Lament of a person who's lost their phone! (Raga Jogkauns, Addha-Teentaal)

उन बिन बरसत अखियाँ ।
उन बिन उड़ी मोरी नींदरियाँ ।
छबि अधूरी रही बिन रसियाँ ।
तड़पत बीती उमरियाँ ॥ धृ ॥

कैसे अकेले देखूं दुनिया?
कैसे बोलू संग सब सखियाँ?
'नादरंग' कोई नहीं खबरियां
फोन बिन निकसे जिया! ॥ १ ॥

This is the lament of a person who's lost their beloved (... wait for it...) phone!

I can't stop the tears! I miss you dearly!
I can't sleep (... without my Music app singing me a lullaby)
The picture is incomplete without your presence (...of course ... no selfies possible!)
Living my life without you is sheer torture!
How do I go see the world, all alone? (... without my Maps app, i'll get lost)
How can I talk to my friends about my depression? (... no WhatsApp!)
There is absolutely no news ... where are you!? (... no Twitter, Facebook or News app!)
RIP dearest Phone, my life wastes away too!  

Raga Bihag, Tarana - Chartaal-ki-sawari

तदारे तन तनन तदानी  ।
तन तदारे तन तनन दानी ।
तानूम, तानूम, तानूम ।। धृ ।। 

यलली यला यलल लूम  ।
उदतन तन देरेना दानी ।
तानूम, तानूम, तानूम ।। १ ।।

Note: Chartaal-ki-Sawari is an 11-beat cycle. 

Raga Charukeshi, Tarana in Madhyalaya Teentaal

तन तनन देरेना दानी दीम ।
(तन तनन देरेना दानी) ओदानी दानी, तदारे तदानी,
दियानारे तदारे तन, तन नननन देरेना दानी,
तन देरे ना दानी (दिम …) ।। धृ ।। 

ओद तन तोम तन, तदारे तदारे दानी ।
(तन नननन देरेना दीम) x  ३ ।। १ ।। 

Download mp3 (7 minutes, 10MB) 

This Tarana is a tribute to my cousin Anita Datar, who was killed in the terrorist attacks in Mali on November 20, 2015. She was a wonderful and loving person who worked selflessly and tirelessly to make the world a better place. Her light shone bright and will continue to illuminate and inspire us even though she's no longer with us. May her soul rest in peace.

Yaman Tarana, Madhyalaya Neel Taal

तादारे दानी दीम, तन देरना_१ 

ओदानी तनन तारे [तन देरेना, तन देरेना,  _६तन देरेना_१]   [दानी दीम, दानी दीम, दानी _१दीम] ॥ धृ ॥

ओदानी, तदा S नी,  _६तन देरेना दि_१म
तदारे तदानी तननन देरे_१ना [दानी दीम, दानी दीम, दानी _१दीम] ॥ १ ॥

Neel Taal is a 7.5 beat rhythmic cycle

Bhinna Shadaj (Kaushi Dhwani), Madhyalay addha-teentaal (Feb 2014)

Composition

सखी री, कब मिल पावेंगे?

उन बिन चैन जिया को न आवे ॥ध्रु॥

चंचल मन मोरा , पिया को पुकारे ॥

भाग मोरा कब खुल जावे? ॥१॥

Explanation

Tell me, O friend, when will I be reunited with my beloved?  

Raga Gunkali, Madhyalay Roopak (January 2014)

कब से तोरी मैं  देखूं बा१ट?
आज तोरी याद सता_१ए॥ धृ॥ 

जग सूना सूना ला_१गे रे …
जल भी खारा ला_१गे  …
नादरंग आस धरे, तरपा_१ए ॥१॥  

Explanation:

Oh, how long have I been waiting for you!
Your memory haunts me today!
The world seems gray and bleak...
Even water has lost its taste...
Naadrang yearns with bated breath.

