A Few specimens of Indian songs

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u^5^VW^^ oW / M-^^^j^ joaikl.

^

• •;»

t>arvar& Colleoe library?

FROM THE BEQUEST OF

HENRY WARE WALES, M.D.

Class of 1838

FOR BOOKS or IMTB&BST TO TRB
SAWSKUT DBPABTMBirr

UVSIC LIBBARY

3

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Date

Due

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PRINTED

IN U. 8. A.

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s

f u.

A FEW

SPECIMENS OF INDIAN SONGS,

BY

SOURINDEO MOHUN TAGOIiE, Mus. Doc,

SANGITA NIyAKA AND SANGITA SaGARA OF ^'EPAUL ;

FOUNDER AND PRESIDENT OF THE BENGAL MUSIC SCHOOL ;

FELLOW OF THE UNIVERSITY OF CALCUTTA ;

MEMBER OF THE ROYAL ASIATIC 80CIETY, AND FELLOW OF THE ROYAL

SOCIETY OF LITERATURE, GREAT BRITAIN AND IIIELAND ;

HONORARY MEMBER OF THE
ROYAL ACADEMY -OF MUSIC, STOCKHOLM, SWEDEN; OFFICER d'aCADEMIE,
PARIS ; ASSOCIATE MEMBER OF THE ROYAL ACADEMY OF SCIENCE,
LETTERS AND FINE ARTS OF BELGIUM ;

CORRESPONDING MEMBER OF THE ROYAL MUSICAL SOCIETY OF AMSTERDAM ;

FOREIGN MEMBER OF THE ROYAL PHILOLOGICAL AND ETHNOGRAPHICAL

INSTITUTION OF NETHERLANDS INDIA AT THE HAGUE ;

CORRESPONDING MEMBER OF THE

ROYAL UNIVERSITY OF GENEVA ; SOCIO ONORARIO OF THE ROYAL ACADEMY OF

ST. CECILIA, ROME ; SOCIO ONORARIO SOCIETA DIDASCALTCA ITAHANA ;

ACCADEMICO CORRISPONDENTE OF THE ACADEMY OF THE

ROYAL MUSICAL INSTITUTE OF FLORENCE ;

SOCIO CORRISPONDENTE OF THE ROYAL ACADEMY

OF RAFFAELLO, URBINO, ITALY 5

SOCIO BENEMERITO OF THE ROYAL UNIVERSITY OF PARMA ;

SOCIO ONORARIO OF THE PHILHARMONIC SOCIETY OF BOLOGNA j

HONORARY MEMBER OF THE ARCH^OLOGICAL SOCIETY OF ATHENS, GREECE ;

SOCIO ONORARIO OF ROYAL ACADEMY OF PALERMO, SICILY ;

PATRON OF THE ATHENEUM OF THE ROYAL UNIVERSITY OF SASSARI,

SARDINIA ; &C., &C., ifeC.

i

6

f

OJaUtttta:

Printed by I. C. Bose & Co., Stanhope Press, 249, Bow- Bazar
Street, and Published by the Author.

1879.

-&Di<3o^

[All rights reserved.']

v

K-

■^

A PEW

SPECIMENS OF INDIAN SONGS.

BT

SOURINDKO MOHUN TAGORE, Mus. Doc,

SANGITA NIYAKA AND SANGITA SAGARA OF NEPAUL ;

FOUNDER AND PRESIDENT OF THE BENGAL MUSIC SCHOOL;

FELLOW OF THE UNIVERSITY OF CALCUTTA ;

MEMBER OF THE ROYAL ASIATIC SOCIETY, AND FELLOW OF THE ROYAL

SOCIETY OF LITERATURE, GREAT BRITAIN AND IRELAND ;

HONORARY MEMBER OF THE

ROYAL ACADEMY OF MUSIC, STOCKHOLM, SWEDEN ; OFFICER D'ACADEMIE^

PARIS ; ASSOCIATE MEMBER OF THE ROYAL ACADEMY OF SCIENCE,

LETTERS AND FINE ARTS OF BELGIUM ;

CORRESPONDING MEMBER OF THE ROYAL MUSICAL SOCIETY OF AMSTERDAM ;

FOREIGN MEMBER OF THE ROYAL PHILOLOiHCAL AND ETHNOGRAPHICAL

INSTITUTION OF NETHERLANDS INDIA AT THE HAGUE ;

CORRESPONDING MEMBER OF THE

ROYAL UNIVERSITY OF GENEVA ; SOCIO ONORARIO OF THE ROYAL ACADEMY OF

QT. CECILIA, ROME ; SOCIO ONORARIO SOCIETA DIDASCALICA ITALIANA ;

AGCADEMICO CORRISPONDENTE OF THE ACADEMY OF THE

ROYAL MUSICAL INSTITUTE OF FLORENCE ;

SOCIO CORRISPONDENTE OF THE ROYAL ACADEMY
OF RAFFAELLO, URBINO, ITALY j
SOCIO , BENEMERITO OF THE ROYAL UNirERSITY OF PARMA ;
SOCIO ONORARIO OF THE PHILHARMONIC SOCIETY OF BOLOGNA;

HONORARY MEMBER OF THE ARCHAEOLOGICAL SOCIETY OF ATHENS, GREECE ;

SOCIO ONORARIO OF ROYAL ACADEMY OF PALERMO, SICILY ;

PATRON OF THE ATHENEUM OF THE ROYAL UNIVERSITY OF SASSARI,

SARDINIA ; &C., &C., &C.

(SaUttUa:

Printed by I. C. Boss & Co., Stanhope Press, 249, Bow-Bazar
Street, AND Published BY the Author.

1879.

[All rights reserved^

^.

jt^

M

JJLO^

^y 7, y ^

HARVARD

UNIVERSITY

LIBRARY

UEG 2b 1953

V

To

liiS (BmWmti! tfte iigltt lon'Me

EDWARD ROBERT LYTTON, BULWER-LYTTON,
BARON LYTTON OF KNEBWORTH, Q-M-SJ.,

Viceroy and Governor-General of India^ &c.^ &c,^ &c.

May it please Youe Excellency \

'EING desirous of celebrating this the aus-
picious occasion of the Third Anniveesary
of™the assumption by Hee Most Geacious

Majesty QUEEN VICTORIA, of the Title of
I KMg3a«88 oy ataffp gAj I beg most respectfully,

with Your Excellency's kind permission, to place
at the foot of Your Excellency's august throne
the various flowers, which I have culled from the
garden of Hindu Mmic, in the shape of '^ A few
Specimens op Indian Songs/' as an offering of my
deep-felt gratitude and devoted loyalty.

I have the honor to remain.
Your Excellency's
Most obedient and grateful Servant

SOTJRINDRO MOHTTN TAGORE.

CALCUTTA,

l8t January^ 1879

.}

•iffl ft

T , L"t T* ~ir>r>ru nr>nr> " w "> " i " ^T" •" i "m — i r i r~a~ i tfinni_»u

««>i««^«««Mi«*«««^#«^^»^*^^«^

m^mm 4

(1)

It is difficalt to convey ia writing an adequate idea of
what an Aldpa is. It is not a song — as the music is not set to
any particular words, neither is it a tune or air, as it is not
subject to the rules of any particular metre, and is not divided
into " bars.^' Vocally speaking, it is the expression of a par-
ticular Rdffa (melody-type) in its fullest extent, either by
means of '* humming'' or by the use of certain unmeanin<y
words, such as te, re, ne, torn, &c. &c. An Aldpa should
thoroughly explain the character of the Rdga, by showing the
gradation and succession of the notes, giving prominence to the
vadi or principal note, paying due attention to the other notes
with reference to the length of their duration, and by avoiding
the hibddi or inimical notes — that is such note or notes, the
use of which would destroy the characteristic peculiarity of the
Rdga. It is invariably composed of four strains, each of which
has to be sung in its turn in very slow time, and then promis-
cuously all, in successively quick multiples of it.

An Aldpa can also be played on the Mahati Vindj Surbihdr,
and such other instruments as are capable of producing it, and
the different modulations of the human voice can be partially
imitated by means of a process, called the murchfiand, which
is done by flicking the wire^ to some extent, to the left of the
fret, so as to produce uninterruptedly one to six notes, ( as may
be required ) higher than the one represented by that fret,
either in the ascending or descending succession.

r

) 2

m^0^0^^^^^^^mi0m^^^^^r^'m0*^^^9^mn^^^9^t^»^9f^^^^^^^^^^^^'^*0^^^^t0^0'^0^^^^^^^^^^^^^*0*^^^s^^0»>^'^fS0

0— gJri

A FEW SPEGIMEKS OF INDIAN SOlitOS.

»^^I^^^O«»»^^»^»^^^»^^M»^^^^i^^^^^i^i^^^»»<»^«^^^/^^^i«S»>^*^^^>^»«i#W«^

"^r^ TIT if TC ifSTT cTT Tir ?R ifr cTfl i!Ti[ ilT ^M^iRr •fRTI

RAGINI BIBHASA.

First Strain. ^

Ne te te re ne ri to — m n£ ti — ni

^^

to jn n£ — to m

€t w;. iff ^ ^ ^

^

nil

5fr

te

5fr o

to m.

>^^i^^»#Wi^>^— ^^

wJL

fr —

A FEW SPECIMENS OF INDIAN SONGS.

Seoond strain.

^PrTCT I

n ^ f j

1

i

To re ne te torn ne te

te re

J ^ ^ ^

to m ne ni te ne torn ne te te ne —

s.

?

to

m

ni.
iTTI

Third strain.

Ne te

if ^

te re

ne ri n£

^ ft: irr

i r^ i

to m

^

ne

ir

£

W^'

i i'^ ^ i

ni

ifT

te re

ne te

r ^

g

re ne te re

ne

lA .>'VN^«^»»M<^t^^«^^>^»^^l<'<^«r»»<»^^W»»l^»»^<^»^<l « «W»^i»»^K»>l^^<»^»HW>»»l»«X^«^»«*«liWIP»i<»IM>^»«»'^l*»iXl»'iWI^^»%»tf^i»i W^^IMi^^MW^^ I

A FEW BTtaixEJsm oir ikdiaiy sokos.

<i/>i»^SW^«^^»^^^«^<*^^^»^i»^^*»^^»^>w^»^^^^»^>^i^»^^^VK<»<MO^W^W»<^»/^^»^i*«»^^W^^^^%«M«*^'^^^^'^^^*'*^^*^^^»^^«»^»'**»<*^^'^^»^i«'^'

1

te ne

^

nin

ffOxuili StrftlUa

r3 "^

r^ J^ ^ ^ cJ"

Ne te te re ne ri ne ni

•S •V "N. -S, •^ ^ ••

te re ne ne

•N •V •S "S

n K ^ ^

te ne

ni

in

te ne

ne n&a ni

to m

to

m

i i"'ry

Hi

5fr

te ni

f

to

m.

i

r

A FBW 8PX0IMXN8 OF INDIAN SONOS.

