E baje jhanana
Lyrics, meaning and notation.
About this composition
| Field | Details |
|---|---|
| Raga | Jaunpuri |
| Form | Bada khayal · vilambit |
| Tala | Jhumra · 14 beats; cycle explained below |
Complete lyrics, transliteration and meanings
| Section | Original script | Transliteration | Meaning |
|---|---|---|---|
| Sthayi | ए बाजे झनन झनन बाजे पायलिया मोरे | E bāje jhanana jhanana bāje pāyaliyā more | Ah, my anklets ring and jingle. |
| Sthayi | राजदुलारी डोलरे आंगन मा | Rājadulārī ḍolare āṅgan mā | The cherished princess sways in the courtyard. |
| Antara | मन मतंग मतवारो ही डोलरे | Man mataṅg matavāro hī ḍolare | The mind, like an intoxicated elephant, sways. |
| Antara | नैना मिलावे अत छांडे मा | Nainā milāve at chhā̃ḍe mā | Eyes meet. |
Word notes
Payaliya means anklets; jhanana imitates their ringing. Rajadulari means a cherished young woman or princess. Matang means elephant, evoking an unrestrained, intoxicated mind.
Complete beat-aligned score
Jhumra has fourteen beats in 3 + 4 + 3 + 4. Both pickups begin at beat 13 and closing rows end at beat 12. A slash separates successive events within a beat; [½], [¼], [⅛] and [1] mark duration. The two-beat upper Sa in the antara is S↑[1] followed by —[1]. Dots mark rests or padding, not sustained notes. Parenthesized grace notes have no separate measured beat.
How to read this notation
Sa is the chosen reference pitch. Note signs used in this score:
g = komal Ga; R = shuddha Re; S = Sa; d = komal Dha; P = Pa; M = shuddha Ma; n = komal Ni.
↑ 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.
| Section / beat | 1–3 · sam | 4–7 · clap | 8–10 · wave | 11–14 · clap |
|---|---|---|---|---|
| Sthayi pickup | ·[1] ·[1] ·[1] |
·[1] ·[1] ·[1] ·[1] |
·[1] ·[1] ·[1] |
·[1] ·[1] g[¼]/g[⅛]/R[⅛]/S[⅛]/R[⅛]/—[¼] —[½]/S[¼]/S[¼] |
| Syllables | ·[1] ·[1] ·[1] |
·[1] ·[1] ·[1] ·[1] |
·[1] ·[1] ·[1] |
·[1] ·[1] ए[¼]/—[⅛]/—[⅛]/—[⅛]/—[⅛]/—[¼] —[½]/बा[¼]/जे[¼] |
| Sthayi cycle 1 | S[½]/S[½] S[¼]/d[¼]/—[½] P[½]/d[¼]/M[¼] |
·[½]/(P)M[¼]/M[¼] M[¼]/P[¼]/—[½] d[¼]/d[⅛]/P[⅛]/M[⅛]/P[⅛]/—[¼] (M)g[½]/(M)g[½] |
(S)R[½]/S[½] ·[½]/S[¼]/R[¼] M[½]/—[¼]/R[¼] |
P[½]/—[¼]/M[¼] d[¼]/d[⅛]/P[⅛]/M[⅛]/P[⅛]/—[¼] (M)g[½]/(M)g[½] (S)R[½]/S[½] |
| Syllables | झ[½]/न[½] —[¼]/—[¼]/—[½] न[½]/—[¼]/—[¼] |
·[½]/झ[¼]/न[¼] न[¼]/—[¼]/—[½] बा[¼]/—[⅛]/—[⅛]/—[⅛]/—[⅛]/—[¼] जे[½]/—[½] |
पा[½]/—[½] ·[½]/य[¼]/लि[¼] या[½]/—[¼]/—[¼] |
—[½]/—[¼]/—[¼] मो[¼]/—[⅛]/—[⅛]/—[⅛]/—[⅛]/—[¼] रे[½]/—[½] —[½]/—[½] |
| Sthayi cycle 2 and close | M[½]/M[½] (M)P[¼]/M[¼]/P[½] P[1] |
