Akhiyan lagi rahat nis din
Lyrics, meaning and notation.
About this composition
Complete lyrics, transliteration and meanings
| Section | Original script | Transliteration | Meaning |
|---|---|---|---|
| Sthayi | अखियां लागी रहत निसदिन | Akhiyā̃ lāgī rahat nis-din | My eyes remain fixed in longing, night and day. |
| Sthayi | प्यारे तिहारे देखन कांहिं | Pyāre tihāre dekhan kā̃hĩ | Beloved, longing to see you. |
| Antara | घरि पल छिन मोहे जुग सी बीतत | Ghari pal chhin mohe jug sī bītat | Each hour and moment passes like an age for me. |
| Antara | निसदिन चटपटि लाग रहत महिं | Nis-din chaṭpaṭi lāg rahat mahĩ | Night and day, restlessness stays within me. |
Word notes
This composition uses shuddha Re and komal Ga, Dha and Ni. The poem describes waiting for a beloved: jug is an age, and chatpati is restless agitation.
Complete beat-aligned score
Both sections begin on beat 13. Sam is the first cell of the second division. Each row contains sixteen beats. Parentheses mark grace notes.
How to read this notation
Sa is the chosen reference pitch. Note signs used in this score:
P = Pa; M = shuddha Ma; S = Sa; n = komal Ni; d = komal Dha; g = komal Ga; R = shuddha Re.
↑ marks the upper octave and ↓ the lower octave; an unmarked note is in the middle octave.
Each separate beat position is one matra. Joined notes fall within that beat. — continues the previous sound; · is an unsung position. Padding before an entry or after a close does not add another cycle.
Parentheses mark a grace leading into the next principal note, without adding a beat.
Within-beat durations are exact only where specified. Learn the execution of glides, graces and inflection by listening.
Within a grouped column, spaces separate beats; letters joined without spaces share a beat. The column heading states the beat numbers.
| Section / beat | 13–16 · clap | 1–4 · sam | 5–8 · clap | 9–12 · wave |
|---|---|---|---|---|
| Sthayi 1 | (P)M M P S↑ |
(n)d — P — |
(P)d M (MP)dd PMP |
(M)g — (S)R S |
| Syllables | अ खि याँ — |
ला — गी — |
र ह त— नि—— |
स — दि न |
| Sthayi 2 | (g)R S S R |
(n↓)d↓ P↓ S — |
(M)R M (MP)dd PMP |
(M)g — (S)R S |
| Syllables | प्या — रे ति |
हा — रे — |
दे — ख— न—— |
काँ — — हिं |
| Antara 1 | (P)M P (n)d (n)d |
S↑ S↑ S↑ S↑ |
R↑ g↑ (S↑)R↑ S↑ |
(n)S↑ R↑n d P |
| Syllables | घ रि प ल |
छि न मो हे |
जु ग सी — |
बी — त त |
| Antara 2 | (M)P (P)g↑ (S↑)R↑ S↑ |
R↑ S↑ (n)d P |
M P (PP)dd PMP |
(M)g g (S)R S |
| Syllables | नि स दि न |
च ट प टि |
ला — ग— र—— |
ह त म हिं |
Pickups, sam and return
Begin Akhiyan on beat 13; la of lagi lands on sam. In the next row, ha of tihare lands on sam. Antara row 1 places chhin on sam; row 2 places chatpati there. Every row ends at beat 12 and connects directly to the next beat-13 entry. Return from the final Sa to the opening grace-led Ma without inserting an extra cycle.
Learning sequence
Recite the text and mark the four sam syllables. Establish the lower Dha and Pa in sthayi row 2, then the upper Sa/Re/Ga region of the antara. Treat dd, PMP and R↑n as grouped notes within their beat, not added beats. The dd cells repeat komal Dha; they do not move to Pa. Add each parenthesized grace to its principal cell after learning the principal-note skeleton.
Pitfalls
Use shuddha Re, not komal Re. In antara row 2 the principal Ga is in the upper octave, while its Pa grace is in the middle octave. Two Pa graces, (PP), precede the dd group.