Gore mukh so more man bhaave
Lyrics, meaning and notation.
About this composition
| Field | Details |
|---|---|
| Raga | Bhimpalasi |
| Form | Chhota khayal |
| Tala | Teental · 16 beats |
| Tempo | Madhya |
Complete lyrics, transliteration and meanings
| Section | Original script | Transliteration | Meaning |
|---|---|---|---|
| Sthayi | गोरे मुख सो मोरे मन भावे | Gore mukh so more man bhaave | That fair face delights my heart. |
| Sthayi | लुक छुप दरसन अति ही सुहावे | Luk chhup darasan ati hi suhaave | Its fleeting, half-hidden glimpses are especially lovely. |
| Antara | नयना मृग समा चन्द्रमुखी | Nayana mriga sama chandramukhi | Moon-faced one, your eyes are like a deer’s. |
| Antara | वदन कमल अति | Vadan kamal ati | Your face is a most beautiful lotus. |
| Antara | सदारंग मन छँड़ावे | Sadaarang Man chhanDaave | You carry Sadarang’s heart away. |
Word notes
Mrig-sama means deer-like and chandramukhi means moon-faced. Darasan means a sight or glimpse. In luka-chhupa, beat 11 carries the syllables ka-chhu together.
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:
P = Pa; S = Sa; n = komal Ni; D = shuddha Dha; M = shuddha Ma; 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.
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 | · · · · |
· · · · |
· P (S↑)n DP |
M P g M¦ |
| Syllables | · · · · |
· · · · |
· go o re |
mu kha so o, |
| Sthayi cycle | P g —¦ M |
g R — S |
—¦ n↓ n↓S g |
R R S S¦ |
| Syllables | mo re — ma |
na bhaa — ve |
—¦ lu kachu pa |
da ra sa na, |
| Sthayi close | · M Pn n(D) |
Pn S↑n D P |
—¦ · · · |
· · · · |
| Syllables | · a tahi su |
ha-a a-aa ve e |
—¦ · · · |
· · · · |
| Antara opening | · P P P |
Mn PP g M |
· P n n¦ |
P n S↑ —¦ |
| Syllables | · naya na mri |
ga-a a-a sa ma |
· chan dra mu |
khi i i —¦ |
| Antara cycle 1 | n D P P |
Mn PP g M |
· P n n |
P n S↑ —¦ |
| Syllables | na ya na mri |
ga-a a-a sa ma |
· chan dra mu |
khi i i —¦ |
| Antara cycle 2 | Pn S↑ g↑ R↑ |
R↑ S↑ S↑ ·· |
P g —¦ M |
g R S S¦ |
| Syllables | vada na ka ma |
la a ta ·· |
sa daa aa, ra |
an ga ma na, |
| Antara close | · R S↑n S |
M — PM gM |
P¦ · · · |
· · · · |
| Syllables | · chaa a-an Da |
ve — e-e e-e |
e¦ · · · |
· · · · |
Pickups, sam and section joins
The sthayi starts at beat 10 and arrives on “mo” of more at sam. Its close lasts through beat 9. The antara begins with a silent beat 1 and the first sung syllable at beat 2; the next written cycle arrives on “na” at sam. Do not force both sections to have the same pickup. After the final antara row closes on beat 9, the sthayi pickup can return at beat 10. Starting the antara after a sthayi close requires counting to the next cycle and observing its beat-1 rest; that transition is a suggested teaching option.
Learning sequence
Learn the pickup’s upper-Sa grace into komal Ni and descending DP within one beat. Isolate the sthayi closing row with its initial rest. Count the antara opening, including silent beats 1 and 9. Connect the deer-eye line to the lotus-face image.
Common pitfalls
(S↑)n is a grace before Ni, whereas n(D) places Dha after Ni. Keep this order without adding a beat. The double dot in the antara is a silent cell, not an octave mark. Upper komal Ga g↑ must not become shuddha Ga.