(2)

SYARAGRAMA.

The wordings of this species of song are simply the seven
initial letters of the scale td, ri, ga, ma, pa, dha, nu These notes
(and in some cases, some of them) are arranged according to
the character of the particular Rdga to which the piece is set
and confined to particular tdh, according to the option of the
composer. The literal signification of the term Svaragrdma is
sol-faing ot solmization. These songs have generally two strains.

iftMjw I

fit

E

m

RAGIEI BHUPALI.

TIlA MADHYAMiNA.

First Strain.

^^ ,Fg ^

i

r=lf I \j~^i—r^—^

Second strain.

^1 ^'J r] '^

•f3, 'K J

! 6

^*^^^^^^^^i^i^^MN»*^N^^*^<<^^>^»^<»^^%^>#^^N^<l»N»W^^^N#«*^^^#^»^^^»^^^i»^^^»^'*i^^N»^^<^i*^^<l^ ^^^^^*^'^*^t^9^^^0^0^^0^F^^^^^^^^0S

A FEW SPECIMENS OF Il!n>IAN 80KGS.

' fej fej ij /^ i^

g

,=q f^ P fej ^

ggj J^ f^ I J^

^m

(8)

TELENA.

This kind of song is generally composed of two strains^
in which are used some unmeaning expressions^ {ne, te, tere,
tome Sec), similar to rum, turn &c. Sometimes expressions^
representing the variety of sounds produced on the native
drum-instrument, are used, such as, dh4, dhd, kititdk,
terekiti, &c. &c.

•VX

^ir?rrifr I ^rr ^. ^^ ^^ ^ ^^^ ^^ miiT mm wm
mm^^im fi[w; Pc^ <n ^JT rnifr m mm m i^ v^^ tk^ ^
^ifif w f%fe mm fttfe <Jfr^ S^ ftsfe mm ftife m^ ^
fkf^mmi

J.p t

#»i^^^WK^^v»i«^a«^^Ai'^»*«««k^

*****^** ^^^^^^^ ^ ^ ^ ^^ ■■■^^■■^^^ * n * w>_ a M»j»J^Ji n- i *ir^riru-ijvj^j > LPLj

*-%

A FEW SPIOIMBKS OF INBIAN SOKGS.

RAGINI LUMA.

TAla MadhyamAna.

?rTO3TOfwrir i

First Strain.

^TT^pft I

) <' J^ , .=^~^

T~^T~^

Der Da H do re di ni dim

tin Hi

f^

ti ui n& der der torn der der torn der ti de

E

m

^

re t» n& n£

ni ni der ni

der

^ ?ir ifi in in iTT tt in

ui

in

a

1^3 J^^ i^^3 ^ ^^S 1^ Hp

Jg ■ * * •^J •^J J^* "

ta na ni der der torn der der

^ in in ^ ^ ^ ^ ^

ti ni.

en in I

%

} 8

^^*^^^i^^^*^m'^^*^^^^^^^^9^t0^0^^%^^0m0^0*w^0^^^0^0^^^^^^^^^^*t0^^^f^^^f^^^f^0^r^^^0^^

A FSW SFECIMSKS OF JSDUS 80KG6.

Second Straw.

Ni der der d» si torn der der ti ni n£ n£

5=

fef I'arT *=^=^

ifi •rr cTT iir ^ ^

^

&& B& ti »& de re ne ti dim dim ti

i

s

^^

T"FT^'^=

is

lum ti n^ ni ti ni ni torn d^r der der

^ m ifr ifi m iiT irr ^*i ^^ ^^ ^

s^ ^ jy?

di ni dbi ki ti dhi dhi ki ti tik te re ki ti

dh& dbi ki ti tik ta re ki ti dbi dhi.

^

I

▲ FSW B]

[Ml ji'i.

OF niDUJT SONGS.

9

(4)

TRIBUT.

: The TribiU is generally composed of three parts, one of
which contains the e^cpressions of the Telend^ another, those of
the Svaragrdma, and a third, of the drum. In some of these
songs, a few descriptive words are put» but in all specimens of
this kind, the expression ^^ TrUrn^^ must be used»

(8)

I

ift Tc OTiT €^ ^ ^fitii 'fil^^'fwi •H^^ 'rtfii^nfti

•iwif«hfi5 ftiftf ifWT f^ftcjft^rficirf^f^ fi[5 fqr jfm
^neiinj f^ras 3iT^ ^iT^ ^[ifir I

KAGIJii HAMIRA.

TIla EioTlii.

Fizst Strain.

O — de ~ ~ r ti n&
ifiy o ^ o o ^ IIT «n

to -• — m dcr

^

• *r ^T

10

A FKW 8P]

Wl I i>K

OF INDIAN BONOS.

^

di — — ni o — de —

— r ti ni

to — — m der d£ — ni — — di ni

1

U — re

di _ ni ~

ITT o 5?

^ » f^T »

Seoond Strain.

o I

^•RKT I

I I I I I I r ^^

i - i i l i i i I i fH-

• • ^ ^ p ^

111

-I I I I i I I I I M I

Ti di m t& ti dim ti o ti ti ni
ITT fi[ ^ ITT ITT fk^C ITT 'fit ITT ITT iTt

I I I M I

ni ni ni ni ti der ni der der der der der
i|T 3TT ilT iTt ITT^^ iTT ^^C^ T^ ^^ ^^ ^

TF

w

idiaaaaM^B^^i^M

A FEW SPEGDOBNB OF INDIAN BONGS.

11 \

mSSSSSSSSS

i

I I I I I I I 'TF^^

■ f ■ ■ . t . t __B__ .» .> t 1 1

dhafl na!l nafl nafi nafi nail nafl nafi dr& — m

d& . -*• — ni — — .
^ o o fi| o e I

Thivd Strain.

1

t ^ 4.

A FEW

•II i/i:u

OF DKDIAN 80KGA.

fij j-lliJiJlL

kiri kiri n6 n^

kiri kiri n& n& dig dig dig dig dig dig dig dig

f , _f r

h

B^yi ma d^

-* sa pra bhu tri — ba ta

d& •— — ni — — ^.

(5)

CHATURANGA.

This is a species of song which should be composed of
four strains, one of which must eontain descriptive wordi^
another, expressions of the Tetend, a third, those of the Svara^
grdma, and a fourthj of the drum. It is sometimes composed

A FBV BPKOmiDro OF INDIAN 80KG8.

13 \

of two StUains^ but within this limit^ all the four requisite con*"
ditioDS must be fulfilled. In some part of the piece, the word
'' Chalwrang(f* must have a place.

(1)

^SJiiWl^fHRTJi WW ''^yi I itr: w^ ^n^ wf cii^i^
PRTcw WRT2 Punr Pin2 wWar winw^ wtwir^

EAGIHJ LALITA.
TAla MadhtamIna.

Hist Stiftixii

14

S

1*Xt -^ .

A FSW SPSOmBNS OF INDIAN fiONGS.

>^^

-f

gu m ya — —
If, fir If o •

— — na ko

:^

^W^^ft* HT* ^o ^«

■^ 'nijin] 'jrnMj'iijnj

ip.«-.p..-..«

m i i 1 I i I —

3

kha ba s'u n6 — — fie — • ka — ra —

9 9

ill e e ^ e

iR o* ?: o

cba tu — — — — ra dhan ——.— — — ga

^ 5

o o

i: JHf,

O O .0 o ^

1

A TSW 8PS0IMXKS OF IHDUN SOKOS.

O •— the li ga

^ • 7 Cl If

du ga na ka ha lil •— •— ~« ga

j ' i:^i '• f-^}^ i^

A FSW 8PXCIHEKS OF J3SDUS 9mQ8.

-■■-,_, It ^^^^

niixd Straiiu

^

1

J^ i.*^ .^ f^

T& re cl& ni t& re . dfi ni tfi dii re ik

d& re Ak ni — thei ei e i y& ei e i

^ r ^nr fir

^^ ^ IE 211 'OE'^ «

5

r

F*

i

S

e 1

yt

1TI

N. (

ffOutli Strfti&«

Db&ki ti ki ti ki tl-dh& ki tl ki ti ki ti

IMiMl^M^»X»WfcOrf^O*»0*»<»iO^WI>« I M ^ I>«%l>i«l»< «l W

i^

A FEW 8PSCIMBKS OF INDIAN SONGS,

17 \

dfafi ki ti ki ti t&k ki ti tkk dh& e •— se -«
W ftf fe ftf fe W5 ftf ft ^n^ ^T ^ o 5^ o

ne — cha — tu — ran ga ki dhwi — — — •

i

fe:

(6)

DHRUPADA.

*' The Dhrupada may properly be called the heroic song of
HiDdustan. The subject is frequently the recital of some of
the memorable actions of their heroes or other didactic themcj"

A FEW SPECIMENS OF INDIAN SONGd.

or the glories of ihe Qods. The style is very masculine, grave
and eminoDtly fitted for solemn occasions. The old Sanskrit
Dhrubapada or Dhrupada was brought to its present state by
the B&jah M&n of. Gwalior^ who is also said to have composed
and sung many Dhnipadas in the Hindustanee language^

(i)

V^^

ftrra?r ^<M< iw^^ ^ jw €t^nfit JT i ^^ crnj^ mms j^
^^c^^ jRiwror^ 'in^^ ^ip^ I ftiipc% JRj gj? w* ^w<h<

RAGINI LALITA.
TAla ChautAla.

First Stsaui.

.4iJ ^

^*~f^

A'

ju ma

—

— na bh4

na

«IT

^ ^

O

o ^ m

^

^

ki

A FSW SPKCDIENB OF INDIAIT SONOS.

m±

t

t

^> j"^Li> J fc^=^

il

chha ba —

ni

ke — — 16 ga ta te

5:

^^ I f^ j=g J^

1 1 1 1 1 ^

E*

1

— rjB & — — o — na — — — •

• o ^ ^ o

^ o if o o o I

Second Strai2L

Bi. na gu »- na m& l& bi r& -^ — ja

firif QooQTTn ^ fk iCTo«3f

ta o ra — — pa — ra — a dha ra

^^^^f?'^

— — na an ja na — — — so hk —

i 20

A FEW SPEOIHBKS OF IKDIAK 80HGS.

f

ife

— — ma — — — .

Third Strain.

I

n : : : ; : I ^S ^n 1^ ! IJ ■

Nay — ni — — ikm bu — — la- — — la

t

^^

1& — — ta — — — ma ho — ba ra

^

b' l ^b^

bj" ^bJ^ X"' ' ^ ^

ko ta —

ma ga na —

bhe e

&

- JU

^ S •

J! 311 if •

^

A FEW SPSCDfEKS OF INDIAN SONGS.

