - - Ho Ho

S S N D P - - D
Mann Mein Hai Vish Was - - Pu

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1 2 3 4 5 6 7 8
Dha Ge Na Ti Na Ka Dhi Na

D P - M - G - GM
Ra Hai - Vish - Was - Hum

P P S M G - R R
Hon Ge Ka Ma Yaab - E K

S - - - - - - -
Din

Antara
GM
Hogi
2 times
P P D D P MG - GM
Shan Ti Cha Ro Au R - Hogi

P P D N S - R S
Shan Ti Cha Ro Au R E Ka

N - DN D P - D N
Di N - - - - Ho Ho

S S N D P - - D
Mann Mein Hai Vish Was - - Pu

D P - M - G - GM
Ra Hai - Vish - Was - Hum

P P S M G - R R
Hon Ge Ka Ma Yaab - E Ka

S
Din

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Chapter 5
Simple Alankaar
Level 1
Alankara ( Sanskrit: Ala/kar , romanized: Alaṃkāra), also referred to as
palta or alankaram, is a concept in Indian classical music and literally means
“ornament, decoration”. An alankara is any pattern of musical decoration a
musician or vocalist creates using notes.

Exercise - 1
Sa Re Ga Ma Pa Dha Ni Ṡa
Ṡa Ni Dha Pa Ma Ga Re Sa

Exercise - 2
SaSa ReRe GaGa MaMa PaPa DhaDha NiNi ṠaṠa
ṠaṠa NiNi DhaDha PaPa MaMa GaGa ReRe SaSa

Exercise - 3
SaReGa ReGaMa GaMaPa MaPaDha PaDhaNi DhaNiṠa
SaNiDha NiDhaPa DhaPaMa PaMaGa MaGaRe GaReSa

Exercise - 4
SR RG GM MP PD DN NS
SN ND DP PM MG GR RS

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Exercise - 5
SaReGaMa ReGaMaPa GaMaPaDha MaPaDhaNi PaDhaNiṠa
ṠaNiDhaPa NiDhaPaMa DhaPaMaGa PaMaGaRe MaGaReSa

Exercise - 6

SaRe SaReGa , ReGa ReGaMa , GaMa GaMaPa ,

MaPa MaPaDha , PaDha PaDhaNi , DhaNi DhaNiSa
ṠaNi ṠaNiDha , NiDha NiDhaPa , DhaPa DhaPaMa ,
PaMa PaMaGa , MaGa MaGaRe , GaRe GaReSa

Exercise - 7

SaRaGaRa RaGaMaGa GaMaPaMa MaPaDaPa

PaDaNaDa DaNaSaNa
PaDaNaDa MaPaDaPa GaMaPaMa RaGaMaGa
SaRaGaRa NaSaRaSa

Practice Tips

1.Alankaars should be practices in slow and steady way. You must focus
on the notes and their placement in the scale

2. After getting confidence you should practice the Alankaars in

maintaining a rhythm

3. The rhythm should gradually be increased to gain more vocal control

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Do you see Mathematics in these Alankaar exercises?

Let me give you an example

Ex 3 is group of 3 notes , it can also be interpreted as

123
234
345
456
567
678

Fill in the blanks and complete the exercises

a. b.
Sa Re Ga Ma SaRe SaReGa
Re __ __ __ ReGa __ __ __
Ga __ __ __ __ __ ___ __ __
__ __ __ __ __ __ __ __ __
__ __ __ __

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Achyutam Keshavam
Achyutam Keshavam Krishna Damodaram
Rama Naraynam Janaki Vallabham
Kaun Kehta Hai Bhagvan Khaate Nahi
Ber Shabri Ke Jaise Khilate Nahi

Achyutam Keshavam Krishna Damodaram

Rama Naraynam Janaki Vallabham
Kaun Kehta Hai Bhagvan aate Nahi
Tum meera ke jaise bulaate nahi

Achyutam Keshavam Krishna Damodaram

Rama Naraynam Janaki Vallabham
Kaun Kehta Hai Bhagvan Sote Nahi
Maa Yashoda Ke Jaise Sulate Nahin

Achyutam Keshavam Krishna Damodaram

Rama Naraynam Janaki Vallabham
Kaun Kehta Hai Bhagvan Nachthe Nahi
Gopiyo Ki Tarah Tum Nachathae Nahi

Achyutam Keshavam Krishna Damodaram,

Rama Naraynam Janaki Vallabham
Naam Japate Chalo Kaam Karte Chalo
Har Samay Krishna Ka Dhyaan Karte Chalo

