Pyari pyari batiyan
Lyrics, meaning and notation.
About this composition
Original text, transliteration and line meanings
Spacing and punctuation aid reading; they are not melody signs.
| Section | Original script | Transliteration | Meaning |
|---|---|---|---|
| Sthayi | प्यारी प्यारी बतियां कर कर मोहन | Pyārī pyārī batiyā̃ kar kar Mohan | By speaking such sweet words, Mohan… |
| Sthayi | आली री मेरो मन बस कीनो | Ālī rī mero man bas kīno | Friend, he has won over my heart. |
| Antara | घरी पल मूरत टरत न हियतें | Gharī pal mūrat ṭarat na hiyateṃ | Not for a moment does his image leave my heart. |
| Antara | हररंग बेगि दिखावो सुरतिया | Harraṅg begi dikhāvo suratiyā | Harrang, quickly show your face. |
The sthayi recalls Mohan (Krishna), then addresses a companion. Batiyan means words or conversation; bas kino means winning the heart. The antara describes an image that does not leave the speaker. Begi means quickly; suratiya is the face or countenance. In sthayi cycle 2, beat 6 contains upper Re–Ga, followed by upper Re at beat 7 and upper Sa at beat 8. r↑/G↑ shares one beat.
How to read this notation
Sa is the chosen reference pitch. Note signs used in this score:
d = komal Dha; P = Pa; S = Sa; N = shuddha Ni; G = shuddha Ga; r = komal 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.
Parentheses mark a grace leading into the next principal note, without adding a beat.
/ separates successive events within one beat. Where shown, [½], [¼], [⅛] and [1] give durations in beats.
Within-beat durations are exact only where specified. Learn the execution of glides, graces and inflection by listening.
Within a grouped column, spaces separate beats; letters joined without spaces share a beat. The column heading states the beat numbers.
Complete notation
| Section / layer | 1–4 · sam | 5–8 · clap | 9–12 · wave | 13–16 · clap |
|---|---|---|---|---|
| Opening pickup, 13–16 | · · · · |
· · · · |
· · · · |
(d)P d S↑ S↑ |
| Syllables | · · · · |
· · · · |
· · · · |
प्या री प्या री |
| Sthayi cycle 1 | (N)d d P — |
(P)d P (P)G P |
G r S S |
(S)r — r — |
| Syllables | ब ति याँ — |
क र क र |
मो — ह न |
आ — ली — |
| Sthayi cycle 2 | (P)G P (G)r S |
r r↑/G↑ r↑ S↑ |
(N)S↑ — (N)d P |
· · · · |
| Syllables | री — मे रो |
म न— ब स |
की — नो — |
· · · · |
| Antara pickup, 13–16 | · · · · |
· · · · |
· · · · |
d d P d |
| Syllables | · · · · |
· · · · |
· · · · |
घ री प ल |
| Antara cycle 1 | S↑ — S↑ S↑ |
r↑ r↑ r↑ r↑ |
G↑ r↑ S↑ — |
S↑ S↑ r↑ S↑ |
| Syllables | मू — र त |
ट र त न |
हि य तें — |
ह र रं ग |
| Antara cycle 2 | (S↑)d — (N)d P |
(P)d P G P |
G r S — |
· · · · |
| Syllables | बे — गि दि |
खा — वो सु |
र ति या — |
· · · · |
Cycle placement and return
Teental has divisions 4 + 4 + 4 + 4, sam at 1, claps at 5 and 13, and a wave at 9. The pickup occupies beats 13–16; batiyan reaches sam. The antara also has a four-beat pickup, with murat reaching sam. Dots pad positions outside a fragment and do not add rests; the pickup can occupy those positions on repetition.
Learning sequence
- Establish Sa and komal Re and Dha. Do not substitute the Poorvi-family Bibhas.
- Speak the text and explain its words before adding melody.
- Count the divisions, then sing each sthayi row without changing its beat count.
- Add the antara, checking every upper-register sign and every return to middle register.
- Join the sections using the pickup or sam alignment, and sing the indicated grace notes.
Pitfalls
In sthayi cycle 2, beat 6 contains upper komal Re and upper Ga, followed by upper komal Re at beat 7. Keep both notes of r↑G↑ within beat 6. Retain the written Ni grace notes even though Ni is absent from the basic scale; learn these ornaments with a teacher.