FoTLrth strain.

Kin — — na ra ke — pra bhu tu — ma ba

^^f-iP5^Tz:j : -ij-w ^esi.

hu nd — — • — ya ka — — — ra —

5'"n j=ij,> ^^

« i *^ I I I I I

m

— ri— dara sapi — — ra —

I I I I I I I 'Pi-

I I I I I I I I I-

1 1 1 1 1 1 n 1 1 1

gri — ha — pa — — o — — na — — — .

JJolfoIToo ^ooif« oo|

w-*-

♦-%

.\fl ft

r

i 22

h^ ■ fc

pif"

A FEW SPECDIENS OF INDIAN SONGS.

(7)
VISHNUPADA.

The Viahnupada is a kind, of hymn, of which the glory of.
of the Hindu God Vishnu forms the subject There is no fixed
rule as to the number of strains in which the pieces are to be
composed. Surad&sa B&b&ji, a blind Hindu mendicant, who
lived in the reign of the Mogul Emperor Akbar Shah, is known
to have been the first composer of songs of this description^ and
is credited with the composition of 1,25,000 hymns.

'^nwiir irfR? "^fif fw^ ftro^ ww ^sr^ gsfe^ ^^^t^R

RAGINI LUMA.
TAla MadhyamIna.

First Strain.

i

M& the pax mu ku ta s'ru ti kun da

r

i

E

w-

A FEW SPECIMENS OF INDIAN SoS^GS.

f VJ j^"J i l ^"^ gJ' J 1 =

^^

1

da gan — ja na.
^ JT^T o Sf ill

Second Straisi.

a gi i^T =#=

23

la bi B,'k — le bb& le a la ka ku ti

la

—

,4

so

ha

U —

—

na

^

o

iZ

o

^

T

^ «

e

51

Ea cbba ni ka li ta ka ti

ni bi chi tra — — ta ta — — pi tfim

A HEW sPEonacNS of ihdian songs.

•^

ba ra afi — — ga me bi tk

je dyu ti

bai — — ja li.
^ o o ST ^1

i

(8)

BHAJANA.

This is a species of hymn very popular amongst the Hindus-
ihanis. Surad&sa and Tulasid&say are known to have been the
best composers of these songs. The former sings the virtues of
Krishna^ the latter, those of R&ma. Surad£sa B&bajf^ the blind
poet and musician, was a staunch follower of Vishnu or Krishna.
Tulasiddsa^ well-known for his poetical compositions regarding
the life and virtues of Bfima and Sita, died in the reign of
the Emperor Jehangir Shah.

^iTtn wifir sTOBif ^trftr m^if«p«fi fe^ ^pprtT? iitfknn-
fipR 1TO? '^if vc«r 1 Ji^ qi^^35^«c ipnift: ^hwij^

A FEW SPECIHBNS OF INDIAN SONGS.

25 \

RAGmi YOGIYA-BHAIRABA.

TIla EiniBBi.

First Straizu

i"i J- i'l

Ja ya n& xk '— ya ga brah. ma pa xh ya

E

^

:^

T

?

^^5

na sM pa ti ka ma. Ifi k4 n tafi.

ft tp

^ ft-

F

i> fi- ii -T -i~ r~~~-~~~^^*""*^^^*

A. nw sPSoniENS or indian soKoa,

Seooad Stxftbu

T

T

n& ma a na n ta ko k& h6 14 gi ba ra

' Vji I ' I n"Jl 1,1 i' 'il-

na na s'e sha hi p& bo na a n tan.
"j> if it W ft UT sil «l ^ ^ *l

Third Strain.

S'i ba sa na k6 di 4 di brah mi di

ka n& ra da dhyi na dha ra n tafi.

Foufh strain.

Mfioh cbha kach cbha —

8'<i ka ra ba ra na ra ha

x***^*^*

M^<»»W«i

^^>^^^^^

▲ nW SPXCIMBNS OF INDIAN SONGfi.

87 J

n. J-^t

ri b& ma na t& pa dba ra — n (a5.

FlfQi Strain.

Fa ra s'u rk ma r& ma chaa dra bhe i he

n. J' • " ' II '

ko ti ke li 1& kft

ra Q tan.

Siztii Strain.

Jau ma li

o —
^ o

ba su de ba ki gri ha te

7a 8^0 ma ti go da khe la -^ n i$^.

V ih 17^Jlt ^^« *^«i

^ 28

A TEW SPXCDfENS OF IKDIAN 80NQ8.

Ssvontli StiftiB.

Pa ya si pfi t& la k& li n& ga n& thyo pha

ni bi cha nri tya ka
it ft ^ ^ W ^

ra n

tan.

Sigbth Strain.

Ba la bha dra

— bhe ye dai tya sa n h& re

JTJ' ^^"'11'

ka & sa ke ke s'a gra ha — n tim.

SiaXb. Stnia.

^^

Ja gra n& tha ho i ja ga chin t£ ma ni

Ka Ii bi sha -^ ha fa ni^ a ka Ian ki hai

4

g^ di s^v^ M bha g^' hS
* ft II ?C H H ir

tall'.

aamsitli Straift.

Da 8^a mas kan da- bli& gH ba ta g& ye su

'> 1

xtl smH ra* tja bh«i' ga' ba » tan/
t W iC ir IT If^ if ^ Tfl

A FEW BPECDfl^S OF INDIAN SONGS.

(9)

J AT.

This kind of song contains a number of strains^ each of
which is composed in a different dialect and set to a different
Rdffa and Tdla. According to some authorities, the difference
in the Tdla is not an absolutely necessary condition.

(O

fTTiTT ifTifT ifTirr ctkt: ^rfSf ^TRiftf •rnnc ^if J ^^ ^irarat^
?rT^- ?rTcTT ^T3ff wi^ff fer^ T^rsjT H^?E crrfir^ ^^^ TOH'^^tt* i

iiwrafir 5WR[^ 5fp^ swrafif T^iiw ^^^ ^^raf? 'bto^ ^

SRI-RAGA.
TiLA Tkota.

•

First Strain.

a±

iz

?

^

P=q?:

-Ud»li^

?

Cha tu ran ga pa cha ra

j,j 1 1 ^ [J-

n

91

ha

ft Tib'

A i^KTi^ SPBCmKNS OF INDIAN SONGS.

p

p

3

if

*

3=^

ra gu

ni — ya na — san ga —

3T ft! o

21 if o ^[;§^ j[

^

^ ^ rjv i n^ J^l^

3

ra* n ga ba

^ ^^ JT

ran ga ba

n& — ye
5rT

^

1

ka

^

^

F*

ha tu — he.

Second Straia.

t

!££:

5^^£

I e

e ka
1 ^

ra n ga hap ta
^ ^ JI VT ?r

^

^

^

ra

— — — n ga he —

O O O "^ J[ ^ o

o o o o

fH—

t n 4

4 WWW epRflnoNB Of vmwf utom.

pa o ra sa ta -r n ga ba p& — -r —

e -r — gi» |}? t» — he.

TUrd Stnia.

> ]i ^^^ IS

S& ri ga ma su dhe 8& — dhe — ji yi dha ri

I^E^

e.

'

~^~»^

r

« mm nwwfBSM Of mown «iwti%

88 <

|ligynsnMt«.-i-i •■ «JUi>T(l>">^r"''i|*'*HBV

*
I
I

XiSi^ EkatalA.

FoTLrth Straift.

* . *■

§. .

Der der d4 — — ni di — i% i& de re

\ 34

#

A FEW SPECIMENS OF INDIAN SONGS.

w^^

\f

?

¥n-^

da

^ o o

m ca der der d& ni i& dim

/g rJ i J^-?^

J

s^^

tib D& D& D& di — m tit dk re d& — —

?rr i!T iiT 5rr ft

fl" ?rT ^ ^ ^ ® o

^z^Tg— ^ J ^-

ni de re d& de re n£ di — m dim

d"'j

i& di m a ni nk nk nH n& tk de

re d& ni

tk dk — — ni nk

— — de

■^•

?

i

re d& — — ni.

^--He

f-

A FBW SPECIMENS OF INDIAN SONGS.

86 r

i til

RAGINI BAGISYARI.

TIlA iRACHAUrlLA.

Fifbli Strain.

— o

Mri dau ga ba j& -— — — — -

^ ^^ ^.<rr 5fTo •« o® ©© • ^

ta — — t& — the i —

i

i^

:rf

3"J^'j £ »■

td ta pa ra na dha ra na — —

W^

ti y& — - has ta ka ,bhe — -^ da — \k —
fir ^ o UH ?T^H o o^o cTT*

4

»^»^>Wi^A^^K^t^^AH^^^;^^^S^<^w>»>«>^KAi»<>'>«J0»>«iAi>««^'>«>^»>«><»'rf»>«>J0W«i*«^«SO»>>^i^i^^>%»«»^^^^^>»«^»*^^^^^^0<O»<^»#s>s,i

A nw tMUGtMlIrs i>f WBWSf u&son^.

^»>^l»li^» < ^ ^» » » »^»^»»«> Si ^ J >» J S » S »S» « » »»^S»»»»»S»S»^N».»»»»»>»>»i»S>S>»«gOS>»»g»»>A3»^^

di t thu n n4 — — — — — pra tha

ma uch chft' --' -^ ra na.

RAGISI MADHUMADHABI SARANGA

^TfiTtft if ^iim^V

TilA MADHTAlfii^

Sixtb Stsaiiu

itfAAl

j- kMD< j^ — — ne

^ iR ftr J? % irr w^iit sir •

P» ■ JW^^Wp*i*H—fc^iMPi^P«llW*— J^ltw

E

A FBW BPEOIHENS OF INDIAN SONOS.

~P^ j\ H

3>' r-"j 1^

ta ra sli u ji P^& khor d& ri do s

n ^ fn 53 far ^ ^ ^ ft "i^ ?

^ ^is^ ,m ^ ^

ta — r& ku j£ — ku ni — ma ha

ru

— — m

to — ke b& — — —

?( » e o op*

^

^ irr o o o

.^h^' q> JJ

— — dus ma n& na jar d& rf.

I

O

RAGIHJ PARAJA.

TiLA SAOYlBi.

Serentli Strain.

r

38

▲ FBW 8FECIHBNS OF HIDIAK SOHGS.

ka 8 pfaa d da j& —

— ba ja m&

%j

\y^^i~7^

^ I 1-^

ja n& — kho s'd —
3T iTT • ^ TOT o

la

• o

hi —

^^^

i^^

^^

— 8&1 lu

o o o o

a

^TT^ ^ ^ ^ o

le — ha

»-^

^

i«*«M

H«iaiia»«ik«ai*M**-*a**aaa

A F£W aPBCIMBNS OF INDL^ SOKOB.

