Ghungharuva mora baje
Lyrics, meaning and notation.
About this composition
| Field | Details |
|---|---|
| Raga | Vrindavani Sarang |
| Form | Khayal |
| Tala | Teental |
Complete lyrics, transliteration and meanings
| Section | Original script | Transliteration | Meaning |
|---|---|---|---|
| Sthayi | घुंघरूवा मोरा बाजे बाजे रे | Ghuṅgharūvā morā bāje bāje re | My anklets keep ringing. |
| Sthayi | घुंघरूवा मोरा बाजे बाजे | Ghuṅgharūvā morā bāje bāje | My anklets keep ringing. |
| Antara | सास ननंद मोरी पार परोसन | Sās nanand morī pār parosan | My mother-in-law, sister-in-law, and the neighbour across the way— |
| Antara | लोगवा मैका नाम धरे | Logavā maikā nām dhare | People will call me names. |
Word notes
Ghungharuva means anklets or their bells. Nanand is the husband’s sister and parosan a neighbouring woman. Naam dhare means calling names or censuring.
Complete beat-aligned score
Each row is one Teental cycle. Both sections have an eight-beat lead-in area: the sthayi sounds on beat 9; the antara has a rest on beat 9 and sounds on beat 10. Dots outside the written phrase mark unused positions, not additional sung rests. Groups within a cell divide that beat equally.
How to read this notation
Sa is the chosen reference pitch. Note signs used in this score:
n = komal Ni; P = Pa; M = shuddha Ma; R = shuddha Re; S = Sa; N = shuddha 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.
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 | 1–4 · sam | 5–8 · clap | 9–12 · wave | 13–16 · clap |
|---|---|---|---|---|
| Sthayi pickup | · · · · |
· · · · |
n n PM R |
— MM RS N↓S |
| Syllables | · · · · |
· · · · |
घुं घ रु— वा |
— मो— —— रा— |
| Sthayi cycle | M R M P |
— nn PM P |
n n PM R |
— MM RS N↓S |
| Syllables | बा — जे — |
— बा— जे— रे |
घुं घ रु— वा |
— मो— —— रा— |
| Sthayi close | M R M P |
M (n)P (M)R M |
· · · · |
· · · · |
| Syllables | बा — जे — |
— बा जे — |
· · · · |
· · · · |
| Antara pickup | · · · · |
· · · · |
· M M M |
P P N N |
| Syllables | · · · · |
· · · · |
· सा स न |
नं द मो री |
| Antara cycle | (N)S↑ — S↑ S↑ |
R↑N S↑ S↑ S↑ |
P R↑ R↑ S↑ |
N S↑ S↑ n |
| Syllables | पा — र प |
रो— — स न |
लो ग वा — |
मै — का — |
| Antara close | MP nn PM P |
RM PM RS N↓S |
· · · · |
· · · · |
| Syllables | ना— —— म— ध |
रे— —— —— —— |
· · · · |
· · · · |
Pickups, sam and return
The sthayi enters on komal n at beat 9, then ba of baje meets sam on Ma. Its second eight-beat close ends at beat 8. The antara begins with the written beat-9 rest, followed by saas on beat 10; pa of par enters on sam at upper Sa. Naam meets the next sam. The final eight-beat close can join the sthayi pickup on beat 9 without an added cycle.
Learning sequence
Speak the two sections and distinguish each family relationship. Count the pickup before singing. Learn n versus N and the lower N, in the sthayi; the antara reaches upper Sa and Re. Keep paired notes in one beat and grace notes outside the main beat count. Join both eight-beat closes to the returning sthayi.
Pitfalls
The antara begins with a rest, not a sustained note. The final n in its full cycle is middle-register komal Ni, not upper shuddha Ni.