In Bihar. Raga Gyan. The Swara-s and The Saptak. Introduction to Indian Classical Music. Swara-s and Saptak. What is a Rãga? Introduction to Tãla

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1 Raga Gyan In Bihar This section helps you understand the concepts underlying Hindustani classical music. The following articles take you through the basics so that you can appreciate Indian classical music in a better way. Introduction to Indian Classical Music Indian classical music is a tradition nearly three thousand years old, the basis of which can be traced to the holy scriptures of the Hindus, the Vedas. Swara-s and Saptak Swara-s mean musical notes and saptak means a group of seven notes. This article discusses the basic scale used in Indian classical music and its comparison with Western music. What is a Rãga? The raga is the basis of melody in both forms of Indian classical music. It is a complex and abstract concept, yet it comes naturally to a lot of people and they are able to recognize raga-s by listening. Introduction to Tãla The term tala literally means rhythm and rhythm is an integral part of any form of music. In Indian classical music, the tala can be quite intricate and complex. The Swara-s and The Saptak In Hindustani music there are seven main swara-s or notes. These notes correspond to the solfege in western music. The names of the seven swara-s are Shadja (Sa), Rishab (Re), Gandhãr (Ga), Madhyam (Ma), Pancham (Pa), Dhaivat (Dha) and Nishãd (Ni) but they are usually referred to by their coresponding symbols for convenience. This group of seven notes is called the saptak (sapt=seven). The eighth note is the repitition of the first, but is one octave higher. This scale is analogous to the Western major scale. If we consider C note(the first white key) on a piano or keyboard as the tonic or the Sa, then the position of the other notes would be as follows. The seven swara-s occupy the seven white keys of the keyboard. This is shown below.

2 In Bihar It can be seen above that in between the seven swara-s we have five intermediate notes. These notes are called vikrit swara-s (altered notes). In this context, the original notes are referred to as the shudha swara-s (pure notes). The swara-s between the pairs Sa and Re, Re and Ga, Pa and Dha and Dha and Ni are known as komal Re, komal Ga, komal Dha and komal Ni. The term komal means soft or flat. The swara between Ma and Pa is called tĩvra Ma; tĩvra meaning sharp. The swara-s Sa and Pa do not have altered forms and they are known as achal or immovable swara-s. The following table shows the twelve swaras, their western couterparts and the notes if C is taken as the Sa. Hindustani Name (Symbol) Solfa Scale of C Ratio to Sa Shadja (Sa) Doh C 1 Komal RIshabh (Re) C#,Db 256/243 Shuddha Rishabh (Re) Re D 9/8 Komal Gandhãr (Ga) D#,Eb 32/27 Shuddha Gandhãr (Ga) Mi E 5/4 Shuddha Madhyam (Ma) Fa F 4/3 Tĩvra Madhyam (M) F#,Gb 45/32 Pancham (Pa) Sol G 3/2 Komal Dhaivat (Dha) G#,Ab 128/81 Shuddha Dhaivat (Dha) La A 5/3 Komal Nishãd (Ni) A#,Bb 16/9 Shuddha Nishãd (Ni) Ti B 15/8 Shadja (S a) Doh C' 2 It should be noted here that this analogy to the keyboard is not technically correct. In western music the instruments are tuned to the chromatic or the even-tempered scale whereas in Indian music the notes are based on the natural or the diatonic scale. For this reason the harmonium is not considered correct by many classical musicians. If you do not understand what this means, you can ignore this for the moment and we will discuss this in a separate article. Another thing to note is that in Western music, the frequencies of the notes are fixed - for example the A of the middle octave is supposed to have a frequency of 440 Hz. This is not the case in Indian music. The relative frequency and not the absolute frequency is of importance here.

3 Vocal / Harmonium Lesson 1 In Bihar Open Knobs, Dhokni & Play SaReGaMa... To download video clip of Vocal Lesson 1 - Click here.

4 In Bihar Play: Sa Re Ga Ma Pa Dha Ni Sa. Sa. Ni Dha Pa Ma Ga Re Sa Note: Do not forget to push Dhokni to blow air otherwise no sound will be heard. To push Dhokni, place your left hand near the left edge of harmonium and push by fingers. Please watch photo above and the movies to understand. 1. Harmonium and Keyboard are similar for indian music. For Harmonium we have to blow air all the time when we play. For Keyboard it is not required. 2. For Keyboard we have to select the best sound out of 100 or 200 available. The sound should be pleasing and continuous. Suggested sounds are Flute, Claranet, Synthetic Reed etc. Every Keyboard is different, therefore please select on your Keyboad yourself. 3. For Harmonium first open at least 3 big knobs and then Blower (Dhokni). In some there is straight Dhokni which is to be opened from both sides and in other it should be opened only from left, for right handed people or from right, for left handed people. In all lessons we have shown right handed person. 4. In Harmonium never press Dhokni (or blow air) until any note - Black or White is pressed, otherwise air will not be able to go out from anywhere and the Harmonium will start leaking air from sides or anywhere. 5. Use left hand to blow air and right hand to play keys. Use right hand thumb to play White keys only and adjuscent three fingers on Black and White keys both. Thumb is very rarely used on Black keys. 7. For Keyboard you need to use right hand only and all lessons are same for Harmonium and Keyboard.

