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jaan e kharabat

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Reply with quote  #1 
Listening to vocal music I'm not always able to catch the lyrics of the bandishes let alone their meaning. I thought we might start here a repository of sorts of bandishes and encourage our knowledgeable members to translate them so that those of us who don't understand the languages can thereby increase our enjoyment of the songs.

I'll set the ball rolling with an example that gave me this idea:

[size=150]tore bina mohe chaina nahin brij ke nandalaala [/size]
Without you I have no rest, (O) Nandalaal (Krishna) of Braj!

Khiyal in raag Kirwani, madhyalay ektaal. Sam (kD, madhya saptak) is on the first syllable of the line and a secondary one on "brij" (R, madhya saptak). The melody goes something like d P M g R S 'N-S g R,, R g M, M P d- P. From sam down to the mandra Ni (two matras), then up to the first R (two matras), it's basically one swara per syllable per matra.

This is the first line of the asthai, the only part of the bandish I can make out in text and/or meaning from a performance by Rasiklal Andharia. I hope my translation is close, if not, please correct it. If anyone has the full text of the asthai/antara parts of this bandish, please post.

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If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?
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beenkar

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Reply with quote  #2 
If I recall the antara , it is -

Paiyan paroon, binati karooon,
daaloon gale mala,
brij ke nandalala!!

I bow down to your feet,
request to you stay,
and shall garland you,
O Nanda's son (Krishna) from the (holy) land of brij!!.

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रंग भरयौ मुसकात लला निकस्यौ कल कुंजन ते सुखदाई
टूटि गयो घर को सब बंधन छूटि गौ आरज- लाज- बड़ाई
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jaan e kharabat

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Reply with quote  #3 
Wonderful, thank you beenkarji! Perhaps you could post a choice popular composition of your own reckoning too?
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If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?
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beenkar

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Reply with quote  #4 
jaan saheb,

there are many of them .

Infact, one of my Gurus got around 1000 compositions of Sadarang and other traditional composers translated from Brij to Hindi (and English as well) along with relevant Vyakhaya or commentary on the meaning of the composition. The translations were done by Brij Bhasa Pundits . Unfortunately it remained un-published.

There are also around another 1000 traditional dhrupad compositions taught within the Dagar tradition that are all transcribed and kept secure for the future.

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रंग भरयौ मुसकात लला निकस्यौ कल कुंजन ते सुखदाई
टूटि गयो घर को सब बंधन छूटि गौ आरज- लाज- बड़ाई
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jaan e kharabat

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Reply with quote  #5 
What about the bara khyal in Lalit:

raina ka sapna kaase kaho mori aali?

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If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?
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beenkar

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Reply with quote  #6 
I remember the antara went like this-

text-
Soovat soovat Ankhe Khule tab koi na payo apana!

loose Trans-
After the long slumber,
when the eyes opened,
I found no 'mine'

commentary-

This is a known mystic/advaitic parable of world being like a dream (Sapana) and the dawning of realization (waking up from slumber) that the ego is false and 'my' and 'mine-ness' does not exist.

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रंग भरयौ मुसकात लला निकस्यौ कल कुंजन ते सुखदाई
टूटि गयो घर को सब बंधन छूटि गौ आरज- लाज- बड़ाई
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jaan e kharabat

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Reply with quote  #7 
Quote:
Originally Posted by "beenkar"
I remember the antara went like this-

text-
Soovat soovat Ankhe Khule tab koi na payo apana!

loose Trans-
After the long slumber,
when the eyes opened,
I found no 'mine'

commentary-

This is a known mystic/advaitic parable of world being like a dream (Sapana) and the dawning of realization (waking up from slumber) that the ego is false and 'my' and 'mine-ness' does not exist.
Appropriate lyrics given Lalit's samay and rasa. Thank you for the translations.

Does anyone have the full text of Adarang's "karim naam tero" in Miyan Malhar. I can only make out the asthai which goes:

karim naam tero, tu sahib, sattar
(The)Generous is thy name, thou art the Lord, the Concealer...

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If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?
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beenkar

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Reply with quote  #8 
antara .
dukh drindra door kar sukh de saban ko
adarang binati karata sun le satar.
the meaning is evident

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रंग भरयौ मुसकात लला निकस्यौ कल कुंजन ते सुखदाई
टूटि गयो घर को सब बंधन छूटि गौ आरज- लाज- बड़ाई
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jaan e kharabat

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Reply with quote  #9 
Quote:
Originally Posted by "beenkar"
antara .
dukh drindra door kar sukh de saban ko
adarang binati karata sun le satar.
the meaning is evident
Evident if one's Hindi is good, which mine isn't. Both the vocabulary and grammar is beyond me on this one.

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If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?
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beenkar

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Reply with quote  #10 
dukh darindra door kar
(remove griefs and miseries)
sukh de saban ko
(grant happiness to every one)
adarang binati karata
(adarang prays and requests)
sun le karatar
(take heed of them o, karatar)

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रंग भरयौ मुसकात लला निकस्यौ कल कुंजन ते सुखदाई
टूटि गयो घर को सब बंधन छूटि गौ आरज- लाज- बड़ाई
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Vivek

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Reply with quote  #11 
If I may make a request, does anyone know the lyrics/translation for the bandish "Sughara Sundharva Balamva" by Ustad Amir Khan, in Yaman? I'd really appreciate them, if anyone is willing to share.

- V -

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Love All, Serve All
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jaan e kharabat

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Reply with quote  #12 
Reprising this thread because I want ask about the Malkauns chiiz, "peer na jaani".

Looking for the full text and a translation. Thanks in advance.

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If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?
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