108 Melodies on Harmonium

SRI SRI HARINAM SANKIRTAN

- l08 MELODIES INDEX

CONTENTS Preface Indian Classical Music Theory Harinam Phylosphy & Development

PAGE 1-2 3-13 14-15

FIRST PRAHAR RAGAS (6 A.M. to 9 A.M.) Vairav Bengal Valrav Ramkal~ B~bhas Jog~a Tori Jaidev Morning Keertan Prabhat Bhairav Gunkali Kalmgara

16 17 18 19 20 21 22 23 24 25 26

SECOND PRAHAR RAGAS (9 A.M. to 12 P.M.) Deva Gandhar Bha~ravi M~shraBhairav~ Asavar~ JonPurl Durga (Bilawal That) Gandhari M w a Bilawal Bilawal Brindawani Sarang

27 28 29 30 31 32 33 34 35 36

CONTENTS Samant Sarang Kurubh Devagiri

PAGE 37 38 39

THIRD PRAHAR RAGAS (12 P.M. to 3 P.M.) Gor Sarang Bhimpalasi Piloo Multani Dhani Triveni Palasi Hanskinkini

40 41 42 43 44 45 46 47

FOURTH PKAHAR RAGAS (3 P.M. to 6 P.M.) Traditional Keertan of Bengal Dhanasari Manohar Ragasri Puravi Malsri Malvi Sr~tank Hans Narayani

48-49 50 51 52 53 54 55 56 57

FIFTH PRAHAR RAGAS (6 P.M. to 9 P.M.) Yaman Yaman Kalyan Hem Kalyan

58 59 60

Purw Kalyan Bhupah Pur~a Kedar Jaldhar Kedar Marwa Chhaya Khamaj Narayani Durga (Khamaj Thhat) T~lakKarnod H~ndol M~sraKhamaj Nata Ham~r

61 62 63 64 65 66 67 68 69 70 71 72 73 74 75

Hindol Bahar Arana Bahar

SEVENTH PRAHAR RAGAS (12 A.M. to 3 A.M.) Malgunj~ 96 Darbar~Kanra 97 Basant Bahar 98 Deepak 99 Basant 100 Gaur~ 101 Ch~traGaur~ 102 Shivaranjini 103 Ja~tsr~ 104 Dhawalsr~ 105 Paraj 106 Mall Gaura 107 Maad 108 Sohan~ 109 Hans Rath 110 Hans Dhwan~ 111 EIGHTH PKAHAR KAGAS ( 3 A.M. to 6 A.M.) Chandrakos 112 Malkos 113 Gop~kaBasant 114 Pancham 115 Megh Ranjinr 116 Bhankar 117 Lal~taGauri 118 Lalita 119 Khat 120 Gurjan Tor1 121 Barat~Tor1 122 Bhopal Tor1 123 Prabhati Klrtan 124

SIXTH PRAHAR RAGAS ( 9 Y.M.to 12 A M . ) Deshkar (Nlght) Desh Desh M~sra Sorat B~hag Ddishl Champak M~sraGara Tdang Jar Jawanti Bahar Kaf I Arana Megha Bagishari Rageshwar~ Malhar (Sur) Mlya Malhar

94 95

76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 I

- PREEACE The origin of Music is from VEDAS. In VEDAS music has been considered a way of Salvation as a result of its investigation, The objective of music is not the entertainment but the devotion1 worship. The combination of melodies (SUR), Rhythm (TAL), movement (LAYA) and Verse (LANGUAGEPOETRY) is music. A song beers a principal ingredient which is called movement. The measurement of the movement of a song is called rhythm (TAL). The special Order and ratio used for tunes are called Melodies (RAGAS). Melodies (RAGAS) add special Colours to the song. Lord Bharat has called the human body as 'GAJ VEENA' in his 'NATYA-SHASTRA'. 'GAJ' means body - Human body is a media of music. Human body has the capacity to express the melodies (SUR). Vocal music is the better way of musical expression than the instrumental music. Goddess Sarwaty the Deity of Music even holds 'veena' in her hands. LORD Shri Krishna, the master of the whole universe plays flute - 'VENU-GEET' which is very very sweet in sound and enchanting. + Music is the best way of Devotion. Lord Brahma, Vishnu and Shiva are the symbol of Melodies (SUR - NAD).

