Aaj khelo Shaam sang hori
Lyrics, meaning and notation.
About this composition
Complete lyrics, transliteration and meanings
| Section | Original script | Transliteration | Meaning |
|---|---|---|---|
| Sthayi | आज खेलो श्याम संग होरी | Aaj khelo Shyaam sang hori | Play Holi with Shyam today. |
| Sthayi | पिचकारी रंग भरी केसर की | Pichkaari rang bhari kesar ki | The water-squirter is filled with saffron-coloured water. |
| Antara | कुँवर कन्हैया संग सखि राधा | Kunvar Kanhaiyaa sang sakhi Raadhaa | Prince Kanhaiya is with his companion Radha. |
| Antara | रंग भरी जोरी सोहत री | Rang bhari jori sohat ri | How lovely the colour-drenched pair looks! |
Word notes
Shyam and Kanhaiya name Krishna. Hori is the festive song or theme; the tala is Teental. Kesar is saffron colour; jori is the pair Krishna and Radha, and ri is an address particle.
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:
R = shuddha Re; M = shuddha Ma; n = komal Ni; P = Pa; g = komal Ga; D = shuddha Dha; 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.
Parentheses mark a grace leading into the next principal note, without adding a beat.
¦ 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 | · · · · |
· · R M |
n — P g |
R g M M |
| Syllables | · · · · |
· · aa ja |
khe — lo shaa |
aa ma san ga |
| Sthayi cycle 1 | P — P — |
(n)P —¦ · · |
D D D — |
n — D D |
| Syllables | ho — ri — |
i —¦ · · |
pi cha kaa — |
ri — ran ga |
| Sthayi cycle 2 | M P Dn R↑S↑ |
n D P —¦ |
n — P g |
R g M M |
| Syllables | bha ri ke-e e-e |
sa ra ki —¦ |
khe — lo shaa |
aa ma san ga |
| Sthayi close | P — P — |
(n)P —¦ · · |
· · · · |
· · · · |
| Syllables | ho — ri — |
i —¦ · · |
· · · · |
· · · · |
| Antara pickup | · · · · |
· · · · |
D M P D |
S↑ — S↑ — |
| Syllables | · · · · |
· · · · |
ku va ra ka |
nai — yaa — |
| Antara cycle | R↑ g↑ R↑ S↑ |
R↑ nn D P¦ |
S↑ S↑ S↑ S↑R↑ |
nS↑ —n D M |
| Syllables | san ga sa khi |
raa a-a dha aa¦ |
ran ga bha ri-i |
jo-o —o ri i |
| Antara close | Dn S↑ n D |
P —¦ · · |
· · · · |
· · · · |
| Syllables | so-o o ha ta |
ri —¦ · · |
· · · · |
· · · · |
Pickups, sam and section joins
The initial sthayi begins at beat 7, but its written internal khelo return starts at beat 9 without repeating aaj. First sam is ho. The antara pickup starts at beat 9 and reaches sam on sang. Both sections close at beat 6. A full sthayi return can start at beat 7; an antara entry needs beats 7–8 counted before its beat-9 pickup. Preserve the two silent cells at sthayi cycle 1 beats 7–8 before pichkaari, rather than extending the preceding Pa automatically.
Learning sequence
Speak the four lines and identify the Holi imagery. Count the beat-7 aaj entrance separately from the beat-9 khelo return. Learn the Pa refrain and its Ni grace. Then isolate the joined R↑S↑ and the antara’s upper komal Ga. Connect the final six-beat close to the full sthayi pickup without adding an entire silent cycle.
Common pitfalls
Do not translate Shyam as evening or infer Dhamar tala from the Holi theme. Joined Dn and nS↑ share their beats; n is komal Ni, not a lower-register sign.