~

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 its
nfinite adaptability and range of adjustments. It entered India along with the Western
nfluence 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, giving
the harmonic affect of different sound notes. Since it increases the volume of the sound, it
s quite popular with the Devotional-Music Singing Groups (Bhajan Mandalies) and
he 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 are
itted 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.

How to Handle Your Harmonium I

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 with
your fingers bent in a semicircular form.
7. Normally, the first, second and third finger of the right hand (for the right handed
person) are employed in playing upon keys. The fourth finger is also sometimes
used, depending upon the requirement.
8. Never press the keys heavily. Besides restricting your free movement of the
fingers, the heavy pressure would also produce a collision sound of the keys with
the body of the harmonium. This will not only produce a discordant sound but
damage the brass-spring of your harmonium.
~

9. Normally all the fingers are used on all the keys, both black and white, but it
would be better if you do not use your thumb to press black keys. The use of
thumb should be restricted for white keys only.
Measures Ensuring Safety of Your Harmonium: The harmonium should not be
kept in damp place. It may loosen the joints of the bellows. It should be protected from
the exposure to high temperature. This exposure spoils the polish and colour of your
instrument and also damages the reed board. Never put fingers into the holes made in the
slits in which the valve is fitted. Wrap the upper side and sides of the instrument in paper
or cloth before placing it in the covering box to prevent damage by small germs and
insects. Never leave your instrument uncovered in the open.
 3

Shruthi

On the Harmonium, every reed represents a semi-tone or half a Shruthi. It is called

Swara 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 sixth
position 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 1 1 C
Black 1 1-112 C Sharp
White 2 2 D
Black 2 2-112 D Sharp
White 3 3 E
White 4 4 F
Black 3 4-112 F Sharp
White 5 5 G
Black 4 5-112 G Sharp
White 6 6 A
BlackS 6-112 A Sharp
White 7 7 B

1 P = 1st white, s" white, 8th white

2 P = 2nd white, 6th white, 9th white
3 P = 3rd white, 7th white, ro" white
4 P = 4th white, 8th white, 11thwhite
5 P = 5th white, 9th white, rz" white
6 P = s" white, 10th white, 13th white
7 P = 7th white, 8th black, 14th white
1-112 P = i" black, 4th black, 6th black
2-112 P = 2nd black, s" black, 7th black
4-1I2P = 3rd black, 6th black, 8th black

Jai Sai Ram

~

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 every
one 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 ah
NI 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 be
pronounced in one matra: Example is PaDhaNISa

Finally, as we have learned in our ealierlessons, the basic octave is comprised. of the
following: 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 keyboard
Normally, 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 Ranjani
Shadhav (6 notes/tune), examples of Ragas Puriya, Marva and Sohni
Sampurn (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 notes
in Aroh and 7 notes in Avroh, 6 notes in Aroh and 5 in Avroh, 6 in Aroh and 7 in
Avroh, 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
 ~

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 this
rote often.
Example: GA is VADI in Yaman and Bhoopali Ragas

SANV ADI: Another important note or tune which is taken in the Raga less than
Vadi 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 other
words these notes are not played.

STHAYI: In songs or bhajans, the beginning portion of the rendering of the bhajan
is 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 played
in TAR-Higher octave or MADHYA, middle octave.

It is important you understand these terminologies and it will become easy for you
not 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. Jati
of 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:,

Or
NLReGa, GaMa' Pa Ma' Ga, NLReGaRe, Ni.ReSa

Or
NI.ReGa, ReGa, Ma' Ga, Re Sa

Alaap

1. Ni.ReGa, ReGa, Ni.Re, Dha.Ni.Re, Sa

2. 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, Sa
4. GaMa'DhaNi, Ma'DhaNi, DhaPa, NiDha, Pa, DhaPa, Ma'PaMa'Ga, ReGa,
ReSa
5. GaMa'DhaNI, SA*, Ma'DhaNiRE*SA*, DhaNi, Re*Ga*, Re*, Sa*,
NiDhaPa, GaMa'DhaNi, DhaPa, Ma'Ga, ReGa, Re, Sa

Kalyan Rag
Aroha (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 Ga
Sa Re Ga Ma'
Sa Re Ga Ma' Pa
Sa Re Ga Ma' Pa Dha
Sa Re Ga Ma' Pa Dha NI
Sa Re Ga Ma'Pa Dha Ni Sa*
And Repeat Practicing backwards several times
Chord Practice for a song
Pa. Sa GA (Chord), Dha Re Ma (Chord), Re Pa Ni (Chord) & PaGa*SA *(Chord)
~ ~.