ASHTA PRAHAR :Ashta means Eight - PRAHAR means a period of 3 hours. Day time 12 hours comprises of 4 PRAHARS. Night time of 12 hours also comprises of 4 PRAHARS.

Thus the 24 hours of the day in divided into 8 PRAHARS. In other words the duration of 6 'O'clock of the morning to 6 'O'clock of the next morning i.e. 24 hours, is called ASHTA (8) PRAHARS. Ashta Prahar hare ~ r i s h n aMahamantra nam Sankirtan Recital preached by Lord Krishna Chaitanya Mahapraubhu from Mayapur Nabadwip Dham, W.B. INDIA) in the year 1486 is the only and easiest way of Devotion leading to Total Salvation in this era of Kaliyuga. We have compiled and reproduced "Hari Nam Sankirtan" viz; Hare Krishna Hare Krishna Krishna Krishan Hare Hare Hare Ram Hare Ram Ram Ram Hare Hare -in 108 different Indian classical and aditional Ragas (Melodious Tunes) for ASHTA PRAHARS (Eight Periodic Durations). This book will be very useful for the Krishna Devotees in learning and practising, 'Hare Krishna Nam Sankirtan' Recital musically in different timings. Hare Krishna !Hari Bol ! Jay Jay Shri Radhey ! Complation By

English Presentation By

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INDIAN CLASSICAL MUSIC A BRIEF THEORY FOR GUIDANCE

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1. TRAINING IN PROPER PRODUCTION OF NOTATION :Terminology of Notation Words SUR Sharaj Rishav Gandhar Madhyam Pancham Dhawat , '8 Nishad

SHORT FROM

-

CERTAIN SIGNS

Sa Re Ga Ma Pa Dha Ni

-

Soft Sounds (KOMAL SUR) Mark '-' beneath the sound notation viz; &, Fast Sound (TEEBRA SUR) Mark 'I' over the sound notation viz: ~ l a

SAPTAK

a,Dha, M.

-

The set of Seven Sound notations (Group of Seven Sur) viz; Sa, Re, Ga, Ma, Pal Dha, Ni. There are three 'SAPTAKS' used in Indian Classical Music viz; Madhya Saptak Mandra Saptak Tar Saotak " , l?

1%.

km-".

"

- Middle set of Sounds (SUR) - Lower set of Sounds (SUR)

- Upper set of 7 Sound (SUR)

Plain Below Over SUR

.

(3)

j

'-' - Any number of Sounds (SUR) in Such bracket will be played in one step of Rhythm (TAL). 'S' means to continue the notation in one or more steps of the Rhythm (TAL). These Seven Notation have different Sounds. One Sound is higher in pitch than the previous one. The Sound useful for music is called 'NAD'. The Seven Sounds (SUR) should be learnt very carefully because every type of song will be sung with the help of these Seven Sounds. Out of these Seven Sounds four Sounds are such which if reduced slightly in pitch, develop new touchy Sounds. These sounds are called Soft Sounds (KOMAL SUR) - Viz, Re, Gal Dha, Ni, Sa and Re are two sukh sounds which are static and do not change. 'Ma' with slight hike becomes 'Fast Ma' (TEEBRA 'Ma' - Mla) different from general 'Ma'. According to Indian Classical Music theory there are nine types of presentation of tastes

viz; 1 . Shringar Ras 2. Veer Ras 3. Karun Ras 4. Adbhut Ras 5. Rawdra Ras 6. Bhayanak Ras 7. Hasya Ras 8. Veevatsa Ras 9. Shant Ras

(Devotion, Love & Beauty) (Enthusiastic) (Sorrowful) (Surprising) (Anger) (Fearfulness) (Amusing) (Hatredful) (Peaceful)

p

- Arohi

& Abrohi

-

I

Arohi : The ascending Order from 'Sa' to 'Ni' is called AROH. Abrohi : The descending Order from 'Ni' to 'Sa' is called ABROH. In other words the upward and downward trends of the song are called 'AROH' and 'ABROH' respectively.

