Balma more tore sangava
Lyrics, meaning and notation.
About this composition
| Field | Details |
|---|---|
| Raga | Bageshri |
| Form | Chhota khayal |
| Tala | Teental · 16 beats |
| Tempo | Madhya–drut |
Complete lyrics, transliteration and meanings
| Section | Original script | Transliteration | Meaning |
|---|---|---|---|
| Sthayi | बलमा मोरे तोरे संगवा लागली प्रीत | Balma more tore sangava laagali preet | My beloved, I have fallen in love with you. |
| Antara | घर आँगन कछु नाहि भाये | Ghar aangana kachhu naahi bhaaye | Nothing in the house or courtyard pleases me. |
| Antara | हितवा मितवा सदारंगीले | Hitava mitava Sadaarangile | Dear one, friend, Sadarangile. |
| Antara | घर आयिलो देखी ये प्रीत की रीत | Ghar aayilo dekhi ye preet ki reet | Come home and see this way of love. |
Word notes
Aangna/aangana means courtyard; hitava and mitava are affectionate forms of address. The text is love poetry; the household imagery expresses how absence changes familiar surroundings.
Complete beat-aligned score
Teental has claps at 1, 5 and 13 and a wave at 9. Every row below retains sixteen beat positions. The separate syllable row shows where the words fit; it is not an additional melodic row.
How to read this notation
Sa is the chosen reference pitch. Note signs used in this score:
g = komal Ga; M = shuddha Ma; R = shuddha Re; S = Sa; n = komal Ni; D = shuddha Dha; P = Pa.
↑ 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.
Within a grouped column, spaces separate beats; letters joined without spaces share a beat. The column heading states the beat numbers.
¦ marks a phrase separation, not an octave change or extra beat.
Within-beat durations are exact only where specified. Learn the execution of glides, graces and inflection by listening.
| Section / layer | 1 2 3 4 · sam | 5 6 7 8 · clap | 9 10 11 12 · wave | 13 14 15 16 · clap |
|---|---|---|---|---|
| Sthayi pickup | · · · · |
· · · · |
· · · g |
M R — S¦ |
| Syllables | · · · · |
· · · · |
· · · bal |
maa mo — re, |
| Sthayi cycle | R — R S |
S — n↓ D↓ |
n↓ S S¦ M |
D n S↑R↑ S↑S↑ |
| Syllables | to — o o |
re — sa an |
ga a vaa¦ laa |
aa ga li-i i-i |
| Sthayi close | n — D — |
M —¦ M P |
D g —¦ · |
· · · · |
| Syllables | pri — i — |
i — i i |
i ta —¦ · |
· · · · |
| Antara pickup | · · · · |
· · · · |
· · · g |
M n D n |
| Syllables | · · · · |
· · · · |
· · · gha |
ra aa an ga |
| Antara cycle 1 | S↑ — —¦ n |
S↑ nS↑ R↑ S↑ |
n — D —¦ |
D D PD n |
| Syllables | naa — —, ka |
chu na-a aa hi |
bhaa aa ye —¦ |
hi ta va-a aa |
| Antara cycle 2 | n nD M g¦ |
M —g — RS |
R — S¦ SR |
SS D — n |
| Syllables | mi ta-a vaa aa, |
sa —daa — ra-an |
gi — le¦ gha-a |
ra-a aa — yi |
| Antara cycle 3 | S M — —¦ |
M n D M |
— g —¦ M |
D n S↑R↑ S↑S↑ |
| Syllables | lo o — —, |
de e khi ye |
— e —¦ pri |
i ta ki-i i-i |
| Antara cycle 4 | n — D — |
M —¦ M P |
D g —¦ M |
D n S↑ —¦ |
| Syllables | ri — i — |
i-i — i i |
i ta —¦ pri |
i ta ki — |
| Antara close | S↑R↑ S↑S↑ n — |
D — M P |
D g —¦ · |
· · · · |
| Syllables | ri-i i-i i — |
i — i i |
i ta —¦ · |
· · · · |
Pickups, sam and section joins
Both sections begin at beat 12. The first sthayi sam is “to” of tore; the first antara sam is “naa” completing aangana. The final row of each section closes at beat 11, allowing a beat-12 re-entry without adding a cycle. Preserve all four full antara cycles before its closing row: the final preet phrase is repeated.
Learning sequence
Start with the lower-register n and D in the sthayi, then locate the beat-12 pickup. Both pickups start g M, but their remaining notes differ: R held S in the sthayi, n D n in the antara. Build the long antara in four cycles before adding its ending. Keep the repeated upper-note pairs inside their individual beat cells.
Common pitfalls
The laya is madhya–drut. Sing the Pa in the closing phrase. ↓ marks the lower octave.