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 Rakshama
Ma'Ma'Ma'Ma'(ReDhaMa chord), Ga Ga Ga Ga (SaPaGa chord)ReReReRe
(paN iRe chord) Ni Re Sa
Jayaho 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 Palaka
Ga*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 Ganapate
Ga 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 Nandala

Radha Madhava Nandala
Rasa Vilola Nandalala
Nanda Kishora Nandalala
Navaneeta Chora Nandala
Nandalala Sai Nandala (song 1201 A)

Start with SaPaGa Chord

Ga Re Ga Pa Ga Re Sa Sa (SaPaGa): Rasa Vilola
 1t'B

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): Nandalala
Repeat 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 Gurudeva

Jaya Parameshwara Sai Deva
Jaya Shiradeeshwara Gurudeva
Jaya Partheeshwara Gurudeva
Jaya Jaya Sadguru Sri Sai Deva
(Song No. 659A)

GaGaReRe SaSa SaSa (Jaya3x)

SaSaReSaNi (Re.Pa.Ni chord) Gurudeva
NiSaReReReReRe(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): RePaNichord
ReReGaReNireSaSa (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 Deva

4. Jaya Hanuman Jaya Hnuman
5. Anadamaya Bhagawan
We 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
 a

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

In Loving Service to Sai

Ramesh K. Nayak
rnayaksai@yahoo.com
301-839-5883
\0

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 a

time, 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 in
Yarnan Ragas

Sargams to chant Sai Gayathri Mantra:

. (lower octave note)

OM SAYEESHW ARAYA VIDMAHE

Pa.SaGa Chord NI. (hold) or Ni.Ma.Re Chord Ni.SaRe

LowerPa LowerNi &Ma Ma.Ni.Re Chord (Gmajor)

SATHYA DEVAYA DHEEMAHI

ReSAsa NI.reSA (Pa.SaGa chord) nLReSa
Pa.SaGa (Chord)

TANNO PRACHODAYAT
SANIni Ni.SaReSa Back again to Pa.SaGa Chord
Ni.Ma.Re chord

Om Sri Sai Ram

 II.

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

Songs in this Raga:

This raga is really based on carnatic style and many Ganesh bhajans are composed in this
raga.
1. Ganesha Sharanam Sharanam Ganesha
2. He Shiva Nandana Sai GajananaiEashwaramba Nandana He Jagavandana
3. Maha Ganapate Namostute
4. Sai Gajanana Deenavana/Sindhura Vadana Sritajana Palana

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

GANESHA SHARANAM SHARANAM GANESHA

Ga*Pa Sa* (Chord) Sa*-4x Ni Ni Pa Pa GaPaNi Ni Sa*Sa*Sa*Sa*
(Ga*Pa Sa*chord)
GANESHA SHARANAM SHARANAM GANESHA
Re*Re*Re*Re* Ni Ni PaPa Ni Re* Ni Pa Pa Ni Re* Re*
(PaNiRe* chord)

GANESHA SHARANAM SHARANAM GANESHA

GANESHA SHARANAM SHARANAM GANESHA

SAYEESHA SHARANAM SHARANAM SAYEESHA (4x)

i~

DEVISONG (Yarnan Raag)

SAISHWARI AMBA JAGADISHWARl

PaSaGa SaGaGa- RegaReNiReSa PaPa (SaGaPa )ReReGaReGaReNiReSaSa

KALYANI KANCHIPURI KAMAKSHI

SaGaPa GaPaSa*Sa* NiNiDhaPa Ma'DhaPa-(SaGaPa) Ma 'PaMa'maGa

SAISWARI AMBA JAGADISHWARl

(Same as first line)