/

RAGINI BEHAG.

TAla JHlinPATiL.

Bighfh strain.

Frana in£ mi sVm bhun s'i ba n sa ka la

ma

— fi ga Ian pan ch6 — na Da —

31

tr

XF^. ^ « if

^^

pa

ra

ma

yo

>

gai

ka

ni

k

yan.

H

^

T\

^1

o

^

m

^

^

^1

i 40

-r^trmttf^m

'<i*r«~^^*^^""r'"a^"*ii"^"^'^"^««i^

A FBW SPECIMENS OF INDIAN SONGS.

^

(10)

KAOYAL-KALBANA.

This kind of song is composed in the Arabic language^ and
has for its subject the praise of the Almighty or of Mahomed
the prophet. It is generally sang by a class of singers, known
as the " KdbiUs."

{\o)

WF^tm^-^FT^WRT I

nw^^ ^iTir ^RWT^jra

•s**

•s. •V

RAGINI IMAN-KALYAliA.
TIla SurphIetI.

First Strain. .

"iFi ft

s

A FSW SPKCIHBHS OF INDIAN SONGS.

41

J IJ Jl

— — y& 8 te md r

f

i

do kho d& r&.

Sooond Strain.

TvLiiA MaphyamIna*

» ' ■ ■ -

E

Sa mu — jha -bu jha —

^ ^

« 5

chi — 8& — chi — si — chi — — hk —

i^^^^^^^^^^^t^*m^0m^^^^m^^^^0^^w^^^^'^^^^^'^^^

I^P^P^^^«<»^»»»i»^^ ^^^^"^^^^i^^^t^i^fc^^li^^^ I

> 42

A FSW 'SPSCnnSNB OF IKDIAN 802100%

TIla EloYlLi.

S& chi ke ma oa me k cka ka fa& — «-.
Wftl«? ^ifS^ ^tfiR V**!

TiiiA SurphaktI.

ya s to &j Da
^T iT % UTsr if

bf ke dil d& —

- T&.

GUL-NAKS.

This species of song is generally composed in the Persiau
language. The expression '' Oxd *' { flower ) must be used in
gome fM>rtiot& of the eompositieft.

( u ) \ '

>MMiM*UKipa*rh.

m

A FEW SPIBCIHBJirB OF HTDU^ SONGS.

43 {

•J

RAGIJJI IMAN-KALYANA.

TIla EkatAlI,
First Strain.

-A-

*/

m^

Gu

A

1

kha B

da o

bu

1

bu 1 cliay

^ • *

y

.-^

.

1 -

f . — t ^

T\ n-

— » me

^

ja na

da

a&

irr

-n rSH

V ff

-rn J^

i #^

7i ^ J.

cha

~ — ray

o o jy[

ku m ri sar ba

Tk — — — h& j& —

khod mu — n da p& mu — k b& eha man

imiim^immtfm

A FEW 8PB0IHEKS OF INDIAN SONOd.

»

bI — — all ba das ta yi me ne — ha d

m iT ^

I? o if

^ ^

sfF o

*

I I I I I I I I ^

a — — ej man ^ y j^ — me bi

(12)

The Tappd was known in Sanskrit as the Jhumari and
has been reduced to its modern form by GoUm Nobi, the
husband of the famous songstress Shori, with whose name
most of these «ongs are connected. The style is light and
pleasing to the generality who cannot appreciate the higher
forms of music.

A FEW SPECIMENS OF INDIAN SONOS.

45

RAGINI KHAMBAJ.
TIla MadhtamIna.

First Strain.

^^^^^^^^^^^^^^^^^r

fi-K

^^li i iy,j,|j|.|^_-^444-J

ndi nd be — — — — mi li ta ki na hi

#^-

M M r I II I I I i I i 4fw

o o - o e o

^oooo'^o* o o

«4

G

ttfl

46

^

A FEW SPBCIHSNS OF INDIAN SONGS.

I I I I I I I I I I I I

Second Strain.

W^

I I I I I

Mey man bi — shnu tor phe k& be —

vf^^ftfTs^, ,m.}'

di — — da yi — — — — ba — r ka

XlfoOOOe e ITT * o

e tu — di — — —

^ g o f^ o o o

b* J J J J

4i?

A FEW SPKOIHXMS OF INDUH SOMOS.

^

^ ^

j^yy

n^?B'«

^^

I J jJ ^p wE

o o o

sa —

o o

o e • o o

o o o I

(13)

KHEYAL.

The Kheydl song has a very graceful style and is full of
elegance and embellishments. It is lighter than the Dhrupada
but graver than the Tappd, The Sanskrit style of songs called
Lahachdrika was introduced^ under the designation '' KheydW*
by Sultan Hossain Shirki of Jounpore.

^rr^lTO^i ftr^ ftfir ftfir fefir wi ^T^ finrrs^ mw «iT3inr
"it iRiifii ^T ^J^f* flT«r "iftii infill qsTt it I

> 48

A FSW SPEOmiNS OF INDIAN SONGS.

RAGA BHAIRABA.

TiliA EiOYAli.

First Strain.

i^

SD^

E dai y& m& ta y& r& yo gi me re

dv4 re & e bo e dai y& m& ta y& t&

<\

^ ^ tir «i "it 1 ^

2JT j?T n m rr

t

bl^^q ^i=^^

yo

gi

me

re dvfi

re

& e

ho.

^

^

r IIT

•v

^

HT ^

ft\

Seccnd Strain.

Di mi di mi di mi di mi da ma ru hi je pi

A FEW SPECIMENS OF INDIAN SONGS.

^

49

D& ki ]& la b& jk e ho — k< na na

so he ru n da ki m& i& si — s'a na

ga la pa ta e ho.
H ir II 2T ^ iti

(14)

TAP-KHEYAL.

As the name iraplies, this species of song is a combination of
the Tappa and Kheydl. With respect to the wording and to the
style of music, it partakes of the nature of both the above-
mentioned specimens.

i9 ^

-^

s 50

A FEW 8PSGIM1CNS OF im>IAN SONGS.

ft fl'

E

5:

iz:

RAGIliJ PARAJA.

TAla MadhtamIka.

Vixst strain.

umi^

* \ii j"'ifr^

K4 ja rit — —

re

na — y

if o IT

Da te — — h& TO — — -^ — — ka ja

^

ss

:«

^

r& — — re — na — y na te — —

hfi ro — — — ru rhe — U — g© '—

▲ FEW 8PBCIMKNS OF INDIAK SONGS.

51

— » sfi ji n& — — ro rfc — .

Boooad Btoaia.

Ko — — na gu na pi y^ — — ru si ra

he — — mo he *— me re nau da la nk hi

•N •V

T« o^tT « 'ir^^irilTf^

k& — j re —

*\

o o o • I

#^

tF

A FEW 8PK0IMENS OF mOIAN BONOS.

(15)

THUNRI.

The Thungri is intended for female singers and is set to
light rdgas and simple tdlaa. The singing is invariably
accompanied with appropriate gestures.

(U)

3fH

•TSftl ^fil ^Pb 'BIT^il^fr fsfifftli f^^ ^IcTifT ^ XITO^ i

V '\j«. ^•k ^*^

EAGINI DEO.JHIJHIT.

TIlA THUfiRf .

First Strain.

Nau ji \k gi kn khi 6n . u na sen re ji na ki

ifs fsf w fir .^ fi^r ^ ^ if if ^ fsf if ft?

ii^Uii 1 J'J I J

1

hit se e ta n& du kha p6 o.

%* —

A VSW SFBCaaSHS ^OF USDIAK .fBOSCWI.

68

^^^*'i^**^*^^^^^^^^^^^*^^'^^i^^^^^^^^^i^i0^0^09t0'90'9^^^^^^^*^^^'^^^^i^^^^^^^m^0^0**^^^s^^^^0^0^fi^^^^^^i^0i^mt0^0^mt^

Boomd strain.

IPWCH

Ag 14 ge to bu le ja

1 sm re jal mdjii Ilk

ge, to bu ten ke y sen re h& m& ri bi

IT €t ^

^>« •v

^ ^ ?

^ ^ TT m ft: ft

yo ga 8'a tra se lea ta tu be pi j& ke bi

yo ga ka

te k«y €«n re.

64

A FKW SPXOmXNS OF IKDUN BOKCtS.

(16)

GAGAL.

The Gagal is generally composed in the Urdu and Persian
languages* As in the ThuUri, the songs treat invariably of
love, and the singing is accompanied with suitable gestures to
represent the words.

1T^ I

•V •x

•S*N

«i!?^ 'rat ?Tr?:i I

RAGim PILU-JANLA.
TiLA Post!.

First Strain.

Sa — jd b& d kho d& y4 di 1 be

vfe) ^

A FEW SPECIMENS OF INDIAN SONGS.

T& ne — rfi — y&

ma de m6 ha re bo tfin

w T AT ^ ?: ^ m

^^^ ' #g

1

hi cha mu sal mk ne — rit — .

Sooond Strain.

Gar sa o d tax ke ka ram s^ m& ra he
^ ^^T^% «F^^ i^J?T CT

gar me ra y& be s^a be ke tk te y^ —

^n: JT C ^IT

«i «r «if nr ir ?ir •

^

' ^ ' p^g

^ E^

kar da be yfi h& ne — r& — .

> 56

A raw SFsoiMsi;^ of indzan sovgs.

rt raft

^^«^«^«#«^atf*^k^«^^^M^«^«^k^N^S#^^VN^N^ta^«^«^^^i^k«^«*««^^tfV«tf«^^i^^^^tf^MW^A«*k^k«*wn^h^«iMiMtf^fNrf^^UNillrf^

( IT )

HORI.

T^E flbri SoBg is intended to be sung on the Dola-jdttrd,
or the Swinging Festival, which generally takes place in the end
of February or in the beginning of March. It describes the
life and virtues of Krishna^ and is set to- high-class rdgas^ and
invariably to a particular tdla^ known a» th« Dhdmdya,

•\«v

^ Iff: ^{Uk

tSW i^ff^ ^^T ^ T:ftRlT fj?iff?T -^Rig ^^ ^if

- *

EAGIEI BHXIRABI.
TiiA Yat. \

Fitst Strain.

j^ i J I r^

Pi ch k6 ri m&, —
fir ^ ^ ft JIT o

n — _ ran ga

ft o 9 ^::^ n

A rEW SPECIMENS 07 tSDlAJK SOKOS.

■♦H?6

67

tbJ r J J ; =F

?