5 Vocal / Harmonium Lesson 2 In Bihar Play & Sing Alankar 1 & 2 Alankar: 1. SaSa ReRe GaGa MaMa PaPa DhaDha NiNi Sa.Sa. Sa.Sa. NiNi DhaDha PaPa MaMa GaGa ReRe SaSa 2. SaReGa- ReGaMa- GaMaPa- MaPaDha- PaDhaNi- DhaNiSa.- Sa.NiDha- NiDhaPa- DhaPaMa- PaMaGa- MaGaRe- GaReSa- Note: While playing Alankar do not forget to push Dhokni to blow air otherwise no sound will be heard. To push Dhokni, place your left hand near the left edge of harmonium and push by fingers. Please watch the movie to understand. 1. You need to play sing and practice at least 8 Alankars first to familiarise Swar (notes). 2. Match your voice with the voice coming out of Harmonium for each swar - note. 3. Play each note in rythm of 1 beat and leave a gap for dash ' - ' equivalent to 1 beat. 4. A dot after the note shows higher octave 5. A dot before the note will show lower octave. 6. In Harmonium never press Dhokni (or blow air) until any note - Black or White is pressed, otherwise air will not be able to go out from anywhere and the Harmonium will start leaking air from sides or anywhere.

6 Vocal / Harmonium Lesson 3 In Bihar Play & Sing Alankar 3 & 4 Alankar: 3. SaReGaMa ReGaMaPa GaMaPaDha MaPaDhaNi PaDhaNiSa. Sa.NiDhaPa NiDhaPaMa DhaPaMaGa PaMaGaRe MaGaReSa 4. SaRe SaReGa - ReGa ReGaMa - GaMa GaMaPa - MaPa MaPaDha - PaDha PaDhaNi - DhaNi DhaNiSa. - Sa.Ni Sa.NiDha - NiDha NiDhaPa - DhaPa DhaPaMa - PaMa PaMaGa - MaGa MaGaRe - GaRe GaReSa - Note: While playing Alankar do not forget to push Dhokni to blow air otherwise no sound will be heard. To push Dhokni, place your left hand near the left edge of harmonium and push by fingers. Please watch the movie to understand. 1. You need to play sing and practice at least 8 Alankars first to familiarise Swar (notes). 2. Match your voice with the voice coming out of Harmonium for each swar - note. 3. Play each note in rythm of 1 beat and leave a gap for dash ' - ' equivalent to 1 beat. 4. A dot after the note shows higher octave 5. A dot before the note will show lower octave. 6. In Harmonium never press Dhokni (or blow air) until any note - Black or White is pressed, otherwise air will not be able to go out from anywhere and the Harmonium will start leaking air from sides or anywhere.

7 Vocal / Harmonium Lesson 4 In Bihar Play & Sing Alankar 5 & 6 Alankar: 5. SaReGa SaReGaMa ReGaMa ReGaMaPa GaMaPa GaMaPaDha MaPaDha MaPaDhaNi PaDhaNi PaDhaNiSa. Sa.NiDha Sa.NiDhaPa NiDhaPa NiDhaPaMa DhaPaMa DhaPaMaGa PaMaGa PaMaGaRe MaGaRe MaGaReSa 6. SaGa - ReMa - GaPa - MaDha - PaNi - DhaSa. - Sa.Dha - NiPa - DhaMa - PaGa - MaRe - GaSa - Note: While playing Alankar do not forget to push Dhokni to blow air otherwise no sound will be heard. To push Dhokni, place your left hand near the left edge of harmonium and push by fingers. Please watch the movie to understand. 1. You need to play sing and practice at least 8 Alankars first to familiarise Swar (notes). 2. Match your voice with the voice coming out of Harmonium for each swar - note. 3. Play each note in rythm of 1 beat and leave a gap for dash ' - ' equivalent to 1 beat. 4. A dot after the note shows higher octave 5. A dot before the note will show lower octave. 6. In Harmonium never press Dhokni (or blow air) until any note - Black or White is pressed, otherwise air will not be able to go out from anywhere and the Harmonium will start leaking air from sides or anywhere.