Achyutam Keshavam Krishna Damodaram,

Rama Naraynam Janaki Vallabham

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ACHUTAM KESHAVAM Notation

1 2 3 4 5 6 7 8
Dha Ge Na Ti Na Ka Dhi Na

Asthayi

Sa Re
A Chyu

Ga - Ga - Ma Ga Sa Ni
Tam - ke Sh Vam - Kri Shna

Re - Re Ga Re - Sa Ni
Da - Mo Da Ram - Ra M

Dha - Dha Ni Re - Re -
Na - Ra Ya Nam - Ja Na

Ga - Sa Ni Sa -
Ki - Va Lla Bham -

Antara
Sa Re
Kau N

Ga - Ga - Ma Ga Sa Ni
Keh - Ta Hai Bhag - Va N

Re - Re Ga Re - Sa Ni
Kha - Te Na Hi - Be R

Dha - Dha Ni Re - Re -
Sha - Ba Ri Ke - Jai Se

Ga - Sa Ni Sa -
Khi - La Te Na Hi

Note : Same Notation Is Repeated For All Stanzas.

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Meaning
Oh Achyuta , Keshava, krishna who is known as Damodar , Rama
who is incarnation of Lord Narayana. He is the better half of Janaki .
I worship you .

Who says Almighty Bhagawan doesn't come to you. we have to call

with devotion like Meerabai.

Who says Almighty Bhagawan doesn't eat.

We need to offer food / fruit like Shabari with care and compassion.

Who says Almighty Bhagawan doesn't Dance.

You can see krishna dance with Gopis in Vrundavan.

Who says Almighty Bhagawan doesn't sleep.

You need to sing a lullaby like Maa Yashoda .

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Chapter 6
Alankaars with Taal

Dadra Taal
Introduction: This is a Hindustani classical tala (rhythmic cycle), consisting
of six beats in two equal divisions of three. The most commonly accepted
theka or basic pattern for this tala is dha dhi na, dha ti na. There is a higher
emphasis laid on the first swar in comparison the following two, that is,
dha - higher emphasis following dhi na and again a higher emphasis on
dha following tu na.
1
Dadra
6

Beats: 6
2

Khand: 2 of 3 beats each

Taali: 1st
Khali: on 4th beat
5

Please Note:
Students first learn to count 6 beats as { 1 2 3 4 5 6 } in a loop along with
straight claps before moving to Hindustani claps and counting.

Below is a triangle and Hexagon mapped to a Dadra Taal or 6 beat cycle.

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Dadra- It has 6 beats, 2 Divisions of 3-3 Beats. Taali-1; Khali-4

Dha Dhi Na Dha Ti Na

1 2 3 4 5 6

X 0

Second Form

Dha Ti'N Ti'N Tata Dhi'N Dhi'N

1 2 3 4 5 6

X 0

Reference:
Dadra Taal reference
https://www.youtube.com/watch?v=n1U5k5TDIjg&ab_channel=Indi
anClassicalMind

Famous Songs using Dadra Taal:

Lag Jaa Gale: https://youtu.be/HnLtNrvfZTU
Behkhayali : https://youtu.be/5r0hfplJNT8
Rang Saare: https://youtu.be/jWpcXhB5uNg

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1.Recite Dadra Taal with correct claps for 10 times a day

2. Answer the following True and False questions

A.Dadra has 3 beats in it

B.Bekhayali is based on 6 beats
C.Teentaal has 3 Taali
D.Dadra has one Taali and Khaali

Taal Based Alankars

Alankaar in Taal Dadra

1) SSS RRR GGG MMM PPP DDD NNN SSS

SSS NNN DDD PPP MMM GGG RRR SSS

2) SRG RGM GMP MPD PDN DNS

SND NDP DPM PMG MGR GRS

3) SGR RMG GPM MDP PND DSN

PND MDP G PM RMG SGR NRS

4) SRGMPD RGMPDN GMPDNS

SNDPMG NDPMGR DPMGRS

5) SR SRGM , RG RGMP , GM GMPD , MP MPDN , PD PDNS

SN SNDP , ND NDPM , DP DPMG , PM PMGR , MG MGRS

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Sargamgeet
1 2 3 4 5 6
Dha Dhi Na Dha Tu Na

Asthayi

S N D D N S

R R S N D P

M G M R G M

P G M R R S

S S G R S N

D N S R R S

G M G R G M

P G M R R S

Antara

P P D N S S

S R G R S S

S R S N D P

D N S N D P

S R G R R S

N S N D D P

M G M R G M

P G M R R S

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Rang Saare
Raag : Pahadi Aroh: S R G P D S
Taal: Dadra Avroh: S N D P M G R S