1^ *ii

ra si y& me re mu kha pa ra i bi

r

^

^

£

i£

1

ra a cha ka t& rl

Beooad Strain.

rr

J J^ J J g'

^

T-^

S'7& ma ran gi le sa khft san ga ra Bi

^

t

u

J&

mi Da

ti

ka ra tu may

h&

ri

^

ffl if

f?r

'*< ?: g W3^

TT

ft:

1^

$

&

:^

r,,r,,ri ^p=g=^^ gg

mft — ri — — rafi ga ra si yfi.

•itfl ft

F

i 58

^

A FEW SPECIMENS OF INDIAN SONOS.

(18)

RAGAMALA.

The R&gamdJA or the garland of Rdgas is composed of a
number of strains, each set to a different rdga. The first
strain has to be repeated at the end of each part, and each
strain must contain the name of the particular rdga to which
it is set This kind of song is almost rare, owing, perhaps, to
the difficulty in the composition or rendering of it

•» i\

1 3RTK^ tftn ^TCT ^St^ jT^fre?: I <min^ ^^nr^ I

EAGA BHAIRABA.

TAlil MadhyamIna.

First Strain.

W^

Dhk — — — e — bhai -. — ra ba

«-^

A FEW SPEOIMENS OF nn)IAN S0NQ6.

O^f.

69

— s'a ja i& — — — o ra ga — — n

^

^ y-n

g4 _ _

J[X oooo o ooooo

:&

• ■■•

dha —

ra.

/ tit

BAGINI ASABARI.
Beoo&d Strain.

0— Bf

t 60

A FKW 8FK0IHSNS OT IKDIAK tSODTOS.

"^

t

tk

m

— bri sha pa ra.
BAGINI YOGINA.

x[fim\ ^imj I

Third Strtdiu

5

^^:»^

1

To — gi — yd — — -— ko dhyd —

o o o

— — Da dlia re.
o o if Tf 5^1

W^'

RAGINI KHATA.

Tiftrwt

I

Fourth Strau.

Eba ta da ra s'b, na me ma hi mk —

»N»^»»j^»^^^^^^^%^fc»^»^^^^^N^»#Nrf»^^^»^»^>^^MIXN^V^^»^^*^^^^

A FBW SFECnnSilB OF INDtAK M^OH,

j<t0*»^^^f^n^*^'i «^«l^•i>«»»^^^^>^^^l^^ ^ t r ^ •Ofi D ti %* ^»<> j "t»« B '<

$:

■>■■■<

^^ gr^

irfirf-

If

j.i na

ke -^- — .

^ d o I

i

RAOmi BIBHASHA.

Fifth StxAin.

Bibhd

fir WT

OOOO O OOoOO O OO O

■l-iE

> m il

sha ta.

RAGINI ALAHIYA.

Biztli Stoaia.

^^SprRT I

Sam bi ta p&

na ka
if ^

ra — — — m^
C o o o m

w

■A TEW SPEOUEKS OF INDIAN SONCHSU

63

RAGINI TORI.
SiffliflL Sttaia.

■^

O

^

»^

Bha — — — _ — ka — — — ta

Hoc

^

^

S

^

3

bha — — ya

to — rl.

1

RAGINI SARANGA.
XTinfH Strain.

T^

w^

M^a^mv«^M«^i^

"■ » flCl

Mvcwm^itf^^^

U jk —

^ 9rr e

/ /

RAGINI MULTANI.
Te&tk Strain.

^ J J J J

6

A na mu — U-r- -— t&— — — •— —

^•fJTo ^oo ?fToO oco

=s

*t=p

-> — -^ n«^ m4 -«-* —

na go — <.

p

»» «■ <^'wF<^i»^<i ■ »i ^t0^^^i^if*r^f*n

w^— ^««>^^^^«^^»«^«»»»^*^^i^«»«^^>»«^K m « mmi n mi^» i 0^m^ ^ »mitimr<^>»t^:

A FSW

Mi',!:**: :

OF DOOIAJl SOFOa*

«5 i

■ ^^ *ft " f ' l< >* l^W^*'*^'^* M ■r'^*>>»i'»^>«A*%^^>^i^»t«*>'««M>^fc^»^>^»^^<<l»i«»W«i^»rf^^^^^^^i^|l">^M<*<^^»^^^^N^^^^^I>Wi*<«>^»*^^fc^S^^<^^^ *H i^l*N^^^^»^»^^^

RAGIlil PXJRABI.
BlrraiiflL Strain.

Pu— ra bi— — a —

5» oo^^oo oo ^o

?

m

w

?

1

— ru' na,
9 il W

RAGINI GAURI.

TwelfUi Strain.

Gau — ., — — ri — — sal — ta le.

•.

A FEW SPSCIMENS OF INDIAN 80NGB.

(19)

A SONG OF RAM-PERSHAD.

Ram Pbrshad Sen, the author of this song, was born in
a village named Kumdrhatta, near Hallishahar. He had a
fair knowledge of Sanskrit and Persian, and had^ from a very
early age, a predilection for composing spiritual songs. He
was not a clever musician nor had he a good voice, but the
pathos which he threw into his compositions, together with the
peculiar character of the music to which he set them, has
rendered his songs exceedingly popular. He was a devout
follower of K&li, in whose praise he had composed a large
number of songs,full of simple and beautiful rhetoric, which have,
even to this day, continued to be looked upon as great favorites,
especially by men of a religious turn of mind. These songs are
frequently sung by the street-beggars who manage to make much
of these hackneyed yet ever*fresh compositions. Bajah Erisna
Chunder Boy of Krisnaghur (who was contemporary to Nawab
Sheraj-u-dowUah), liked Bam Pershad very much and is said to
have given him the literary title " Kabi-ranjana.^^

^rt?r«TCi> ^rrf^ fhir, ^tfsj ^fi^ wi^ ; >3?i ^^
c^rmt^ ^c^, urti *fT^ ^ «fl i3^ i

fr

A FEW SPBCIMENS OF INDIAN SONGS.

RiM

67

EAGINI KHAMBAJ-JANLA.

TIla EeatIlI.
First Strain.

M& ye — — r em ni bi chSr ba te

="J j+ij"j_ jgj I ;>

s

J^ ;■

^

^

^5=

m& ye — — r em ni bi ch6r bi cb&r

ba te — go & nan da ma yi m& ye

e O

r em ni bi cb&r ba te.

F

( 68

''^^^^W^ ^ ^i^^t^WS^J ^ O^^ O ^i^t^^^^^W^^iW^MX^i^^i ^ ^ty^^ioiy^^i^t^^t^^^^^^^^ti^*^*^^^*^ m m0mf^'^H0f^ t m^*r ^ ^» >0t M 0^^^ n 090^i0^^^^

A FBW BPXcaaauB of iin>UN govos*

^

ft

Sooo&d Straia.

•=H^

C33 i5t3"'^i

A dfi la te 4 — r ji di ye — —

^

ffl J^

-*^=rt-

— hfi jir & chhi ka ra pu te — • o m6,

ka be ye

8 a na m

^ ^ Or

ba be

1^ C^ • o

tr& — — n p& ba m& — — e sa fi ka te.

A FEW 8FKCIUEKS OF INDIAN SOHOg.

69

'^

(20)

A SONG OF THE BAULS.

This is a kind of song sung by a certain Hindu religious
sect, known as the Bduh. According to their doctrines^ the
subjects of their worship^ R&dh& and Krishna^ live in the human
body, as everything else^ in he&ven or earthy does ; and it is
their belief that love between man and woman, when brought
to perfection, leads to the enjoyment of divine love. The
BqmU wear a fantastic dress, use rosaries, made of Coral, crystal
beads &c.^ do not shave at all, and tie up their hair in tufts
over their heads. They do not believe in idol worship or fasting.
Their religious songs are simple yet impressive.

{^•)

^a^Wf^ (^C^»W 'R^WPf) '5r^«RI ('R^<!t1C»tt5T)l

15FC? ^t?fl Tsrc^ ^5tn 4li?^<iUI(.^ ^ ^stcnt "s!^ ^?r^ ^, ^mr

■bp] ft

70

Jl few SPECIMBNS of INDIAN SONGS.

ft fikj

RAGQil YOGIYA-JANLA.

TiLA EHKUri.

First Straia.

A

*^?

g; J^ -fff^

n pi bS^

^

Sa tya bal su pa the chal k m&r man

^

ta 1& tal p& tal kha je p& bi re sM bho

Ifi man p& bi re s'ri brin d& ban man ka th& s'on.

Second Strain.

r^ rg r^ m.ps j'=?=

Mi thy4 ka th&

pra ban cha nkj ye te

p&r be

m

^^^t^^^^^t^^^^^t^^^^^^^^^i^m^^

A FEW SPBOIMEKS OF INDIAN SONGS.

^^^^^^^0^^t^^^^^\^A

I j'-i i

^J>LJ^

n& -— pa the 6, chhe ' re th& na fir par

^ f , ^ r-'i_r^ \ n ^n m

le dha r& yk bi m4 r& re — — — —
cn K ^1 Tl f^ Tl ?f1 GT c e • o

iWi r" ^-^

o re hi r& bi o bho 1& man hk r&
^ or ^1 "51 f^ ^ C^1 T1 T^^ Tl ?1

bJ^"^ j-" >ij j~^ E

^^

^

bi a mii lya dban man ka ihk s^on.

TUrd strain.

■r-J J-'i

33

Fha re yk x& mar be ta r6 hkt kh& r& ie

5 72

JXo_rufvn>vjiiJ'artji_r_r wnj-->ririr'ir~i r ■ u , • | —rT"-— i - i — i - i — — '■— — ———■ ——-"—■^ — ^ — — ^^^^^^

^ ra^

•^

A FEW SFSCmiENS OV INDUN 80NGI».

^^

ka m t& der ta sU kar be jram &t ga

i)^ ^^f r^ r^ l n ^■r^ ^

di y&n ma h& jan y& r& re

fir ^t^^ X Ti w\ ^1 Ti cir

e o O

t6 r& ba se kin be bho l& man ba se

kin be prem ra tan man ka th& s'on.

(21)

A DURWAN^lS SONG.

The Durwan's song^ sometimes called the Ghanto or Chaiti,
is a kind of rustic song^ sung by Hindusthini Durwans (door-
keepers) or Hindasth&ni ploughmen, while at work in the fields.
Sometimes the Durwans invite their friends to their master's
house, and spend with them a portion of the day or night in
singing these songs^ accompanied with the Dhola and Mandird.

f^

A W%W SPICIMBNS or INDIAN SONOB.

73 J

^ifs^g*

RAGIHI PILU-JANLA.
TiiiA ElorAiA.

First Strain.

b /^ ,b J^

Nay na

5nr H

a

r^T ' j^ .sg

H J^ IW'

3=?

lo cha ka i ka ra dor mo re r& mk ho.

Sooo&d Strain.

4f i>.