8 Vocal / Harmonium Lesson 5 In Bihar Play & Sing Alankar 7 & 8 Alankar: 7. SaMa - RePa - GaDha - MaNi - PaSa. Sa.Pa - NiMa - DhaGa - PaRe - MaSa 8. Sa - SaReSa - SaReGaReSa - SaReGaMaGaReSa - SaReGaMaPaMaGaReSa - SaReGaMaPaDhaPaMaGaReSa - SaReGaMaPaDhaNiDhaPaMaGaReSa - SaReGaMaPaDhaNiSa.NiDhaPaMaGaReSa - 9. Sa. - Sa.NiSa. - Sa.NiDhaNiSa. - Sa.NiDhaPaDhaNiSa. - Sa.NiDhaPaMaPaDhaNiSa. - Sa.NiDhaPaMaGaMaPaDhaNiSa. - Sa.NiDhaPaMaGaReGaMaPaDhaNiSa. - Sa.NiDhaPaMaGaReSaReGaMaPaDhaNiSa. - Note: While playing Alankar do not forget to push Dhokni to blow air otherwise no sound will be heard. To push Dhokni, place your left hand near the left edge of harmonium and push by fingers. Please watch the movie to understand. 1. You need to play sing and practice at least 8 Alankars first to familiarise Swar (notes). 2. Match your voice with the voice coming out of Harmonium for each swar - note. 3. Play each note in rythm of 1 beat and leave a gap for dash ' - ' equivalent to 1 beat. 4. A dot after the note shows higher octave 5. A dot before the note will show lower octave. 6. In Harmonium never press Dhokni (or blow air) until any note - Black or White is pressed, otherwise air will not be able to go out from anywhere and the Harmonium will start leaking air from sides or anywhere.

9 In Bihar Tabla Lesson Of all the drums in the world, the Tabla has to be one of the most complex, involving intricate and finely articulated stroke combinations and intensely developed rhythmic systems. People are often amazed at how many distinctly different sounds come from such a tiny set of drums. It can certainly be said that programming something that sounds anything like a proper Tabla part can be no small challenge. Of course, if you have thirty years to spare you could always learn the instrument but I doubt the record company will wait that long for the master mix. Lets look a little bit at the drums and then work our way towards a programming concept for the instrument. THE DRUMS The Tabla originates from North India and consists of a set of two drums, treble and bass. They are distinct from most other drums in the world, in that each drum is played with a different hand. Very seldom do you see both hands playing on one drum. The drums have a regal history dating back centuries to the where all Palaces had their own set of full time musicians. The performer sits on the floor with the drums in front of him, which are nestled in two supporting rings called Adharas. The high pitched drum is cylindrical in shape and stands about 10 inches high. It is made from wood, usually shisham or nim, and is hollowed out from the top like a big cup, remaining sealed at the bottom. The drum has only one skin, generally about 5 inches in diameter. The shell is wider at the bottom that the top by about 1 1/2 inches. The bass Tabla is basically a small single headed kettle drum made from nickel alloy. (It is sometimes possible to find them

10 In Bihar made from clay.) Both drum heads (Puri) are made form goat skin and have a complicated hoop (Pagri) which is woven around the edge of the skin. The skins are fixed to the drum with a long leather strap call Chot. This strap is threaded through the hoop and underneath the drum through a small leather ring. Both inside and outside the skin there is a thin rim about 1 inch wide running around the edge. this is called the kinar or Kani and is also made of goat skin. The long leather strap is pulled tight, bringing the drum skin to tension. The treble drum is pulled a lot tighter and needs small wooden blocks (Gattha) inserted between the shell and the straps to get it up to the pitch required. Sometimes you see smaller wooden blocks used for the bass Tabla. (In Benares a completely different method is used for the bass Tabla. They use rope and metal rings to get the tension.) The skins then have past patches applied to give the skins the resonance required. These patches (Shyahi) are made from a paste of iron fillings, flour and ground hill stone. In India a chemical is also sometimes added to stop ants eating the patches. The treble drum is tuned by knocking the wooden blocks with a small hammer. Finer tuning is then carried out by hitting the leather hoop. The drum is tuned to the tonic or dominant note in the scale of the piece of music to be played. The bass Tabla is generally not tuned to a particular pitch, largely because of the glissando pitch bending technique that is used on that drum. BOLS (Literally word ) As opposed to a system of written notation, Indian percussionists use a vocabulary, or syllables to represent the patterns they play. These words are intended to mimic the sounds that come from the drums. Each stroke and combination of strokes has its own word or set of words. It is possible to look at these words as an alphabet of phrases, out of which longer and longer patterns are composed. The words have no semantic meaning apart from the patterns they represent. Generally these words are the first thing a student learns when learning Tabla. EXAMPLES OF INDIVIDUAL SYLLABLES ON TABLA. NA, TIN, TE, THUN, TI, NE, GE, KE

