Jaago mohan pyaare
Lyrics, meaning and notation.
About this composition
| Field | Details |
|---|---|
| Raga | Bhairav |
| Form | Chhota khayal |
| Tala | Teental · 16 beats |
| Tempo | Madhya |
Complete lyrics, transliteration and meanings
| Section | Original script | Transliteration | Meaning |
|---|---|---|---|
| Sthayi | जागो मोहन प्यारे | Jaago Mohan pyaare | Wake up, dear Mohan. |
| Sthayi | साँवरी सूरत मोरे मन भाये | Saanvari surat more man bhaaye | Your dusky face delights my heart. |
| Sthayi | सुन्दर लाल हमारे | Sundar laal hamaare | Our beautiful dear child. |
| Antara | प्रात समय उठ भानु उदय भया | Praat samay uTh bhaanu uday bhayaa | Rise: it is morning, and the sun has risen. |
| Antara | ग्वालबाल सब भूपत ठाढ़े | Gvaal-baal sab bhupat ThaaDe | O king, all the cowherd boys stand waiting. |
| Antara | दरसन के सब भूखे प्यासे | Darasan ke sab bhukhe pyaase | All hunger and thirst for a sight of you. |
| Antara | उठियो नंद किशोर | UThiyo Nand kishore | Rise, young son of Nand. |
Word notes
Mohan and Nand kishore name Krishna; laal affectionately addresses a child or dear one. Bhaanu is the sun. Hunger and thirst for darasan express longing to see Krishna. Bhupat means king or ruler and addresses Krishna here.
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 = shuddha Ga; M = shuddha Ma; d = komal Dha; P = Pa; r = komal Re; S = Sa; N = shuddha Ni.
↑ 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.
Parentheses mark a grace leading into the next principal note, without adding a beat.
¦ 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 d — |
P — d PM |
| Syllables | · · · · |
· · · · |
jaa a go — |
mo — ha na-a |
| Sthayi cycle 1 | P — — dP |
M dP M G¦ |
· GM d — |
P — d PM |
| Syllables | pyaa — — a-a |
a a-a re e¦ |
· jaa-a go — |
mo — ha na-a |
| Sthayi cycle 2 | P — — dP |
M dP M G¦ |
· G —G r |
G — M P |
| Syllables | pyaa — — a-a |
a a-a re e¦ |
· saa —va ri |
su — ra ta |
| Sthayi cycle 3 | M G MP MM |
(M)r — S —¦ |
S r G M |
P d N S↑ |
| Syllables | mo re ma-a na-a |
bhaa — ye —¦ |
su un da ra |
laa a la ha |
| Sthayi close | dN S↑r↑ S↑N S↑N |
dS↑ Nd P MG¦ |
· · · · |
· · · · |
| Syllables | maa-a a-a a-a a-a |
a-a a-a re e-e¦ |
· · · · |
· · · · |
| Antara pickup | · · · · |
· · · · |
· M —P P |
d d N N |
| Syllables | · · · · |
· · · · |
· praa —ta sa |
ma ya u Tha |
| Antara cycle 1 | S↑ — S↑ S↑ |
S↑ r↑ S↑ S↑¦ |
—(N)d — d N |
— N S↑ S↑ |
| Syllables | bhaa — nu u |
da ya bha ya¦ |
—gvaa — la baa |
— la sa ba |
| Antara cycle 2 | dN S↑r↑ S↑r↑ S↑ |
(N)d — P —¦ |
M M P P |
MP d P M |
| Syllables | bhu-u u-u pa-a ta |
Thaa — De —¦ |
da ra sa na |
ke-e e sa ba |
| Antara cycle 3 | G — MP MM |
(M)r — S —¦ |
S r G M |
P d N S↑ |
| Syllables | bhu — khe-e e |
pyaa — se —¦ |
u Thi yo o |
na n da ki |
| Antara close | dN S↑r↑ S↑N S↑N |
dS↑ Nd P MG¦ |
· · · · |
· · · · |
| Syllables | sho-o o-o o-o o-o |
o-o o-o re e-e¦ |
· · · · |
· · · · |
Pickups, sam and section joins
The sthayi pickup begins at beat 9 and first reaches sam on pyaa. The antara instead begins at beat 10, reaching sam on bhaa of bhaanu. Both sections close at beat 8. The sthayi can therefore return at beat 9; entering the antara requires counting beat 9 before its beat-10 pickup. Its first pickup row retains that empty beat rather than shifting the entire phrase left. Preserve all written opening repetitions and the paired-note closing variants.
Learning sequence
Speak the complete text. Count the distinct beat-9 and beat-10 entries. Learn komal Re and Dha slowly, including upper komal r↑ in the closing figures. Distinguish MP from PM and keep paired notes within their beats. Join both sections.
Common pitfalls
This composition is in madhya Teental. Parenthesized N is a grace, not an extra beat. N is shuddha, r and d are komal, and Ga and Ma are shuddha.