H6 ji pu _

— ke cha ka i bhra

ma ra

^ ^

-»%

A FEW SPSCmiEKS OF INDIAK SONGS.

o pat*

TTtT

^£

!

j& pa ta ne ka ra dor mo re r& mk ho.

(22)

A SONG OF THE SNAKE-CHARMERS.

This kind of song is generally sung by the Snake-charmers,
to the accompaniment of the pastoral wind-instrument, called
the TviH, The words are invariably invocations to the deities
that preside over serpents, to protect the players from accidents
when playing with them or hunting for them in holes or
jungles.

Tt^jtWf

. ^r^ c»Kt^ a ^^fwsr ^ ^?w ^ c^ ^ c^ ^^ ^

KAGINI PILU.JANLA.

TIlA THUNRf.

O re bho U ma

— > n re dur g& n&m ba la

A FEW SPBCIMENB OF INDIAN SONGS.

rafj
75 >

ba da ne sa ma go na ma go dur g& na ma

L J t'h — 'P3H-|| HH B33 f^^

D&

^

T& ya ni pra tha me ban di ba ta ba

^1 ^ f^ iff ^ C"^ ^^ fir ^ ^ ^

i

{ ^ j gg

cha ra

na da khii ni tin Uk p& tha i lam

^:

ke ha n^i tkr e lo

sa ra ma p& i ye

^ ^ X m t a

ip^Pjf J'<" P^ J "J^'O"

ni

^1

g de kh4 d& ka ri
^ C? ^1 ^1 ^ fir

la pra tba ma pra
?r (ff ^ IT iff

#^

:^

^m

T^ i> i P^9 =^

ha re cha le b& me ban ka r^j ke & le ke

tf

r

{ 78

A FKW 6PK0IHIMB OF INDUlK gOHGS.

bJbJ . j^~l P'j bJ"j ^'^\J ^

i lo nil g khu ti e le ta mi to m&

p g. J^ biP^ I Ji t> J^^^H:ffg. II

re n& de khe khu i^ ni ti k4n di & mi.

*fw ^1 »ftt^ 'Ttc^f? ^T^^? ^»fir a
ft? ^?? ^i^TtTi cst^i ^^^ Tff«r I
firf^ «rf irtti c^rt^ c^^j wcxi ttw *nf«r i

t^TT^ iftf^ c*tc^ Tr«t sn c^fT^tn ?TfW I

I

3IZ1

»^'

A new spsonntNS or indian songs.

(28)

A SONG OF THE KAHARS.

This kind of song is sung by a low class of people known
as the E&li&rs. On certain occasions, and generally during
leisure hours, these people assemble and sing these songs, ac-
companied with the Huruk and JhAnj.

•VN.

•\ *V

^5 «I55t^ ^^ ^c '«rra 'B^T?: ^ «R^ JBT I

RAGIIil iPILU-JANLA.

TlLA THXTSRf.

5=4

^

Tk la

^ • JT

'IT

%>'

:^

^

bfi '^ me b& rha tun ta la y&

cT ^ 2IT

i^ ^^ ^ ^ ^

W-^

ke me rui y& mey ka ron ka re — khe ta

*^

A FEW SPECIMENS OF DTDIAH SOKGS.

5. b JbJTT biP^ ^ ^

yfi b& rbai 1& gu bun yik b5 li mey ka

ron ka re — ti ri y6 — tu h& rha tu

iX ^ ^ » fir ft in o 5 iix 15 5

fi pa ne n6 i ba ra yfi mey ka ron ka

re —

bJ bJ t

yo ba Da ba rbai U* sa su r& ra

mey ka ron ka re — .

I

A FBW 8PBCIUBKS OF INDIAK SONOS.

(24)

K'AJRI.

This species of song, in vogue in the North- Western Pro-
vinces, is specially sung in the month of August, on the occa-
sion of the Jdnma Ashtami, or the anniversary of the birth-day
of Krishna. The period for which this kind of singing continues
is a week — it commencing four days previous to the festival
and ending on the fourth day after it. It is sung in company
with Dhola and Mandirdy and with a peculiar movement of the
body, accompanied with the snapping of the fingers. It is
sometimes l^ung on occasions of marriage.

(i«)

?! ^r^ iratftflT I

RAGINI PILU-BAROYA-JANLA.

TIlA THUNRi.

First Strain.
WT^T^ I

«■*— ^••—•^-jfM

* >

80

A FBW SPECIMENS OF INDIAN BONOS.

m

r=?

& be go ri y&.
«n ^ lit ft JJII

m

Secoal StfalB.

^^

Ta pa

ka la b6n da ch6 o la o ri

^ M i3) ft:

^ T

yd — e chu o la o ri y4 — — .

(25)

A SONG OF THE SANOTALS.

This kind of song is sung by the aboriginal tribes known
as the S&not&Is who live in the S&not^l Perguunas^ and in the
Districts of Midnapore, Beerbhoom, &c. The tune and the
words are as wild as the tribes whose natioi^l song they
yepresefttf

A FEW SPIECIMSKrS OF INDIAK SONGS.

Hlf.

81 i

■~"^~"^-~"~" ~^ ~ ^~ ~ - ^ ~~ ~ ~ ~ ^»^^^^^^^— »^ »^^^^^^^ — »■ — » —^-1 ~ | - « - r '^ li L

(^1)

^ f^ ^T? €Hr 'HWT TIT Prnr ^TT 3ct^

ft^ff ^T^ 5Jtip I ^ wmr ^m ^rfti ijrwr

fc

RAGINI JANLA.

TXla THUNBi.
WTO rf'^t I

First Strain.

R& j^ d& X bi ram kond ron ge —

T& ]& dk
n 91T ^

r bi ram kond ron ge r& ja da r

g=3^=?

H

bi ram kond ron ge.

\ 82

"1

A FEW SPECDfSNS OF INDIAN SONGS.

Secoal Strain.

^RirlTT I

^=m

Kon phu ler phod nk ju hi phu ler

^^x ? % ^ ^ •

^ ff

T ^C,

^ — f s ;

phod nk hkv ne — baj b&r ne -— baj d& r

i

I

bi ram kond rofi ge.

(26)

KIRTAN A.

The K^tana system of songs {Idrti in Sanskrit) is supposed
to have been established in Bengal, at the time when Bidyl-
pati and Chandid&sa flourished (about 1378 of the Christian
era). They were very sincere and devout followers of Krishna
and were the authors of several metrical compositions, regard-
ing his life and character, which were afterwards set to music
and sung in temples and other places of worship, to the accom-
paniment of the Khola.

■^■-»-p— *•

«-^

r

A FEW SPBCIMENS OF INDIAN SONGS.

83 r

A century later Yfhen Chaitanya the great leader of the
Vaisnab sect of the Hindus, flourished and made quite a stir
amongst the religious communities in Bengal^ he introduced
the procession system of Kirtana songs. These songs were
sung from street to street, by himself and his followers and ad-
mirers and succeeded iu drawing many people towards the
doctrines they preached.

Both the system of Kirtana songs are still in use amongst
the people of Bengal. The specimen given below belongs to
the former system.

( ^^ )

^'^x j^ ^^ ^t^'t^t ^^ 51^'n ^^5Trr^ Tj^ ^ <2rf^ <2rf%

^ c^ri ^w^ ?t^ ^srtfSr ^m "^FT^ tT^ ctWx^ ro?r Ttt tI^

RAGmi JANLA-DEOGIRI.
TiLA EkatIlI.

Uhair yyafi ra hu dhair yya — n rk i

- ~»»^«»A»/^'WVV/^^>\^^»»^^^^^V^^('^^^^%Ai^^WW^'^'»/</^^'W%»'WS^^^^^>^»*^^^^^»«^X^^»^^>^i^ i«>i>^l»<^<%/^>»»^

84

A FEW SPB0IHBK8 OF INDIAN 80N08.

dhair jryan ra hu dhair yya — n h4 ma gach

cbha n ma thii r4 — ye — — gach clia fi

-^ wu.

7

ma thu rfi — ye — — dhu — ra ba pu ri

^ t ^

cm o o

♦IL fi

pra ti pra ti gri he y& hk da ra s'a na

^J^ il^^A ^ ' "J J ' "^ J' .

p£ ye — — dhair yyan ra hu dhair yya — n

r& i dhair yyan ra hu dhair yya — 5

A FBW SPECIMENS OF INDIAN SONGS.

85

i

i

w

^ (^"w 1^2 !•

yi h&T be 1& — k^n dis tii ^ m£ — — —

d^

i

dhair yyafi ra hu dhair yya — n ek hkr h&s go

chan dra — chan dra mu khi i& — — — i

^^ If o 5^^ If ^ 1% ^t o

o o o o o

m

i

V=m:

att

ga ra ba ka r« b& ha & mi ga rab

j^=S m

:£

1111

ka re ek hkr hd.s go r^i £ mi ga rab

i^

r i ll j ra^

If — c

ka re ek b4r has go rdi & mi ga ra

i 86

s

m —

A TEW SPl&CtMiilfrS of DH^IAN 80N6S.

^

ba ka re ga ra ba k» re b& hu dn ]&

ye — oha le — y4 -^ i dhair yyafi ra hu dbair

J J="5

HfeJ

r^PTT

yya — fi rd i yik y&k yfik n£ ke ne —
^ * t Tl ^ Tt^ Tt^ ^ ^1 (?F (?T «

.n J n ■F'ji J^ f^ j =

yfik y&k yak n& ke ne — ko thd ge cbbe —

se tor pVem du ri te — h&a db& k —

(7T CSt^ C<2tTt[ ^ flfC^o^^^o

J J J-

I

cbe — -*- — .

C^ o • o I

o^

4 EIW SPBOOCIOrs m INDIAIT 80^08.

sr

'■^ ^

(«7)
JATTRA.