11 In Bihar GE; Bass drum, resonant stroke, played with the finger tips. The wrist bends the pitch of the drum. KE; Bass drum closed stroke, played with the whole hand flat TE; Treble drum closed sound with flat fingers. Staccatto NA; Treble drum, edge rim sound with index finger; second finger raised, third and fourth fingers damping. Characteristic ringing tone of Tabla. (there is also the closed na stroke played by leaving the finger on the skin after striking, creating a sharp chick sound.) TIN; Treble drum, inner rim sound with index finger; second finger raised, third and fourth fingers damping. Similar to na but with slightly more bass qualities. THUN; Open resonant sound on treble drum TI; Second finger on treble drum, third and fourth fingers down, index finger raised. Soft version of TE. NE; Ring finger on edge of treble drum. Soft sound almost like a grace note. BOLS INVOLVING TWO SIMULTANEOUS STROKES. DHA (= GE + NA) DHIN (= GE + TIN) DHE (= GE + TE) There are many other stroke combinations and sounds on Tabla but these are the basic set to get started with.

12 Playing Bansuri SA In Bihar For playing Sa you need to close the top three holes of the instrument and then blow into the flute. In case you cannot get a clean sound in the first attempt make sure that the holes are covered properly by your fingers and there is no air leakage. (Blowing into the flute with the first three holes closed) Playing other notes The fingering chart for playing all the notes of the sargam is shown below. Note that for playing Ma the first hole needs to be closed partially, but for all other notes the holes are fully covered. Note: The black circles denote closed holes. Pa, Dha and Ni are played in the middle octave or madhyan saptak of the bansuri. What this means is that by keeping the same position of fingers and by adjusting the air flow you can produce a note which is an octave higher than the previous note. A common mistake while trying to play the madhya saptak is that people think that they have to blow harder to play higher notes. That is not true. To play higher notes you have to make the air flow out of your mouth sharper and more concentrated. You can try blowing on to the palm of your hand and see how concentrated your air flow is. The dot above the Sa at the end signifies that it is the Sa of the higher octave or taar

13 In Bihar How to Care for Your Tabla This article outlines regard to caring for your tabla. Rings are a drums worst enemy. Despite all the hard blows a skin can absorb, even a light tap with a ring can damage it and completely ruin it The sound quality of your drum is sensitive to the skin's surface. Be careful to avoid situations in which the skin can get scratched or scuffed. Avoid setting the drum face down (unless the drum head is disproportionately large, posing the risk of tipping when it's set upright). Transport your drum in a bag that has soft padding inside the top. If your bag does not have padding, place a non-abrasive cloth on the skin before closing the bag. Despite the phonetic similarity, a tabla is not a table! Leaving objects on your tabla or resting your legs on it is a gross display of disrespect. If you plan to drum outdoors, take a towel with you for setting down your drum. Setting it on the ground can cause sand and grit to get trapped between the rim and the drum body. This grit is very hard to remove and affects the sound of your drum. Don't let non-drummers play your tabla! If you have an animal skin drum, be careful not to stand it under a counter's edge where a spilled drink could soak it or a stray object could fall and puncture it. Also keep animal skin drums out of humidity. If it's raining, don't bring it out. Large, repeated changes in humidity will slowly deteriorate the skin tightness. If your drum is ceramic, its worst enemy is gravity. These drums are very easy to break, so only transport them in heavily-padded cases. Also, don't leave them out as a display object. A guest will eventually fiddle with it and drop it. I guarantee it. Your tabla is more than a mere object. It is a treasure. If you truly respect the art of drumming, then your respect will carry over to how you care for your drum. In return, your tabla will continue to provide you with its wonderful gift of sound.

14 How to Care for Your Guitar In Bihar 1. Always keep your guitar in its case when not in use. 2. Avoid rapid temperature changes. If you bring your guitar from a cold area into a warm area leave it in its case, to change temperature slowly, because cracking of the finish or wood can occur. A good rule-of-thumb is not to leave your guitar any place that you would not like to be. So don't leave it in extreme hot or cold environments. 3. Be sure your hands are clean before playing your guitar. Also keep your finger nails trimmed on your left hand (right hand for left handed players) to minimize fingerboard wear. 4. After you are finished playing wipe the strings and the finish of the instrument with a soft cloth to remove dirt and oils 5. When you change your strings you should clean the fingerboard to remove any accumulated dirt and oils. Also check your tuning gears for proper operation and loose parts. If you have open gear tuners a drop of light machine oil should be applied to all bearing surfaces about every 6 months. 6. Acoustic guitars will change dimensionally when the humidity changes. Under dry conditions the top will move inward and the neck will move forward. Under humid conditions the opposite will occur. This will have an effect on your instrument's string height. You may want to adjust the truss rod to help keep your string action more uniform under these conditions. If you are not comfortable doing this yourself have a guitar tech perform this for you. Also the use of a guitar humidifier in the dry months is recommended.

