Jaun tore charan kamal par vaar
Lyrics, meaning and notation.
About this composition
| Entry | Beat 5 in both sections | | Sam syllable | vaar (sthayi); ja of jada-mati (antara) |
The laya is madhya.
Lyrics, transliteration and meaning
| Section | Original script | Transliteration | Meaning |
|---|---|---|---|
| Sthayi | जाऊँ तोरे चरण कमल पर वार | Jaaun tore charan kamal par vaar | I would offer myself at your lotus feet. |
| Sthayi | हो गोपाल गोविन्द मुरार | Ho Gopaal Govind Muraar | O Gopal, Govind, Murar—names of Krishna. |
| Sthayi | शरणागत हूँ द्वार तिहार | Sharanaagat hun dvaar tihaar | I have come to your door seeking refuge. |
| Antara | अनगिन दुरित भयो हूँ जड़मति | Anagin durit bhayo hun jad-mati | Burdened by countless failings, I have become dull of understanding. |
| Antara | किस विध पाऊँ चतुर तुमरे पग | Kis vidh paaun Chatur tumre pag | Chatur asks: how may I reach your feet? |
| Antara | तुम ही जग के एक आधार | Tum hi jag ke ek aadhaar | You alone are the support of the world. |
Word notes
Charan kamal is the devotional image of lotus feet, expressing surrender. Durit means wrongdoing or affliction, jad-mati is dull understanding, and tihaar means “your”.
Notation legend and cycle
Each division contains four beat cells separated by spaces. Dots pad positions outside a pickup or closing fragment; they do not add a rest cycle. The lyric syllables align with the beat cells. Slash pairs divide the beat equally. Repeated vowels such as paa-a or che-e indicate gamak or rearticulation, not extra words. Learn the vocal gesture by listening.
Teental: clap on 1 (sam), 5 and 13; wave on 9.
How to read this notation
Sa is the chosen reference pitch. Note signs used in this score:
G = shuddha Ga; D = shuddha Dha; P = Pa; R = shuddha Re; S = Sa.
↑ 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.
In this composition, a slash-separated pair occupies two equal half-beats.
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 G D P |
G R G R |
S D↓ S R |
| Text | · · · · |
jaa u to re |
cha ra na ka |
ma la pa ra |
| Sthayi cycle 1 | G — — G |
G P D R↑ |
S↑ — S↑ S↑ |
S↑ R↑ S↑ R↑ |
| Text | vaa — — ra |
ho o go o |
paa — la go |
vin n da mu |
| Sthayi cycle 2 | S↑ D P G |
S↑ S↑ G↑ R↑ |
S↑ D S↑ — |
P D R↑ S↑ |
| Text | raa aa aa ra |
sha ra naa aa |
ga ta hu — |
dvaa aa ra ti |
| Sthayi close | D P G R |
· · · · |
· · · · |
· · · · |
| Text | haa aa aa ra |
· · · · |
· · · · |
· · · · |
| Antara pickup | · · · · |
G G P P |
S↑ D S↑ D |
S↑ — S↑ — |
| Text | · · · · |
a na gi na |
du ri ta bha |
yo — hu — |
| Antara cycle 1 | S↑ R↑ S↑ S↑ |
S↑ D D D |
S↑ — S↑ S↑ |
S↑ R↑ S↑ R↑ |
| Text | ja da ma ti |
ki su vi dha |
paa — u cha |
tu ra tu ma |
| Antara cycle 2 | S↑ D P G |
S↑ S↑ G↑ R↑ |
S↑ — S↑ — |
P D R↑ S↑ |
| Text | re e pa ga |
tu ma hi i |
ja ga ke — |
e e ka aa |
| Antara close | D P G R |
· · · · |
· · · · |
· · · · |
| Text | dha aa aa ra |
· · · · |
· · · · |
· · · · |
Section joins and returns
Start the section at beat 5, count through beat 16 and continue into the first full cycle. Sing the full-cycle rows in order, then the closing fragment. Re-enter at beat 5; to return from antara to sthayi, use the sthayi pickup there. Dot-marked padding does not add a rest cycle.
Learning sequence
Count beats 1–4 before entering on beat 5. First learn the entrance and its arrival at vaar on the next sam. Next distinguish the two complete cycles and four-beat close of each section. Only then connect the antara text: its sam word is different from the sthayi’s even though both sections enter on beat 5.
First speak the lyric, then count the cycle, then read the melody. Combine them when the separate layers are clear. Learn the composition before adding bol-alap, taans or ornamentation.
Common pitfalls and self-check
The closing D P G R occupies beats 1–4, not an extra extension. Re-enter at beat 5. Held notes at beats 2–3 of the first sthayi cycle must not become new words or pitches. Sustain the vowel through the repeated G on beat 4.
Check three things on each return: the cycle has sixteen beats, the specified sam syllable arrives on beat 1, and the lyric remains intelligible through long notes. Learn ornaments and pronunciation by listening and with a teacher’s guidance.