S[½]/(n)d[½] —[½]/P[½] d[¼]/M[¼]/—[½] (P)M[¼]/P[¼]/—[½] |
d[¼]/d[⅛]/P[⅛]/M[⅛]/P[⅛]/—[¼] (M)R[½]/M[½] (P)M[½]/P[½] |
(M)P[½]/d[½] M[⅛]/P[⅛]/—[¼]/g[½] ·[1] ·[1] |
| Syllables | रा[½]/जे[½] —[¼]/दु[¼]/ला[½] री[1] |
डो[½]/—[½] —[½]/लरे[½] —[¼]/—[¼]/—[½] आं[¼]/—[¼]/—[½] |
ग[¼]/—[⅛]/—[⅛]/—[⅛]/—[⅛]/—[¼] न[½]/—[½] मा[½]/—[½] |
—[½]/—[½] —[⅛]/—[⅛]/—[¼]/—[½] ·[1] ·[1] |
| Antara pickup | ·[1] ·[1] ·[1] |
·[1] ·[1] ·[1] ·[1] |
·[1] ·[1] ·[1] |
·[1] ·[1] M[¼]/P[¼]/(n)d[½] (n)d[¼]/S↑[¼]/—[¼]/(n)S↑[¼] |
| Syllables | ·[1] ·[1] ·[1] |
·[1] ·[1] ·[1] ·[1] |
·[1] ·[1] ·[1] |
·[1] ·[1] म[¼]/न[¼]/म[½] तं[¼]/—[¼]/—[¼]/—[¼] |
| Antara cycle 1 | S↑[1] —[1] (n)d[¼]/(n)d[¼]/S↑[½] |
—[½]/n↑[½] R↑[1] S↑[1] g↑[½]/(R↑)g↑[½] |
(S↑)R↑[½]/S↑[½] —[1] (n)S↑[½]/n↑[⅛]/S↑[⅛]/R↑[⅛]/S↑[⅛] |
(n)d[1] P[½]/—[¼]/d[¼] (M)P[½]/(M)R[½] M[½]/M[⅛]/P[⅛]/M[¼] |
| Syllables | ग[1] —[1] म[¼]/त[¼]/वा[½] |
—[½]/—[½] —[1] —[1] रो[½]/—[½] |
ही[½]/—[½] —[1] डो[½]/—[⅛]/—[⅛]/—[⅛]/—[⅛] |
लरे[1] —[½]/—[¼]/—[¼] नै[½]/ना[½] —[½]/—[⅛]/—[⅛]/मि[¼] |
| Antara cycle 2 and close | P[1] P[1] M[½]/(d)P[½] |
S↑[1] (M)g[1] (M)g[1] (M)R[½]/(M)R[½] |
M[1] (P)M[½]/P[½] (M)P[½]/d[½] |
(M)P[1] (M)g[½]/(M)g[½] ·[1] ·[1] |
| Syllables | ला[1] वे[1] अ[½]/त[½] |
—[1] —[1] —[1] छां[½]/डे[½] |
—[1] मा[½]/—[½] —[½]/—[½] |
—[1] —[½]/—[½] ·[1] ·[1] |
Pickups, sam and return
The opening E begins at beat 13 and ba-je completes beat 14; jha meets sam. The next sam carries ra of rajadulari. The final Ga ends at beat 12, leaving beats 13–14 for the returning E pickup. In the antara, man matang starts at beat 13, and ga of matang arrives at sam on the long upper Sa. The following sam carries la of milave. Its final komal Ga again ends at beat 12. Do not add the padded positions as two new silent beats before taking the pickup.
Learning sequence
Count the fourteen-beat cycle and its unequal divisions before adding words. Learn principal notes first; then reproduce the explicitly timed subdivisions, especially the eight-note-per-beat values in the sthayi ornaments. Separate sung holds from the short rests. Learn the upper-register antara and join the syllable mi before sam to la on sam. Add unmeasured vocal inflection only with a teacher after the fixed duration pattern is stable.
Pitfalls
Keep quarter- and eighth-beat durations distinct. The antara’s long upper Sa lasts two full beats. Middle and upper Ni are komal, including the Ni graces. Learn the written Jhumra alignment with a teacher; a Teental performance with a similar opening does not supply the timing of this version.