15 In Bihar How to Care for Your Harmonium When little kids see adults or harmonium players pumping the bellows constantly, they indeed get excited and they pump the bellows to their hearts desires without touching the keyboard. Keep one point in mind; you are not a little kid! Don t ever pump the bellows if you are not playing anything. Pumping excessive air into the harmonium is comparable to inhaling excessive air into your lungs and not breathing out. You will feel uncomfortable and feel like you will explode inside. That s what happens to the harmonium, in fact. If too much air enters in without being released properly, the harmonium s internal air chamber will explode. Then, whatever air that comes in will go out immediately without having any note produced if the keyboard is being used. The proper way to go about is use enough air as you need, while playing the keyboard. This is very crucial. Keep in mind that if you play this properly, the keyboard serves as an exhaling agent. Once a key is pressed with enough air, air will blow out of the front. BLOW OUT ALL THE AIR Whenever you are done with using the harmonium, force all of the air out. The way to do this is to lock the bellows using a side lock and play three or more notes of the keyboard simultaneously. This way, air will be forced out faster. If you leave air inside the harmonium, that air could damage the internal features of the harmonium and its rich sound could diminish and even force notes to sound out of tune. This is very easy to forget this very important step! STOP! CLOSE YOUR STOPS! With harmoniums having this feature, it is also very easy to forget to close stops and lock bellows before pushing the harmonium inside. The stop knobs and bellows can break if locks are not pushed in fully, or if the bellows are not locked. DOUBLE CHECK SECURITY BEFORE TAKE OFF! Most harmoniums have a removable top lid. Once the lid has to be placed it, it is very easy

16 In Bihar to do this incorrectly, and while thinking it is done correctly, lift it up and part of the harmonium starts to fall out and damage is done. The sure way to check if your harmonium is secure is to make sure the top locks are locked, the behind has nothing showing inside, and while locked, attempt to lift the top lid off. If you cannot lift the top lid, you will know that your harmonium is safe for take off. RAIN OR SHINE IS NEVER FINE! Never put your harmonium in direct sunlight. Sunlight has enough energy to make the air bellows weak or destroy the wooden finish. Likewise, do not have any contact with water. Water can make the harmonium sound ripped, if not disable the ability to produce sound. This can be compared to water in lungs. Whenever there is water in your lungs, you will feel very uncomfortable and you will cough a lot. The sure sign for safety is to keep your harmonium in a carrying case or bag and leave it in a room not humid. These tips will help you keep your harmonium clean, safe, and have a longer lifespan. Sticking keys The most common problem with harmoniums is sticky keys. The way to fix this depends on the type of action in your harmonium (see the diagrams below and identify the type of action you have). The Solid Key : With the expansion and contraction of the wooden sound board, the guide pins and hinge pins can be moved out of vertical position. These pins need to be realigned into vertical alignment. This will center the action and stop the key from binding.

17 In Bihar The Stick and Pallet : This type has no vertical pins to give problems; the guide pin and pivot rail are usually the culprits. The key has to be carefully removed from the pivot rail. Then the friction areas need to be lightly sanded and a little fine chalk applied (do not use blackboard chalk as it has anti-squeak wax in it--sidewalk chalk is ok). The Stick, Lever, and Pallet: The pivot rail fix is similar to the Stick and Pallet, however there are more parts involved, including the coupler sticks which run diagonally underneath the keys, and the lever pins. The coupler sticks have vertical pins that can cause the sticking. To access the coupler sticks and the lever pins requires a complete disassembly of the keyboard, scale changer, and coupler. This is a job for professional repair person. Sometimes there can be other causes for sticking, such as: twisting of the wooden shafts which can cause the key tops (the plastic area where your fingers touch) to bind against their neighbors, and swelling of the woods in damp weather. To free-up these keys sand them along the sides.

18 In Bihar Dha Dhin Ga Ka Na Na Ta Ti TiRaKiTa TiTa Tin Tu This is a list of the basic strokes with their techniques. Please note that the Roman script is very weak. In particular the English "D" and "T" are very ambiguous. Please note too that many different bols are written the same in English. Use the Devnagri script to help clarify the pronunciation. The techniques which are described here are for right handed people. A left handed person should simply reverse the drums and exchange the terms left and right. There are many more bols than are practical to give in this web site. There are also many more issues which are not easily handled here You may want to refer back to this illustration in order to understand the terminology used for location. Dha - (Pronounced as in "Ad hoc") This is a bol that uses both hands. It is a combination of Ta and Ga. There are at least four ways to play this bol; however the two most common versions are the Delhi (Dilli) style and the Purbi style. The Dilli (Delhi) style is illustrated here. See Ga and Ta for details of their technique.

19 In Bihar Dhin - (Pronounced as in "and hinder") Dhin is a simultaneous playing of Ga and Tin. There are at least four different ways to play Dhin. One common version is illustrated here. See Ga and Tin for details of their technique.

