Bit jat barkha ritu
Lyrics, meaning and notation.
About this composition
Complete lyrics, transliteration and meanings
| Section | Original script | Transliteration | Meaning |
|---|---|---|---|
| Sthayi | बित जात बरखा ऋतु | Bit jāt barkhā ṛtu | The rainy season is passing. |
| Sthayi | सजन नाही आये | Sajan nāhī āye | My beloved has not come. |
| Refrain | येरी येरी येरी प्यारी | Yerī yerī yerī pyārī | O dear friend! |
| Antara | दादुर बोले पपीहा बोले पीयु पीयु कर | Dādur bole papīhā bole pīyu pīyu kar | Frogs call, and the pied cuckoo cries “piyu, piyu.” |
| Antara | जिया तरसे उमंगे जोबन मानत नाही | Jiyā tarse umaṅge joban mānat nāhī | My heart longs; youthful desire surges and will not be restrained. |
| Antara | कैसो दुख दे गयो री | Kaiso dukh de gayo rī | What sorrow he has left me with, friend! |
Word notes
Barkha ritu is the rainy season; dadur means frogs. The papihā’s piyu call evokes the absent beloved. Joban means youth and its desire. The yerī refrain returns after the antara.
Complete beat-aligned score
Each row contains two Dadra cycles. Each cycle has sam on 1 and a wave on 4. Both sections begin on sam.
How to read this notation
Sa is the chosen reference pitch. Note signs used in this score:
S = Sa; N = shuddha Ni; n = komal Ni; D = shuddha Dha; P = Pa; M = shuddha Ma; G = shuddha 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-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.
| Section / beat | 1–3 · sam | 4–6 · wave | 1–3 · sam | 4–6 · wave |
|---|---|---|---|---|
| Sthayi 1 | S↑ N S↑ |
n D P |
P D M |
G R R |
| Syllables | बि — त |
जा — त |
ब र खा |
ऋ — तु |
| Sthayi 2 | R G R |
S N↓ S |
RG M G |
R — — |
| Syllables | स ज न |
ना — ही |
आ — — |
ये — — |
| Refrain | R M R |
M P M |
MP S↑n D |
P — P |
| Syllables | ये — री |
ये — री |
ये — री |
प्या री — |
| Antara 1 | M M P |
N — N |
S↑ N S↑ |
S↑ — S↑ |
| Syllables | दा दु र |
बो — ले |
प पी हा |
बो — ले |
| Antara 2 | N N S↑ |
S↑ N S↑ |
PN S↑R↑ S↑ |
n D P |
| Syllables | पी यु पी |
यु क र |
जि — या |
त र से |
| Antara 3 | P P R↑ |
R↑ R↑ R↑ |
R↑ G↑ R↑ |
N S↑ S↑ |
| Syllables | उ म गे |
जो ब न |
मा न त |
ना — ही |
| Antara 4 | N — N |
S↑ — S↑ |
PN S↑R↑ S↑ |
n D P |
| Syllables | कै — सो |
दु — ख |
दे — ग |
यो — री |
Pickups, sam and return
Sing the three sthayi rows in order. After antara row 4, return to the twelve-beat yerī refrain, then to the opening upper Sa on sam. Pa at the end of the refrain and upper Sa at the opening are separate attacks. There is no invented anacrusis or missing half-cycle.
Learning sequence
Speak each poetic line before joining its syllables to the score. Clap Dadra twice per row. Separate shuddha N from komal n and distinguish lower N↓ in the second sthayi row. Learn MP, S↑n, PN and S↑R↑ within one beat each.
Pitfalls
Do not count the twelve positions as Ektal: each row contains two Dadra cycles. Learn vocal inflection by listening.