Dha Dhi Na Dha Ti Na

1 2 3 4 5 6

Sa Re

Ga Ga Ga Ma Ga -

Re Re Re Sa Dha Pa Dha

Dha Re Re ReSa Sa Re

Ga Re Sa Sa Sa -

Sa Ga Ma Pa Pa

Pa Ma Ga Re Ga Ma

Ga - Re Sa - Sa Re

Ga Ga Ga Ga Ma Ga

Re Re Re Sa Dha Pa

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Lyrics
Rangi Sari Gulaabi Chunariya Re
Rangi Sari Gulaabi Chunariya Re
Mohe Maare Najariya Saawariya Re
Mohe Maare Najariya Saawariya Re

Sawariya
Rangi Sari Haaye
Rangi Sari
Rangi Sari Gulaabi Chunariya Re
Rangi Sari Gulaabi Chunariya Re
Mohe Maare Najariya Saawariya Re
Mohe Maare Najariya Saawariya Re

Jaao Ji Jaao
Jaao Ji Jaao
Jaao Ji Jaao
Banao Na Batiyaan
Aji Baali Hai Mori Umariyaa Re
Aji Baali Hai Mori Umariyaa Re
Mohe Maare Najariya Saawariya Re
Mohe Maare Najariya Saawariya Re

Rangi Sari
Rangi Sari
Rangi Sari.

About the Song:

Rang Sari is a Dadra folk song of the Indian Subcontinent. Students are
advised to sing it in tradtional folk way and can also try a remake of this
song by a famous Bollywood Singer Kavita Seth.

Rang Sari by Kavita Seth-> https://youtu.be/jY8mAWdQFOA

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Mana Mohana

Raag : Durga

Taal : Teen Taal / 120 beats per min

Composer : Traditional

Aaroh : S R M P D Ś
Avaroh : Ś D P M R S

Asthayi

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

P P MP DS D P M M R -

P Mo Ha Na Mu ra li

S D S - SR MP P P Mp DŚ D P M M R -

Wa la Ma Na Mo Ha Na Mu ra li

S D S - - - S S R - M - P - D Ś

wa la mu ra li wa la sa khi

DŚ RŚ DŚ DP M P

Hai Ka Ia

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Antra

D D M M P P DŚ PD
Ni Sa di na Tum ha ro

PD Ś Ś Ś D Ŕ Ś - Ś D Ś D Ś Ś Ŕ Ŕ
Dhya Na Dha ra ta hai Mu ni Ni ga maa ga ma

Ś D DŚ ŔŚ DŚ DP M P P P P P DP M P D
Gu na Gaa Va ta Hai Ji ta Jai ye U ta

M M R - S D S - S - R M P P D Ś
Ha ma De Kha ta Hai Shee sa Mu ku ta ga le

DŚ ŔŚ DŚ DP M P
Va na maa la

Lyrics
Mana mohana Murali wala
Murali wala sakhi hai kala

Nisadina tumharo Dhyana dharata hai

Muni nigamaagama Guna gaavata hai
Jita jaiye uta Hama dekhata hai
Sheesa mukata gale Vanamaala

Meaning
Sing the praises of lord krishna who is dark complexioned and always
carries a flute. He wears a crown around his head and a garland around his
neck. Focus on him.

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Raag Bhoop

Aaroha - Sa Re Ga Pa Dha Sa

Avaroh - Sa Dha Pa Ga Re Sa

Lyrics
Asthayi

Namana Kara Chatura Shree Guru Charanaa

Tana Mana Nirmala Kara Bhavataranaa ||

Antara

Jo Jo Dhyaavat Shubh Phala Paavata

Janama Marana Dukha Saba Nistaranaa ||

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BANDISH
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha

Asthayi
Ṡ Ṡ D P G R S R
Na Ma Na Ka Ra Cha Tu Ra

S D S R G R G -
Shri - Gu Ru Cha Ra Naa -

G G P D Ṡ D Ṡ -
Ta Na Ma Na Ni R Ma La

S P D P G R S -
Ka Ra Bha Va Ta Ra Naa -

Antara

G G G G P - Ṡ D
Jo - Jo - Dhyaa - Va Ta

Ṡ Ṡ Ṡ Ṡ Ṡ Ṡ R Ṡ
Shu Bha Pha La Paa - Va Ta

Ṡ Ṡ Ġ Ṙ Ṡ Ṡ P D
Ja Na Ma Ma Ra Na Du Kh

Ṡ Ṡ D P G R S -
Sa Ba Nis - Ta Ra Naa -

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