20 Ga In Bihar - (Pronounced as in "Gum") This is a stroke of the left hand. The most common technique is to hold the wrist down and arch the fingers over the syahi. The middle and ring-fingers then strike the maidan (the exposed skin between the syahi and the chat.) One must always remember that this stroke is "khula" or an open stroke, therefore it must be very resonant. Ga may be difficult for the beginner. There is a tendency to strike the drum and withdraw the hand under conscious control. Such action cannot be performed consciously. It is essential that the fingers and hand be relaxed the instant the drum is struck so that the hand can rebound of its own accord; like a ricochet. Only then can you hear the full open sound that characterizes this stroke. There are numerous variations on the technique. For speed the index finger is often used to supplement the main Ga. Some players use only the middle finger, although this is generally considered to be a very poor technique. In some rare cases all four finger tips are used. There is another type of Ga which is played with the full open hand; nowadays this is generally used for special effects such as one might find in a Kathak recital. Ga also has many variations in pronunciation. Common ones are Ge, Ghe, Ghin, or Ghin.

21 Ka In Bihar - (Pronounced as in "Cup") This is a very common nonresonant stroke of the left hand. It is also the easiest to execute. One simply strikes the bayan with the flat palm and fingers. Notice that the tips of the fingers extend slightly over the rim of the bayan. It is a flat slapping sound with no resonance, therefore it is called "band". The most common version is shown in the illustration, however other forms exist. (see "Fundamentals of Tabla" for other variations.) Na - (Pronounced as in "Not" ) This is a common resonant stroke of the right hand. It is produced by holding the last two fingers lightly against the syahi and using the index finger to forcefully hit the rim (chat or kinar) of the tabla. It is important to keep the middle finger extended so as not to hit the drum. The correct position may be visualized by an "X" running across the drum. This cross pattern is not imaginary but is a reflection of actual resonance characteristics. The position of this cross is determined by the ring finger and little finger. Sliding these fingers around will cause the position of the cross to vary. Maximum efficiency is produced when one strikes the chat at the position where the other leg of the cross passes over the rim. This is shown in the accompanying illustration.

22 In Bihar There are several versions of this stroke. They are differentiated by the exact place of striking and whether the finger is allowed to rebound or not. Occasionally one may find this stroke executed by muting with all of the last three fingers of the right hand; this however is considered to be very poor technique. Na - (Pronounced as in "Nut") This is a nonresonant stroke which is made by striking the edge of the syahi with the last two fingers of the right hand. This stroke has numerous names, especially when used as part of larger bol expressions. Some common ones are Da, Ra and Ta.

23 In Bihar Ta - (Pronounced as in Taco) This is a common stroke of the right hand. There are at least four ways to play this bol. However only two are common: the Dilli (Delhi) approach and the Purbi approach. The Dilli (Delhi) style is to play it exactly like Na (i.e. striking sharply with the index finger against the rim). See Na for further information on this technique. The Purbi approach is to place the last two fingers lightly against the syahi and then strike sharply in the maidan with the index finger. This is very similar to Tin; unlike Tin, it is played more forcefully. Ti - (Pronounced as in "Team") There are several approaches to this stroke. One very common way is to strike the center of the syahi with the middle finger of the right hand. This is shown in the accompanying illustration. However many times Ti is considered to be synonymous with Tin. Please refer to Tin for this technique. Ti Ra Ki Ta - This bol is composed of four strokes. There are two basic techniques, the Dilli (Delhi) and the Purbi styles. The Delhi style is characterized by an independent use of the middle finger. Ti is played by striking the center of the

24 In Bihar syahi with the middle finger of the right hand. Ra is played by striking the center of the syahi with the index finger of the right hand. Ki is played by striking the left hand sharply against the head (like Ka). Ta is played by striking the edge of the syahi with the last two fingers of the right hand. All of these strokes are nonresonant (i.e. bandh). Dilli (Delhi) style TiRaKiTa The Purbi approach is a different. We lead off with the last three fingers of the right hand (i.e.middle, ring, and little fingers); this would be the Ti. Ra is played by striking the center of the syahi with the index finger. Ki is a standard left hand Ka, and the final Ta would be played with the last three fingers.

25 In Bihar Purbi style TiRaKiTa Today it is very usual to mix Dilli and Purbi techniques. It is common to mix them even within the same composition. Such mixing is done in order to get a balance of speed and clarity. David Courtney and Ernesto Leon (Introduction to TiRaKiTa)

26 In Bihar Ti Ta - This bol is made of two strokes. There are at least five techniques for executing this stroke, but we shall describe only two here. One Dilli (Delhi) and one Purbi. The basic Dilli (Delhi) style is simple. Ti is made by striking the center of the syahi with the middle finger. This is a non-resonant (band) stroke. Ta is made by striking the center of the syahi with the index finger. This too is a non-resonant (bandh) stroke and should have a sound that is indistinguishable from Ti. Dilli (Delhi) style TiTa The Purbi style is a little bit different. Ti is executed by striking sharply with the last three fingers of the right hand. (i.e. middle, ring, and little fingers). Ta is executed by striking the center of the syahi with the index finger. Purbi style TiTa There are several variations in the bol. It is also common to find this expression called TeTe, TeTa or in some cases even KiTa.

