Jaa jaa re apne mandirva
Lyrics, meaning and notation.
About this composition
| Field | Details |
|---|---|
| Raga | Bhimpalasi |
| Form | Chhota khayal |
| Tala | Teental · 16 beats |
| Tempo | Drut |
Complete lyrics, transliteration and meanings
| Section | Original script | Transliteration | Meaning |
|---|---|---|---|
| Sthayi | जा जा रे अपने मन्दिरवा | Jaa jaa re apne mandirva | Go, go back to your own rooms. |
| Sthayi | सुन पावे मोरी सास ननदिया | Sun paave mori saas nanadiya | My mother-in-law and sister-in-law might hear. |
| Antara | सुन हो सदारंग तुमको चाहत है | Sun ho Sadaarang tumko chaahat hai | Listen, Sadarang, I do love you. |
| Antara | का तुम हमको ठगन दिया | Kaa tum hamko thagan diya | Why have you deceived me? |
Word notes
Mandirva means dwelling or rooms here. Saas is mother-in-law and nanadiya is the husband’s sister. The voice combines attraction with concern about being overheard. Thagan conveys deception or beguiling.
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; g = komal Ga; R = shuddha Re; S = Sa; n = komal Ni; M = shuddha Ma; D = shuddha Dha.
↑ 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 | · · · · |
· · P — |
g — R S |
RR n↓ S — |
| Syllables | · · · · |
· · jaa — |
jaa — re e |
a-a pa ne — |
| Sthayi cycle 1 | n↓ S M M |
M g¦ gM nP |
g — R S |
RR n↓ S — |
| Syllables | ma n di ra |
vaa a¦ jaa-a a-a |
jaa — re e |
a-a pa ne — |
| Sthayi cycle 2 | n↓ S M M |
M — — —¦ |
g M P n |
S↑ g↑ R↑ S↑ |
| Syllables | ma n di ra |
vaa — — —¦ |
su na paa aa |
ve e mo ri |
| Sthayi cycle 3 | S↑ — n P |
Mn PP g —¦ |
g M R S |
RR n↓ S — |
| Syllables | saa — sa na |
na-a di-i yaa —¦ |
jaa aa re e |
a-a pa ne — |
| Sthayi close | n↓ S M M |
M — — —¦ |
· · · · |
· · · · |
| Syllables | ma n di ra |
vaa — — —¦ |
· · · · |
· · · · |
| Antara pickup | · · · · |
· · · · |
P P P P |
Mn PP g M |
| Syllables | · · · · |
· · · · |
su na ho sa |
daa-a a-a ran ga |
| Antara cycle 1 | P P n P |
n S↑ S↑ —¦ |
n D P P |
Mn PP g M |
| Syllables | tu ma ko chaa |
ha ta he —¦ |
su na ho sa |
daa-a a-a ran ga |
| Antara cycle 2 | P P n P |
n S↑ S↑ —¦ |
P n S↑ g↑ |
R↑ R↑ S↑ — |
| Syllables | tu ma ko chaa |
ha ta he —¦ |
kaa aa tu ma |
ha ma ko — |
| Antara close | n D Mn PP |
g —¦ · · |
· · · · |
· · · · |
| Syllables | Tha ga na-a di-i |
yaa —¦ · · |
· · · · |
· · · · |
Pickups, sam and section joins
The sthayi enters at beat 7, with “ma” of mandirva on the following sam. The antara enters at beat 9, with “tu” of tumko on the following sam. The sthayi closing fragment ends at beat 8, allowing the antara at beat 9. The antara closing fragment ends at beat 6, allowing the sthayi return at beat 7. These unequal entrances are intentional. Repeating the sthayi alone needs a deliberate return arrangement; do not overlay its beat-7 pickup onto the still-sounding close at beats 7–8.
Learning sequence
First speak the family-relationship words and the two different pickups. Learn the sthayi’s two opening variants: its first return repeats jaa, whereas the later cycle moves into sun paave. Learn the antara’s repeated tumko phrase. Finally join the sections using the eight-beat and six-beat closes respectively.
Common pitfalls
Repeated RR and PP are two attacks in one beat, not a held note. The lower Ni in mandirva stays in the lower register. Keep the refrain repetition and the six-beat antara close.