The origin of the Jdttrd species of musical entertainment
is traced in the following manner. After Ki^shna (who, ac-
cording to the Bifida Patans, or mythological history> was one
of the incarnatioiis .of the Divinity, and whose scene of
action chiefly lay in Brindabana, in the North- Western Pro-
vinces of India) had finished his earthly career, the people of
the country used to have Dvddasa-Jdttrd or twelve festivals
annually celebrated in his honor. On each of these occasions
they used to dance and sing songs illustrative of his life,
character ajid exploits, accompanied with dramatic representa-
tions of them. This practice was and is still in vogue in the
Upper Provintjes and goes 'by the name of Rdsdhdri Jdttrd,
The kriti songs ^f old having failed to aatisfy the mind of the
people, this form of entertainment was substituted in its place.
As time advanced, the people of Bengal likewise felt the neces-
sity of religiouis songs, in an attractive form, — such as should
combine amusement with spiritual sentiments. Hence the
origin of Jdttrds in Bengal. About 300 years are said to
have elapsed since they were introduced here. Originally the
subject of Jdttrda W3J3 confined to the virtues and deeds of
Krishna. But now other subjects from the mythology are
chosen for the representations. The songs sung in the Jdttrds
of old, bore the character of Kirtcma, from which they had
evidently sprung. The tunes have now been materially
modified to suit the tastes of the present generation. The
.difference between Kiriaaia aud Jdttrd is that the former relates
the character and virtues of Krishna^ sung singly or in cJiorus,
to the khola, wkereas the latter is performed by a company
wbp p^rsoQate jtfhe diJifer^nt characters that axe required in the
xeiNrea^ntatiQA of a ce^in portion of Krishna's hie, and who

\ 88

^-^9^

A FEW SPECIMENS OP INDIAN SONGS.

sing to the accompaniment of other musical instruments^
besides the kholaj such as the Violin, Dholaka, Bdnyi,
Tabid, &c. The Jattrd, is, in short, a sort of opera in a rough
state — minus the scenes. Now-a-Jays, subjects other than
the life of Ki^iahna form the text of Jdttra entertainments.

The specimen here given is taken, from the once very
popular Vida-Sundara Jdttra of Gopal Ure, who lived about 40
years ago.

i

RAGmi PEO-BIBHASHA-JANLA,

TiLA MadhyamIna.

First Strain.

?rTi

i5:

E

i p^ J ^

-J_l l-IJ_ J^

!^U la de na ku la kun da li nl

^1 ^^.

A FEW SPECIMENS OF INDIAN SONGS.

J^ "^^^

ya di ku la de na ku la kun da li ui

iiig ii, — — ra — ' — k& ri ni ta be

^

^ ^F=^ S

^ ^

ki bhay o — lo

m

^

sa ja — nl —

i

f^!5

?n

'^n

'i=^i=^

O 9 O I

1

2a

Second Strain.

r3',;^ j-y^irS

^^

A sat lo ker h& ni hri de ye na dan se —

F

{ BO

A FKW 8PK0IMSK9 OF IS(DIAX 90H0S,

pha nf *<- ja le te » oa la jva 1^ di h&

^%« «rOTc^^ ^^ ^CT Itti

ra ja n{ lii ne se i & dj& s'ak ti ni b&

J*^ j^ fU

ri te kd ra s'ak ti ni ru pi yer u pdy

firc^^"?[ Hft% f^c^ ^(3r?[ ^ *tTT[^

yuk

ti

Bauk ti

pm 44

«2r Ti

(28)

KABI.

yi af _ _ — -^.

1% ^ o o o o I

"Thb ^oit system," in vogue amongst us for about 15j0
y^ars^ ^' rehires the attendance of two rival parties of songsters,
on the same occasion ; one party begins and the other replies.
Oxigixnally the answers were composed by taking notes pre-
viously of the songs which would be aijing by the opening party ;

A MW SMClMfiKS Of INDlAiT SOKGft.

tmtm^m/^

7\

Am

but subsequently the plan was altered. The answers were
given extempore. The opening party would begin and the
rival party would reply by singing songs composed cxtemporey
apropos of the subjects, allusions, and character of the
original songs. This was a most difficult performance, as it
taxed the highest wit to produce ready answers, which how-
ever, not unofteu turned oUt to be toaster-pieces.*' This kind
of musitml entertainment was called Kabi, because it required
ihe genius of a Kabi (poet) to compose the reply-songs, on tite
spur of the moment. Each of the Kabi parties has to stand in
rows, on two different sides of the quadrangle where the per-
formance takes place, and sing — the words being ** proTnpted"
to them from behind by a person who holds the manuscripts
in his hands. The Kabi is accompanied with the Dhcia and
Kansi. .

^>i^"4»K*i ^w ^rrfror c^f?a ^«r ^T?jnr ^t^ji^ "srt?tir ?t^-

m^i ^^, ^^n?s C9tt5tir«t a ^w, c^ ^^ '^ ^^ ^^^«i, c^©t^
f^^^, ^^^ (?tt^ f^m^, (?n:^ ^^1^ «t^, c^P\U i'MA*\ Kp^,
C7f^ irr^ ^sTti^ I (7f<^ :^7f^ t«N^ 5rr^ c^Tf^ ^t^ ^^ ^t

wt?f w^ ^^ c^^^ ^T^-"^^^ ^^tir 't^ "srar^ I ^t^T ^^
^rt^? ^^ ^ cst^ wt^y fu\ ^ ^^r^ ^i^ ^^r^rr^ ^t^
^s^c^ ^5T^m ^»lPf ^f^'^ii^ ^Tf^tTtir ^TfTt^ *r^TTt?r c^^^u

c^t^tj cHtz^z^ ^^^f% c^ ; ^^^ ^'tt^w 4^w ^fe^ 'nr^T^
t^tw, c^rrfw c^ntf^ c^^^ c^w^ c?^ c?, ^r^rr^i c^^^sTtf?,

Tt^ ^^r^ ^srr^ '^srt^ ^^rt^ c^Tot ^^^it?r^ c^^^ttr ^ i c^^tt^f^

^*tt^ c^^i fw^ ^*trpf (t^nm ^^^mn f ^ c^^it^ ^^ #t%f I

A FEW SPECIMBNS OF INDIAN SONGS.

RAGINI BASANTA-BAHAR.

TiLA RlJPAKA.

First Strain.

5

W-^

Ba san ta k^ le bra je & si — —

ye — — he ri — ye du kha sa mu

o o o

if — h

^

.^i.

da

ya — pu na r£y ma — thu r& —

~T^

fT^

— — — — y rdj sa bha — —

o o o o

y u pa

^. ^ n

' j j J"a ' j. ^

i

nit ha ye ud dhab kay — .

A FBW SPKCIMBNS OF INDIAN SONGS.

TIla. SurphaktI.

Seoonl Strain.
^ST^ I

^

i

z±t

5=3

S^u na s'u na ba na mi, li brin d& ba ner

n J I r ;-^ J I r ^

hkv iik ba 11 pa tr& ba li ka re e

ne — — — — chbi — bhfin dir ban ta mk\ ban

ni dhu ban £ r ni kun ja ba n bhra man ka

i

re

— chhi — -

o j^ o

kar tie.

M

A FEW SPEOmiENS OF QTDUN BONGS.

-TiLA RlJPA^A.

^ ll; ^ i ^' ^^ J^

p y ^'

Qo ch& ran ye ba ne se ban ban ha lo e

ksha ne to ma bi ha ne ba ner s'o bh£

s

J' n jprHg

gi -. ye— _ chhe

f?f o C^ o o Cf

— de khe e

Ik — _ — m s'ya m to mfi r brin dk

1

£ — — chhe, Se ihk.

»«fc<>»» w mm p wun iiwi I <* A i

A FSW 6PBSCIMSHS OF INDIAN 80KQ6.

95 {

"J^ ^ . J" .

Third Strain.

J I .J^ J i

a

^

Ba san ta ri tu n&i ko kil nfii bhra mar
^ ^ >5 ^ ^ •rt^ C^ f^'T ^ q ^

^

A i^ag - j

I r^\y n ^ ^^

n£ -^ i ja le ka ma ««- la tkki ke bal

i^E

E

S

r&i ka mal dbti l&y pa re ra

ye — —

Cf o o

f {''^ P'i

J^ J^

chhe — — —

^^ o o o

de khe e l& — • m

• OT Ct ^ ^ •

s'yi m to ma r brin d& ba n

dhii —

ft. _.

\ 96

A ITKW SPXCIM1EN3 OF IMDUN SOKOS.

^

J^ J

o o

— i— m ke bal

n& m k —

i

i

— chhe.
o cf I

TIla KIoyAlL

Foufli Strain.

^~ff

fu- rl ^ j-i j-^ i J'

Ba ner ka th& — — ma net ka th& — —

iT'T J-'j

^

kai to mkr k&

'^ C^ "Sft^ • "^

cLhe.

TAla JhI^tIla.

T

J- J I j-i .

K4 le mti

le ja le stha le sa ka le

1" _,- <■

A FEW SPECIMENS OF INDIAN • SONQB.

*

97

s

5

^ ^

3

S

3

te sa mfin jva le na yan ja

le bh& se

S

J j^ J ii J.i n J. .

a ni b&r hfi b£ k& r sa b& k&r s'a h&

I .I J 'J J '3 J J rJ J' p ^ J

k4r prembi k4 — r bich ebbed bi kk — r

-H I 1 I I I I IJ

nd hay pra ti — — kfi

TAla RtJpaka. •

r sa kal

go ku ler go pi kSr ba ye chhe a ti s'f r n&

j> J J "J I J^ J 'J — j'''J''' J '^

kk r bich ebbed a Ian kkv sa b&i an ge pa —

it*—*

A raw sraonoBNs of ihpun soKoe.

•J n J- ^

re — — chhe— — • Su kha.

TilA Rl^FASA*

nfth Strain.

^

S6 ny» sa b&i s'o k4 ku U to mir s'o ke te

1 ^,TTf^cni^ I5'ftc3n>m[c^c^c5

ba na ta6, li

he _.

C^ • o e o I

TiliA RdPAEA.

Sixth Strain.

86 nan da u pa nan da — — s'ri nan — da

'^aaateik..>db»aa«a

A rsw sfaonoiNB op motks sokqs.

•^

99

f

— ka hi chhe maner bi shi — — • de —

g— 3 j[f) ^ /'j | A J"J

^^

go bin da — r go bia da — — — — go bia

da — ko ih&y de khd de — .

T • • • C^ <<t^. CT ^ C? • I

TAlA Sl^BPHiKTi.

Sfva&tli Strain.

Ta s'o di ro hi iki £ di ro dan ka re

ni rit ba dhi ba le bi dhi ki ka ri

IF

i 100

fiir

A FEW SPBCIMENS OF INDIAN SONQS.

J'^'J JjJ'j ^

\\& J m{jLT chchbd y&j che tan p£y

m

1

1 1 r^ ri i w

pu na r&y ba le ky &y kj ko le & — - y

»

^ •? TT?^ "^ CT "^T^^ '^rf^ ^BTt^^ C^ CT ^ o ^^

^^

^

i

&y re go p&l &y tui.

"^^ CI C^ *t1^ 'Tfl^ 1^1

TiLA Bl^PAKA.

Sighth Straiii.

60 p&I ki bhd p&l to m& bi ha ne k&n de go —

p^ 1 bria ja y& kb&l sab go pdl ba le k&n -—

♦tl «[ ^ W ^ <t^ ^ C^ *tt^ I C^T #1 o

^

«J.»1 ^

A FBW SPECIMBNS OF INDIAN SONQS.