Bhimpalas, Madyhalaya Jhaptaal (July 2012)

Composition

तरपत मन मोरा रे,
जग आगे, घर पीछे रे,
पग थके, जिया व्याकुल रे । ध्रु ।

राह लम्बी, चलती जाये रे.
इतने डगर, कहाँ जाऊं रे?
नादरंग, घर आगे, जग पीछे रे! ।१।

Explanation

I am anxious, my home lies behind and the world ahead!
My legs are weary, my mind restless.
The road goes on and on!
So many paths, Oh which one should I take?
'Naadrang' says take the path home; the world shall follow behind you.

Samay-chakra Devi Ragamala in Ektaal

This is a Ragamala (or Ragamaalika) composed using 18 Ragas.

 

 

A traditional Ragamala is created using lyrics that embed the name of the raga in different forms ranging for wispy hints to explicit. This word (and sometimes its lyrical vicinity) is composed in the raga it refers to.

I set out to create a Ragamala that added the following constraints:

1. Every Raga transition must change a small number of variables.
2. Every line must contain at most one reference to a raga name, thus one line composed in one raga.
3. Names of raga must have a subtle reference, not one that's as obvious as an oncoming train. (No "Gavat Raga ___", for example).
4. It must weave its way through the raga farthest from Bhairavi, which is Raga Yaman.
5. It must follow Samay Chakra rules. The Ragamala's cycle from Bhairavi through Yaman through Bhairavi should start in morning ragas, continuing through afternoon, evening, night and midnight ragas, before culminating in Raga Bhairavi.
6. It must start and end with Raga Bhairavi.
7. The lyrics of the ragamala must be semantically coherent towards a single theme.

These extra constraints make the ragamala challenging to create and execute, but add the following value:

1. They create an aesthetic and mellifluous piece. 
2. Every line can be improvised without fear of a jarring transition. 
3. A roller coaster of emotion and expression can be experienced. 
4. The resultant soundscape is colorful and traverses the entire swar and shruti spectrum. 
5. The time cycle of raga creates a sympathetic biorhythm that resonates with the human body and mind.
6. Bhairavi, an evergreen raga is traditionally used to end concerts due to its long lasting effects on the listener's psyche. This raga ties the ragamala together, forming both its beginning and end.
7. The themed lyrics will engage the listeners.

The Ragamala is created in praise of the Goddess Durga (also known as Kali, Parvati, Bhavani and Narayani, etc.)

माँ भैरवी भवानी [Raga Bhairavi]
जगत जननी ||
रक्षा करिणी || धृ ||
बैरागी मोहिनी || [Raga Bairagi-Bhairav]
बसंत मुख स्वरुपिनी || [Raga Basant-Mukhari]
जय जय भैरव तोशिनी || [Raga Bhairav]
माता ललिता नंदिनी || [Raga Lalit]
माया तोडी संसारिणी || [Raga Gujri-Todi]
मूल चक्र निवासिनी || [Raga Multani]
मधुबन उद्धारिणी || [Raga Madhuwanti]
दुख भय यम-नाशिनी || [Raga Yaman]
पूरण कल्याण करिणी || [Raga Puriya-Kalyaan]
महिषासुरमर्दिनी || [Raga Maarva]
विद्या वाचा कपर्दिनी || [Raga Vachaspati]
माँ कला तपस्विनी || [Raga Kalawati]
राग ताल स्वामिनी || [Raga Rageshree]
गोरख कल्याण करिणी || [Raga Gorakh-Kalyaan]
सुंदर शिवरंजनी || [Raga Shivaranjani]
दरबारी वीणा वादिनी || [Raga Darbari-Kanada]
 मुंड माल धारिणी || [Raga Malkauns]
 नादरंग आये शरण, ( नारायणी ) x ३ || [Raga Bhairavi]

Explanation

O Mother, Bhairavi, Bhavani!
O Mother of the universe,
O protector of worlds, keep us safe!
O enchantress of the great ascetic Lord Shiva (Bairagi),
The beauty of spring shining on your face,
O consort of Lord Bhairav,
O Goddess Lalita, Nandini (both names of Parvati)
O destroyer of desire and illusion,
O Kundalini residing at the base of the spine,
O liberator of Madhuban,
O conqueror of Pain, Fear and Death,
O bringer of fortune and wellbeing,
O killer of Mahishasur the Demon,
O Goddess of Intellect and Speech,
O eternal artist,
O monarch of music, raga and taal,
O up-lifter of Gorakhnaath,
O beautiful wife of Lord Shiva,
O player of the celestial veena,
Wearing a necklace of enemies' skulls!
I bow to you, O Mother Narayani!