I

'

i

E R I R HAR LESSONS FOR VARIOUS SOUNDS (SUR) (1)

AROH ABROH

: :

AROH ABROH

: :

AROH ABROH

: :

AROH ABROH

: :

AROH ABROH

: :

Sa S'a

Re Ni

Ga Dha

Ma Pa

Pa Dha Ni s'a I Ma Ga Re Sa (2) SaRe, ReGa, GaMa, MaPa, PaDha, DhaNi, ~ i i a . s;N~, NiDha, DhaPa, PaMa, MaGa, GaRe, ReSa. (3) SaReGa, ReGaMa, GaMaPa, MaPaDha, PaDhaNi, ~ h a ~ i h . SaNiDha, NiDhaPa, DhaPaMa, PaMaGa, MaGaRe, GaReSa. (4) SaReGaMa, ReGaMaPa, GaMaPaDha, MaPaDhaNi, ~ a ~ h a N i & . h ~ i ~ h aNiDhaPaMa, ~ a , DhaPaMaGa, PaMaGaRe, MaGaReSa. (5) SaReGaMaPa, ReGaMaPaDha, GaMaPaDhaNi, ~ a ~ a ~ h a ~ i & . G N i ~ h a ~ aNiDhaPaMaGa, ~a, DhnPaMaGaRe, ~ a ~ a ~ a ~ e ~ a . I

I

AROH AROH AKOH

(6) : SaGa. ReMa. GaPa. MaDha, PaNi. D h a ~ i . ARROq :

: SaMa, RePa, GaDha, MaNi, ~ a & . : SaPa. KeDha, GaNi, M~s;.

(7) (8) (9)

ha, NiPa, DhaPa. PaGa, MaRe. GaSa.

ABROH : S b a , NiMa, DhaGa, PaRe, MaSa. ABROH, : & ~ a NiGa. , DhaRe, PaSa.

AROH : S?ReSa. ReGaRe. GaMaGa. MaPaMa. PaDhaPa. DhaNiDha. ~ i S ' a ~~*aResa. i. AHROH : SaKeSa. N ~ S ~ NDhaNiDha. I. PaDhaPa, MaPaMa, (hM,bGa. KeGaKe, SaReSa. ( 10) Mixed ArotlAbrcfh Sa Sa Re Sa Re Sa Ga Re Sa Re Re Sa Pa Ma Sa Re Ma Ga Re Sa Sa Re Pa Dha D,ha Pa Ma Ga k e Pa Dha Sa Re Sa Ni Dha Pa Ma Pa Dha Sa Ke (1 1) Mixes ArohIAbrdh S; Ni Dha Pa h a Pa Dha Sa Re Dha Pa Ma Ga Re Pa Dha Sa Re Ma Ga Kt: Sa Sa Ke Pa L)ha Sa Re Re Sa Pa Ma Sa Re Ga Re Sa Re Sa Sa Re Sa Sa Sa Sa Sa Sa

Ma Ma Ma Ma Ma

(13) Pa

Sa Sa Sa Sa

Pa Dha Pa Ma Ga Re Ga

Sa

Ni Ni Ni Dha

~i Sa

Sa Re Ga

yi

Sa

& Sa Sa Sa

hla Sa

Dha Pa Re Pa Sa

S; Dha Ni Dha Pa Ni Pa

Ga Re Ga Mla Ga Re Ga Mla Ga

Ga Dha Ga Sa

Ma Ma Ma Ga

Pa Pa Pa Pa

Ga Ga Sa

Ma Ma Ga

&

Sa h Pa Dha Dha Pa Ma Q Re Ma

(13)ia

SB Dha Ni Dha Ma

Re Mla Re Re

Ma

S; Ni

&I

I

Uses of Soft Sound (Komal SUR) (IS)Fast- 'Ma' (TEEBRA Ma a')

i

Sa (16) Soft 'Ni' (KOMAL 'Ni'

- 'h')

Ga Ma Dha Ga Ma Ga Sa Sa Dha Pa Ga &e ?a Sa Ma Ga Ma Pa S; Ga Re (17) Soft 'Re' & 'Dha' (KOMAL 'Re & Dha' - 'h & Dha') Sa $I Q@ yi Sa & Sa Pa Dha Pa Ma Ga Ma Ma Sa ( 1 8) Soft 'Ga' & 'Ni' (KOMAL Ga & Ni - h & Bi) Ma Pa L Sea Re Ma &e Sa Pa Gib Re Sa

l

(19) Soft 'Ga' 'Dha' 'Ni' (KOMAOL Ga Dha Ni - Q Dha &) Sa Re Ma Pa NI Dha Pa Re Ma Re Sa Ma Pa D&a Pa I