PARTHISHWARI AMBA PARMAESHW ARl

SaGaPa Ma'Ma'GaMa'Pa SaGaPapa Ma' PaMa' GaMa' PaPa

MATANGI MADURAPURI MINAKSHI

GaPaSa*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*)

SINDHUR VADANA SRITAJANA PALANA

PaNiSa*Re*Re*Re*-(PaNiRe*) Sa*Re*Ga*Re* Sa*Sa*NiPa
(GaPaSa*Chord)

AMBIKA TANAYA AMARADISHWARA

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

AGANITA GUNA GANA

Sa*Ga*Re*Sa* NiPaNiSa*Re*Re* (PaNiRe*)

ANANDA DAYAKA
Sa*NiNiPa (SaPaGa) GaP aGaReSas a-( aGaPa chord)

JAISAlRAM
 13

RAG BHOOPALI
Bhoopali 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, all
pure 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 note

Sa 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 Ga
Dha 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, Shriradipuri
Bhagawaan, 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 Hare

Sa*S*Sa*SA*DhaPaPa--(SaGaPa) PaDhaPaDhaPaGaGa-PaDhaPaGa
ReReGaReSaSa
Aruna 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 Om
Re*Ga*Re*Sa* DhaPaDhaRe* (PaNiRe*) Re*Ga*Re*Sa* DhaPaRe*Sa*Sa*
(PaSa*Ga*) chord
Jaya Devi Bharati Vidya Dayini Anna Poorna Mata Om
(SaGaPa) PaPa Dha Sa*DhaPaPaPa PaDhaPaDha PaGaGaGa
PaDhaPaGaReRe (PaSaGa) ReGaReSaSaSa (PaSaGa) chord
lIt

Shradipuree Bhgagwaan Parthipuree Bhagawaan

(PaSaGa) GaPaDhaPa GaReSaReReRe-ReGaRe (PaNiRe) GaReGaPa
DhaPa GaReRe, ReGaReSa
Premaswaroopa 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 Bhagawaan
PaPaDhaDha Sa*Sa*Re*Re*Sa* (Sa*PaGa*)
Sai Natha Bhagawaan
Ga*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 Gacchami
PaPa Ga*Ga*Re*Sa*Dha (SaMaDha) Ga*Ga*Re*Re*Sa*Sa* (PaSa*Ga*)
 15

Popular Rama song: Sri Rama Charanam

Sri Rama Charanam, Sri Rama Charanam Sri Rama Charanam Bhajey
SaSsSaSaSaReSaDha, SaSaSaSaSaReSaDha, SaSaSaSaSaRePaGa (Pa Sa Ga)

Sri Rama Charanam, Sri Rama Charanam, Sri Rama Charanam Bhajey
GaGaGaGaPaGaRe, 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 Choodamani

Pa Dha Sa* Sa* Sa* Sa*Re* Sa*DhaSa*Sa*Sa* (Sa*PaGa*)

Bhopala Choodamani
Ga 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 Bhajey

SerRe Ga R~ Sa Re Dha Sa "-Dha Pa'
. ,:'

Sri Rama Charanam Bhajey

Pa Dha Pa Ga Re Sa Re Ga

Sathya Sai Rama Charanam Bhajey

Pa Pa Ga Pa Dha Pa Ga Re Dha Dha Sa
1(;·

ARATHIPRAYER

OM JAI JAGADHEESHA HARE, SWAMI SATHYA SAI HARE

SaPaGa Sa Sa Sa Sa! Sa Sa Ni Sa Re( 4x) ReReReGA Ma Ma PaPa DhaPaMaGa
MaReReRe Re(4x)

BHAKTA JANASAMRAKSHAKA,BHAKTAJANASAMRAKSHAKA
ReGaReGa MaMaMaGa Re Ga Ga Sa

PARTHI MAHESHWARA
ReReReRe ReGaRere SaSaNiNiDha

OM JAI JAGADEESHA HARE

ReReReRe GaRe'SaNi SaSaSaSa

Repeat the same for the subsequent lyrics

Narayana Narayana Om Sathya Narayana Narayana Narayana Om

Sa (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 Om

Ga Ga Ga Ga Ma (4x) Ga Ga Re Re Sa Sa Re Re Re RE Ga Re Sa Sa Ni Dha

Om Jai Sadguru Deva

Re Re Ga Re Sa Ni Sa CPaNi Re chord)
 /7

That Bilaval (Shankarabharanam)