Shuddha Kalyaan, Madhyalay Teentaal (July 2011)

Composition

पिया मोसे बो_१लो बोलो बोलो ॥

नादरंगी_१ली तोरी बात सुने! ॥ध्रु॥

तू जब जब मोरे सं_१ग संग हो ॥

हियारा जोर जो_१र और मंद चले ॥१॥

Explanation

Talk to me, my love; I love to hear your melodious voice!

When you are with me, my heart beats slower and faster at the same time!

Saamb Kasa Zala Pisa - Marathi Poem by Chandrika Ranade

This is a poem by Chandrika Ranade depicting a story where Shankar (Lord Shiva, also known as Saamb) is meditating in the forest. Parvati dresses up as a tribal woman and enchants him with her stunning beauty. Shankar, distracted, looks up and is instantly attracted towards her. He asks her what her name is and who her husband is. Deciphering her veiled answer, he realizes that the tribal woman is indeed his own wife, Parvati (Ambika)!

संब कसा झाला पिसा? सांग भिल्लिणी! ||
शंकरास तुझा ध्यास लागला मनी ||
नयनशरा मरून हरा घालिसी मोहिनी ||
राम नाम, राम ध्यान विसरला झणी ||
तुझ्या मागे धावू लागे, भान हरपुनी || ध्रु || 

मदनारी धरून करी विनवी तिझवनी ||
सांग म्हणे नाव तुझे, कोण तव धनी?
माझा धनि रागिट त्यानी मदन जाळिला ||
रणांगणी युद्ध करुनी त्रिपुर मारिला ||
ओळखली शंभूनी सती अंबिका ||
शिवशक्ति संवादे गुंफे चंद्रिका || १ ||

Chandrakauns, Madhyalaya Roopak (February 2010)

Composition

जा जा बोलो ना कान्हा ॥

सब जगत के तुम पालक ॥ 

हमरी बेर क्योँ झूठा बहाना? ॥ध्रु॥

बन ठन के तोरी देखी बाँट ॥

शाम ढली, बीती रात ॥

कौन समझे मोरा आसूँ बहाना? ॥१॥

Explanation

Don't speak to me, Kanha (Krishna)!

Why do you give your time to everyone, but when it comes to me, you make false excuses?

I was waiting for you, all dressed up for the occasion... and kept waiting till the evening turned to night. You don't understand that when you break your promise, it hurts me Kanha!

Shree, Madhyalaya Teental (March 2009)

Composition

दु:ख बिन कै_१सी प्रीत, मोरे मीत? ॥

सुख दु:_१ख हैं ज्योत और धूँआ, 

एक बिना_१ दूजा नही पाया॥

यही है _१जग कि रीत, मोरे मीत! ॥ध्रु॥

प्रीत में मे_१ल बड़ा है मीठा ॥

प्रेम में बै_१र अधिक है तीखा ॥

इन बिन जी_१वन रस गयो बीत! ॥

'नादरं_१ग' यही जीवन गीत ॥१॥

Explanation

Love hurts! 

Happiness and sorrow are like fire and fume, one cannot exist without the other. 

This is the way of life, my friend ... 

'Naadrang' says "In love, harmony is extra sweet and tiffs are extra spicy, but this is the music of life, making it melodious indeed!

Bhatiyaar, Madhyalaya Ektaal (February 2009)

(original composition)

पुरब से सूरज उगा ॥

फैला उजियाला ॥

जागी हर दिशा दिशा ॥ 

जागा जग सारा ॥ध्रु॥

(new Antara)

तन में तेज जगा ॥

मन में ग्यान जगा ॥ 

भागा अंधियारा ॥

जागी हर दिशा दिशा ॥ 

जागा जग सारा ॥१॥

Explanation

(The inspiration for this comes from Doordarshan's Rashtriya Saksharta Mission Ad. I have added the Antara for this poem.)