27 Tin In Bihar - ( Pronounced as in "Tin can") This is a resonant stroke of the right hand. Its hand position is very similar to Na, but it is much softer and more delicate. This stroke is produced by placing the last two fingers of the right hand lightly against the syahi and striking on the border between the syahi and the maidan. As with Na, the middle finger is extended and does not strike the drum. Great care must be taken so that the stroke is resonant. This resonance will only come if it is a light ricochet. The exact striking position is determined by the construction of the drum but it is usually at the border of the syahi and maidan. Beginners often have a difficult time making Tin sound different from Na. There are two points to keep in mind. First, the stroke must be resonant. Second, it must be played very softly. Tu - (Pronounced "Two") This is a resonant stroke of the right hand. The head is not muted at all but allowed to resonate freely. The head is struck in the center of the syahi with the index finger of the right hand. There are several variations in pronunciation. Some common examples are Tun, Thu, Thun, etc.

28 In Bihar Standardised rules and regulations Carrom board International rules (sometimes called "the laws of carrom") are promulgated by the ICF, the governing body of carrom. The organisation also ranks players, sanctions tournaments and presents awards, and has many national affiliates such as the All- India Carrom Federation, Australian Carrom Federation, UK Carrom Association and US Carrom Association.There is a penalty a person has to pay if his striker goes in the hole.this term is referred to as deuce. The penalty is usually 10. The Toss Order of play is determined by the process of "calling the carrom-men" or, simply, "the toss". Before the commencement of each match, in formal play, an umpire hides one black and one white carrom-men in his hands and the players have to guess which carrom-men are being held in each hand. The player who wins the toss must either choose to strike first or to change sides (from white to black) and give up the opening break. No option to pass this decision to the other player is available. If the player chooses to strike, the loser can change sides, but if the winner chooses to change sides the loser must strike first. In a doubles event, the team winning the toss has the choice, as above. Once the toss-losers have sat down, they may not interchange. This order of sitting continues throughout the match. Whoever plays first or breaks gets white. Shooting The aim of the game is to pot one's own nine carrom men before one's opponent pots his/hers. However, before sinking one's final carrom man, the queen must be pocketed and then "covered" by pocketing one of one's own carrom men on the same or subsequent strike. Fouls, such as crossing the diagonal lines on the board with any part of one's body, or potting the striker, lead to carrom men being returned to the board. The player is allowed to shoot with any finger, including the thumb (known as "thumbing" or a "thumb shot").

29 In Bihar Point carrom A variant often popular with children or an odd number of players. Play is as above except that all players try to sink all carrom men, regardless of colour. The nine carrom men of one color are worth one point each and the nine carrom men of the other color are worth two points each. The red queen is worth five points and may only be captured by pocketing another carrom man on the same or subsequent strike. A player reaching 17 or more points is the winner, otherwise the winner is the player with the most points after all carrom men have been pocketed..when scores are tied in a point carrom game there will be tie breaker, and there will be advantage for the team which has pocketed the queen. Board variations Carrom boards come in various sizes, as do the corner pockets. Smaller boards, and boards with larger pockets, are often employed by beginners for easier gameplay. On traditional carrom boards the corner pockets are only slightly larger than the carrom men, and smaller than the striker. On boards with larger pockets, it is possible to sink the striker, resulting in a "scratch shot" as in pool. This is called a "due". Typically on a "due", one of your pocketed men come back into the table.when scores are tied in a point carrom game there will be tie breaker, and there will be no advantage for the team which has pocketed the queen. (What ever be the fact Blue team won the match)