101 !

iJ n r-n

di •- chhe -— — . De khe e U — — — m

s'yd m to m& r bria da ba n dh& —

ifl ^ ^

— chhe.

(29)

PANCHALI.

The Pdnchdli had its origia in th^ JSTa&i and is rather a
refined edition of it. It is so termed, because it takes up Jive
subjects^ the Bengali word Panch denoting that number. The
performance invariably begins with a musical overture, and
sometimes requires the presence of two parties^ each vieing
with the other as to superiority in music^ strength of voice,,
cleverness in framing the songs and replies, &c. The company
have to sit dowuj sing and play on different instruments. The
music is more congenial to the tastes of modern society than
that of the Kabi. Several verses called chhards, learnt
previously by heart, and all bearing on the subject performed^
are recited in the intervals, by one or two of the leading
members of the company. Like the Jdttrd^ the modern
Pdnchdli embraces subjects other than the deeds of Krishna,

N

-y

102

A FBW SPEODOara OF INDIAN SONGS.

(^) c^*r^ Tt^ ^<ic^ tff&R <2llc*tr5 "tW^ ^srtr^ "srt?
Tf^ t«C<T 'Itf^ «(C^ Ik^ I CTI ijw cttf^ ^ <iiwl, t^

(TtW^ C^^ f^T ^*lt^ -^ ^, •ntt*! f^^FT 'l^l ^l ^CTl

/ /

RAGUJI BHUPALI.JANLA.
TiLA MadhtahIna.

First Straia.

^^

^' j=^ j=q jpg. j=^ I j>

Ke s'a ba a i la kun je te (kai) ke s'a

ba 6 i la kun je te bin chi ne pr£ ne

IjF-^^

r^^^

te — d s'ir & s'e & ra

sa khi

%

A TEW BPIOIMBinS OF IHDIAN 80NQS.

108

^^^^^H ^ ^^^^^^

^ f^ J=Wj J ffl j : |

dhair yya

Ta& hi dba re obi te.

Seooad Stiaia.

1 1 11 J '"J J * J g^

t

iE

Qo brin de go bin da kai e lo xxi

^

Ch^

i

g'i po hfi lo ke ba la — — • —

&

a

A -J>

bi pha la u p&y ba

la ba la pa r£

1^ ^c ^^*?~f^ ™

^m

na bi ka la bhti sha Dia d(i sha na ha lo

^ ™ .F^ j =sq

i

ma ri 1)^ ra pra h& re te.

^

104

▲ FBW SPECnOCNS OF IlffDIAN S0NCM9.

(80)

A SONG OF DASARATHI RAY.

This kind of song is very popular in Bengal. D&sarathi
TX&j, the author of these compositions was born in 1804, in
a village in zillah Burdwan. He had a fair knowledge of Bengali
composition and a smattering of English. He had a great apti-
tude for composing songs, which he used, for sometime^ to
supply to a company of kaM^toallahs, Subsequently he orga-
nized a PdnchdU company for which he composed several
pieces, which were^ at one time^ very much liked by the people.
He died in 1857. Bis songs, and especially those composed
in honor of the goddess KdU are very simple and at the same
time Tery touching j and there is scarcely any one in Bengal
who does not know one or two of them. On account
of the simplicity of the tunes, even the youngest boys can sing
them with ease.

(Oo)

(Trt% ) ^wc'^ "^^ ^ ^^ ^^ tK ; f^ 'I^fN f^ ^<<4l*i, ^
c^ ^^t^r ijT^.'fCT, ^^t^ M'QWh wsWf ^^Ttr^ ^^f?^ ^i:^

^

r

A FEW SPECIMENS OF INDIAN SONGS.

105

/ /

w

EAGIHI ALAHIYA-JANLA.

TIlA MADHTAHiNA.

First Strain.

E rti pe Hr ga ta ha be ka ta

i*n I I 11 I

-^-^- 1 I I I I I M 1 I

i Ti Mirmi! !

H I I M I I I I I I M

^ ^ J *

k& ^^ 1 (k4 li) _ _ e rd

^

o o

^ (Tl f^)

til IR

J^^ J«3 '^ I gpJ

if

pe kr ga ta ba be ka ta k&l ki sa

]j^£ — — -^ 1 ki bai k&l ai 'ye kk la

106

^fif^n0^0^^^^^^^^^^0^^t^»^^^t^t^^^^^0^0^f^0^^^'^^^^0^i^m^^0^f^F^^^^^0^0^^^r^^^^0%^^^^^»^^^^^^^^^^^^^^^^^t^^^^^^^^^^^^^

^

▲ FBW SPECIMENS OF INDIAN SONGS.

dan da •— la ye —

k& la

n& hi m& ne

j^ F 'i ;f3 . !■ r, ^

k£ U — k& la sw ge san ge bhra man ka re

chi ra ka

1 U \i .

o o o TT ^"1 JTf o o I

Seoo&d Strain.

Ja na ni ja tha re chhi l^m ya ta kdl

k ^'k chhi la bha be

e se —

^ (7^ o

— — s& dha

*J1 ^

E

A FKW 8PEGIMSNS OF INDIAN 80NQS.

107 i

ne k& t& ba k& la pra ti hk di ha lo

CT^ ^"^ TiT <2rf^ Tifr^<?ri

l^ i n J' ^'j'S

t& he ri pu k&l a jn&n bi pha le — ge la

-Tf

^

^p

^

kdl yu — ba ti ra san ge

j^ ^J"^ ^ p g ^ |i^ g^ p I

ra sa

— ran ge ja ik te pf ^ ri ta ha lo

«-. ' 3333SS& _ ' C33

brid dha k4 1 kd U .

-O-Bf

^^t^»^^^^^^^^>^^^*^^F^^*^S^^r^^^^^t^'>^^f^^^^^^^^^^F^^^^^^t^^>^^^^^^U^^%^^^t^*^^^>^^^^^'^^*»^^^t^^0^^*^^^^^^^^'^'^f'^i

108

A FEW 8PECIKKNS 07 INDIAK SONQff.

^

(81)

■

THE LOYAL SONG* OF BENGAL.

Daughter of Bengal. — Nature worships Thee, O Queen
beloved I lighting up her altar at dawn of day with the trans-
cendent beams of the Sun, as a Priestess lights the sacred
lamp on a plate encrusted with flashing gems.

Chorus. — ^Victory ! Victory ! Victory ! —
Success to our Empress ! —
To-day is a day of perfect joy

For thee, Land of Bengal !

Daughter of Bengal. — ^At night again, O Queen beloved !
Nature worships Thee and prays for Thy welfare, lighting up
the blue concave with myriads of sparkling lights.

Chorus. — ^Victory! Victory! Victory! —
Success to our Empress ! —
To-day is a day of perfect joy

For thee, Land of Bengal !

Daughter of Bengal, — ^In every household, O Queen be-
loved ! Thy children worship Thee with songs of praise from
joyous hearts.

Chorus. — Victory! Victory! Victory!—
Success to our Empress ! —
To-day is a' day of perfect joy

For thee^ Land, of Bengal!

#-^

* This song was sung on the representation of the Tableaux VwamU of the
different people of the British Dependencies in the East — ^held, at the author's
house in January 1877, in commemoratiun of the assumption of the Imperial
title by Her most gbaoious Majestt. <So0n«.~The Government Palace at Cal-
cutta. A daughter of Bengal (loyalty of Bengal personified), performing, be-
fore the figure of Britaoia^ m<d drad, or the ceremony of waving the sacred
lamps.

^

A FEW SPBOmXNS OF INDIAN 80NQB.

109

Daughter of Benffdl. — ^Thia day, O Queen beloved ! is the
Festival of Joy, The glad sound of the conch shell is heard
all over the country^ and every one finds his heart too confined
to contain his unbounded happiness.

Chorua. — ^Victory! Victory! Victory!—
Success to our Empress ! —
To-day is a day of perfect joy

For thee, O Land of Bengal !

Daughter of Bengal. — ^Thou art our Empress and Queen
beloved 1 and I^ Thy loyal and humble subject, worship thee on
this solemn occasion with a heart full of affection^ and wave
the sacred lamps before Thee.

Chorus. — ^Victory ! Victory I Victory !—
Success to our Empress ! —
To-day is a day of perfect joy

For thee^ O Land of Bengal !

Daughter of ^n^al.— Mayst Thou be ever happy, O
Queen beloved ! and the source of happiness to all Thy loyal
subjects. The Spieit of .Loyalty of this our native land,
thus bends before Thee with a heart full of adoration and de-
votion.

Chorua. — ^Victory! Victory! Victory!—
Success to our Empress I—
To-day is a day of perfect joy

For thee, O Land of Bengal !

^srtf^iCT ^8^-ft*r fhJ^T?[ ^Tc^^tR I

%^

-V

110

A new SPECIHEHS OF INDIAN BONOS.

^1

( *|>IC^^ ^ — Chorus. ) —

^^ ^^, W^ ^, Tt^Tt^^ft^ ^ !

RAGINI BHUPA-KHAMBAJA.
TiLA ChautIla.

First strain*

Pra kri — ti to m& — re r& — ni

<2r^of%c^ ^o c^^ <»f«i

di --

ba se

d

— ra

ti ka — re

fk o

^ (?f

^1

o ^

t% ^ o (3f

s

^^

jvfi

s

■•^^

@

li ye — ta

O \J)

pa na

di pa

fr ^

o o

A FEW SPECIMENS OF KTDIAN SONGS.

P=p:

S

hi ra

ft IT

Ifc

^

^

«^ — ke ra tli£ — —

3C=il

£

1

lo pa — re.

(Chorus.— TTO^ ^ )—

Seoond Strain.

i

a

i

s

^M

*:

^B^

Ja ya ja

ya — ja ya ja — — ya

rd ja rd — je s'va ri ra ja — — ya

^^s

& ji re e ba 5 ga r£ — jya

a tu —

wy^ r

^^

ft*

112

A TSW 8P10IMINS OF INDIAN SONGS.

A na — n da ma — ya.

( 'Rl^ ^1^ — Chorus. ) —

^^ ^?, ^^ ^. <f«ril1Wl?|il ^^ !

( 'RI^ ^t^ — Chorua ) —
( TSfl^W ^— Chorus. )—

,r

A FEW 6P1BCIMENS OF INDIAN SONGS.

— ^ It'I
118 \

( ^?ft^ Tt'^^sf^ )—

^rWfti

( 'Rr^ ^—Chorus. )—

^ ^, ^ ^, ?mTrwftfhj w^ !

( ^tff'Prc^ ^— Ghrand Choras. )—

^ ^, ^ ^, -sTtw^ft^pilfhr m !

THB XNIX

W^

Printed by I. C. Base dh Co., Stanhope Fress^ 249, Bow-Bazar

Street^ Calcutta.

-«4i|?

6

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