(original) The sun rising from the east, spreads light and warmth in the world. 

(new Antara)[A good education] similarly spreads vitality and knowledge in the world.

Bilaskhani Todi, Madhyalaya Addha-Teentaal (December 2007)

Composition

पिया अब भूल जाओ भू_१ल ॥ 

बोल हमारे, दु:ख पहुँचा_१ए ॥

बोल तुम्हारे, हम गये भू_१ल! ॥ध्रु॥

जो बोल थे हलके बो_१ल ॥

चुभे काँटो जैसे हमरे बो_१ल ॥

अब तो माफ करदो भू_१ल! ॥१॥

Explanation

Dear, forget my mistake ...

I said some things that hurt you, 

You said some things that I ignored!

I did not mean to hurt you, but my words caused you pain.

Let us put this misunderstanding behind us!

Bandish Ki Thumri, Raga Hemawati, Madhyalaya Addha-Teentaal (October 2007)

Composition

मैं ना पा₊उँ, मन जो चा_१हे ॥ 

कल है जैसे₊ कारा अँधिया_१रा ॥ध्रु॥

आज के ज्योती₊ मेँ आज ही दे_१खो ॥

कल होगा ₊नया उजिया_१रा ॥१॥

Explanation

Life is not working out as I thought it would

The future is uncertain!

The best advise is to live in the present 

and believe that tomorrow is a brand new day!

 Recording

Jog, Madhyalaya Teentaal (August 2007)

Composition

कब +तोहे मैँ देख पा_१ऊँ?

अनगिनत जुग सम बी_१ते !॥ध्रु॥

नौ ही१ दस पल दूर तुम गये ॥

'नादरं१ग' तरसे जैसे जुग जुग बी_१ते ॥१॥

Explanation

When will I (Naadrang) be able to see you?

It's been so long!

You've been away for just a few moments, yet it feels that we have been apart for ages!

Ramkali, Madhyalaya Teentaal (June 2007)

Composition

हम का है कियो बतलाओ ॥

जैसे बिजुरी मोपर तु गिरी ॥

और मन पे दु:ख बरसायो ॥ध्रु॥

मोरे बलम क्यों हम संग रूठे? ॥

नैन तीर से मन मोरा टूटे ॥

प्रीत भाव न पायो ॥१॥

Explanation

What have I done, please tell me,

Your anger is like a lightning bolt,

that makes me unhappy!

My love, why are you angry at me?

Your fiery eyes are breaking my heart,

'Naadrang' thirsts to see the love in your eyes once more.

Jogkauns, Madhyalaya Ektaal (February 2007)

Composition

सुगं_१ध मेँ बेहे जाऊँ ॥

_१नयनो मेँ खो जाऊँ ॥ध्रु॥

_१नूर मेँ सुख पाऊँ ॥

_१प्रीत मेँ स्वर्ग पाऊँ ॥१॥

Explanation

Youर fragrance is intoxicating.

Your eyes are hypnotic.

Your beauty gives me joy,

Your love is heaven!

Bageshree, Madhyalaya Teentaal (February 2007)

Composition

ऐसे तरपाओ ना_१ मोहे॥

नटखट 'ना_१दरंगीले' ॥ध्रु॥

क्या मैं करूँ अब, _१कित छिप जाऊँ ॥

पलकैँ मोरी _१झूकी झूकी ॥

(... तरपाओ ना_१ ...)

Explanation

(A irritated wife to her husband)

"Don't bother me with your impish words!

All-a-flutter, I don't know what to do or where to hide!"

Ahir Bhairav, Madhyalaya Addha-Teentaal (January 2007)

Composition

मन की चा_१हत, अतही डरावत ॥

बोलत म_१न, 'नादरंग' बिसरावत ॥ध्रु॥

मन अती सो_१चत, प्रीत छिपावत ॥

मन से पू_१छत, प्रीत दिखावत! ॥१॥

Explanation

Afraid to face his feelings, 'Naadrang' ignores his inner voice.

Love is suppressed by reason; Get in touch with your true feelings!