Chado chado chaila mori baiya
Lyrics, meaning and notation.
About this composition
| Field | Details |
|---|---|
| Raga | Kafi |
| Form | Bandish-ki-thumri |
| Tala | Teental · 16 beats |
| Tempo | Drut |
Complete lyrics, transliteration and meanings
| Section | Original script | Transliteration | Meaning |
|---|---|---|---|
| Sthayi | छाड़ो छाड़ो छैला मोरी बैयाँ | ChhaaDo chhaaDo chhaila mori baiyaan | Let go, let go of my arm, playful beloved. |
| Sthayi | दुखत मोरी नरम कलाई | Dukhat mori naram kalaai | My tender wrist hurts. |
| Sthayi | ऐसे तुम कैसे तुम निडर लाल | Aise tum kaise tum niDar laal | How can you be so fearless, dear boy? |
| Sthayi | मग रोकत पराई | Mag rokat paraayi | Blocking another woman’s path. |
| Antara | कैसे तुम महाराज आवत ना तोको लाज | Kaise tum mahaaraaj aavat naa toko laaj | What a fine lord you are—have you no shame? |
| Antara | जानो ना कंस को राज | Jaano naa Kans ko raaj | Do you not know that Kansa rules here? |
| Antara | पकरि मगावे वाको फिरत दुहाई | Pakari magaave vaako phirat duhaai | He (Kansa) would have you seized and brought; his decree runs everywhere. |
Word notes
ChhaaDo is an older form of “let go”. Chhaila describes a playful young man; mag means path and paraayi places the woman outside the addressee’s household or claim. Maharaj is an ironic address here. The Kansa line invokes the feared ruler in the Krishna story. Duhai phirna refers here to the ruler’s proclamation circulating; the implied subject of having someone seized is Kansa. The stated pain in the wrist should not be read as consent.
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:
S = Sa; n = komal Ni; R = shuddha Re; M = shuddha Ma; g = komal Ga; P = Pa; D = shuddha Dha; G = shuddha Ga.
↑ 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.
¦ 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 | · · · · |
· · S n↓ |
S R R M |
g¦ M P M |
| Syllables | · · · · |
· · chaa Do |
chaa Do che laa |
aa, mo o ri |
| Sthayi cycle 1 | P — P — |
— —¦ S n↓ |
S R R M |
g¦ M P M |
| Syllables | bai — yaa — |
— —¦ chaa Do |
chaa Do che laa |
aa, mo o ri |
| Sthayi cycle 2 | P — P¦ M |
P D n S↑ |
n D M nP |
g — R —¦ |
| Syllables | bai — ya¦ du |
kha ta mo ri |
na ra ma ka-a |
laa — i —¦ |
| Sthayi cycle 3 | R n D n¦ |
P D M P¦ |
g M P g |
M g S n↓ |
| Syllables | e se tu ma, |
ke se tu ma, |
ni Da ra laa |
aa la, ma ga |
| Sthayi close | S g R M |
g R¦ · · |
· · · · |
· · · · |
| Syllables | ro ka ta pa |
raa i¦ · · |
· · · · |
· · · · |
| Antara cycle 1 | M M P P |
S↑ n S↑ S↑¦ |
R↑ g↑ R↑ S↑R↑ |
n S↑ S↑ S↑¦ |
| Syllables | ke se tu ma |
ma ha raa ja, |
aa va ta na-a |
to ko laa ja¦ |
| Antara cycle 2 | P R↑ S↑ R↑ |
n S↑ S↑ S↑¦ |
P D P n |
D P¦ S n↓ |
| Syllables | jaa no na kan |
sa ko raa ja, |
pa ka ri ma |
ga ve vaa ko |
| Antara close | S g R M |
G R¦ · · |
· · · · |
· · · · |
| Syllables | phi ra ta du |
haa i¦ · · |
· · · · |
· · · · |
Pickups, sam and section joins
The sthayi begins at beat 7, reaching sam on bai of baiyaan. It closes at beat 6 and can repeat at 7. The antara begins on sam with ke; after the sthayi close, count to the next sam before entering. The six-beat antara close allows the sthayi pickup at beat 7.
Learning sequence
Speak the scene and rebuke. Learn the beat-7 pickup and three sthayi cycles, keeping the shorter baiyaan in the second. The antara begins on sam. The first six-beat close uses komal g, while the final close uses shuddha G before Re.
Common pitfalls
The final close uses shuddha G; do not flatten it to komal g. The other g cells remain komal. Keep the different sthayi and antara entrances.