Arch (Ascending): Sa Re Ga Ma Pa Dha Ni Sa*

Avroh (Descending): Sa* Ni Dha Pa MaGa Re Sa
Vadi Swar: Dha
Sanvadi Swar: Ga
Gayan Samay (Singing Time): Morning time at the beginning time
Example of songs: Hey Sai Jagannatha and Chitta Chora Muralivala

Rag Alhaiya Bilaval: This raga is from bilaval that. Jati of this raga is sampurn
meaning 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 this
raga, 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 Nandalal
Sathya Swaroopini Maa
Hari Hari Hari Hari Hari Hari Bolo
Narayana Hari Nama Bhajore

Rag SHANKARA (derived from Bilaval Thaat):

That: Bilaval Jati: Audhav

\~

Samay (Singing time): Ratri Ka Doosra Prahar, Late Night time

Missing Note (Vyarja Swar): Ma or Madhyam During Aroh: Re
Vadi Swar: Ga
Sanvadi Swar: Ni
Aroh: Sa GaPa NiDha Sa*
Avroh: Sa* Ni Dha Pa, GaPaGaReSa
Pakad (characteristic notes): PaGa, GaPa ReGaReSa
Or Sa, GaPa, NiDha, Sa*Ni, PaGa, Pa, Ga, ReSa

Jaga Dho Dharini Mata Durga

(Pa Sa Ga) SaSa Gaga PapaNini NiDha NiSa* NiPapa
JagaDho Udharini Maa
Gaga Pa Re NiRe Sa
Jago Jago Maa Jago Jago Maa Jago Jago Maa Janani
Sa Sa GaGa Pa GaGa PaPa Ni PaPa NiSa*Ga* Re* NiRe*Sa*Sa* (Sa*PaGa)
Hey Durga Devi Rani Chandi Devi
Sa* Re*Ga*gagaga ReSa* NiSa* Re*rere SaRe* (Pa Ni Re*)

Hey Shiva Ramana Jago Maa

DaNi Sa*Sa* Re* Sa*Dha NiRe* Sa* (Pa Sa*Ga*)

Hey Shiva Ramana Jago Maa

Sa* Ni Sa* NiDhaPaGa GaMa paGa

Jago Jagado Udharini Maa

Ga Ga PaResa NiNi Sa
 Jq

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 Gajavadana

Gajanana Gajanana Gajanana Gajavadana/ Pahi Pahi Gajanana .....
Mooshika Vahana Gajanana Modaka Hastha Gajanana
Chamara Karna Gjanana Vilambita Sootra GajananalPahi Pahi.. ...
Vamana Roopa Gajanana Maheshwara Putra Gajanana
Vighna Vinayaka Gajanana Pada Namasthe Gajanana
Tava Pada Namasthe Gajanana

RAGPILOO

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

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
~(,.

Pakad or Characteristic notes:

I

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

Songs:
Jai Jai Prabhu Giridhari
Danava Bhanjana Rama Sai
Chitta Chora Yashoda Ke Bal
Sitha Rama Kaho Radhe Shyam Kaho

Famous Meera Bhajan:

I
I
Turn Bina Mori Kauna Khabara Le
Govardhana Giridhari Re ...
Mora Mukuta Pitambara Sobhe
Kundalakee Chhabi Nyaaree Re.. Turn Bina Mori. .
Bhari Sabha Mey Draupadi Thhadee
Rakho Laaj Hamaree Re.. Turn Bina Mori .
Meera Key Prabhu Giridhara Nagara
Charana Kamala Baliharee Re .....

This song can be sung in Piloo or Kalyan Rag and Kaharva Taal. Below is the
notation 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! Re Re/Ga Ga

Mo Ra Mu Kuta Pee tam bara Sohe

Dha _ Dha DhalNi _ Pa PalMa! _Ga .JPa

Kun dhala Kee Chhbi Nyaaree Re

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