30 Lesson Harmonium with Teacher In Bihar 1 : Sa Re Ga Ma Pa Da Ni Sa Sa Ni Da Pa Ma Ga Re Sa 2 : Sa Re Ga, Re Ga Ma, Ga Ma Pa, Ma Pa Da, Pa Da Ni, Da Ni Sa Sa Ni Da, Ni Da Pa, Da Pa Ma, Pa Ma Ga, Ma Ga Re, Ga Re Sa 3 : Sa Re Sa Re Ga, Re Ga Re Ga Ma, Ga Ma Ga Ma Pa, Ma Pa Ma Pa Da, Pa Da Pa Da Ni, Da Ni Da Ni Sa Sa Ni Sa Ni Da, Ni Da Ni Da Pa, Da Pa Da Pa Ma, Pa Ma Pa Ma Ga, Ma Ga Ma Ga Re, Ga Re Ga Re Sa 4 : Sa Re Ga Ga, Re Ga Ma Ma, Ga Ma Pa Pa, Ma Pa Da Da, Pa Da Ni Ni, Da Ni Sa Sa Sa Ni Da Da, Ni Da Pa Pa, Da Pa Ma Ma, Pa Ma Ga Ga, Ma Ga Re Re, Ga Re Sa Sa 5 : Sa, Sa Re Sa Sa Re Ga Re Sa Sa Re Ga Ma Ga Re Sa Sa Re Ga Ma Pa Ma Ga Re Sa Sa Re Ga Ma Pa Da Pa Ma Ga Re Sa Sa Re Ga Ma Pa Da Ni Da Pa Ma Ga Re Sa Sa Re Ga Ma Pa Da Ni Sa Ni Da Pa Ma Ga Re Sa 6 : Fast Play : Sa Ni Re Sa 7 : Finger Position : Sa Ma Ga Sa 8 : Sa Re Ga Ma, Re Ga Ma Pa, Ga Ma Pa Dha, Ma Pa Dha Ni, Pa Dha Ni Sa. Sa Ni Dha Pa, Ni Dha Pa Ma, Dha Pa Ma Ge, Pa Ma Ge Re, Ma Ge Re Sa Little Song : Sa ReRe PaPaPaPaPaPa Da Da Pa Ma Pa Ma Ge Sa Ma Ma Ga Re Ga Re Sa Re Sa Sa ReRe GaGa Re Sa Da SaSa ReReRe GaGa Re SaSa

31 Tabla Lesson With Teacher In Bihar 1: Dha Tir Kit Tak Tun Na Kit Tak Ta Tir Kit Tak Tun Na Kit Tak Dha Tira Ki TaTa Ka Tun Na Ki TaTa Ka Ta Tira Ki TaTa Ka Tun Na Ki TaTa Ka And Second Exercice (DhaDha Tir Kit Tu Na Kit Tak) Dha Dha Tira Ki Ta Tun Na Ki TaTa Ka Ta Ta Tira Ki Ta Tun Na Ki TaTa Ka And Third Exercice Dha Tira Ki TaTa Ka Ki TaTa Ka Ta Tira Ki TaTa Ka 3x Tun Na 3x Tun Na And Last Exercice (DhaDha Tir Kit, Tu Na Kit Tak) Dha Dha Tira Ki Ta 3x Tun Na Ki TaTa Ka Ta Ta Tira Ki Ta 3x Tun Na Ki TaTa Ka Extension (Dha Tir Kit Tak,Dha Dha Tire Kit) Dha Tira Ki TaTa Ka Dha Dha Tire Ki Te Ta Tira Ki TaTa Ka Ta Ta Tire Ki Te Kit Tak Tu Na Dha Tir Kit Tak Tu Na Tir Kit Tu Na Tir Kit Dha Ge Tir Kit Tu Na Kit Tak Ta Ge Tir Kit Tu Na Kit Tak Dha Ge Tir Kit Tu Na Kit Tak Ta Ge Tir Kit Tu Na Kit Tak 3x 3x Dha Ge Na Ge Dha Tir Kit Tak Ta Ge Na Ge Dha Tir Kit Tak 2: Dha Dha TeTe TeTe Dha Dha TeTe Dha Dha Tun Na 2x Ta Ta TeTe TeTe Ta Ta TeTe Dha Dha Tun Na 2x Dha Dha TeTe TeTe Dha Dha TeTe TeTe Dha Dha TeTe, TeTe Dha Dha Tun Na TaTa TeTe TeTe TaTa TeTe TeTe TaTa TeTe TeTe TaTa TeTe Dha Dha Tun Na And Second Exercice DhaDha TeTe TeTe DhaDha TeTe TeTe TaTa TeTe TeTe DhaDha TeTe TeTe 3x 3x

32 SONG In Bihar (chote chote shehron se khaali bore dopehron se hum to jhola uthake chale barish kam kam lagti hai nadiyaa madham lagti hai hum sumandar ke andar chale) - 2 hum chale hum chale oye ramchandre - 2 dhadak dhadak dhadak dhadak dhooan udaye re dhadak dhadak dhadak dhadak seeti bajaye re dhadak dhadak dhadak dhadak dhooan udaye re dhadak dhadak dhadak dhadak mujhe bulaye re ohh zara rasta to do thoda sa badal chakna hai bada bada koyale se naam phalak pe likhna hai (chaand se hokar sadak jaati hai ussi pe aage jaake apna makaan hoga) - 2 hum chale hum chale oye ramchandre - 2 dhadak dhadak dhadak dhadak dhooan udaye re dhadak dhadak dhadak dhadak seeti bajaye re dhadak dhadak dhadak dhadak dhooan udaye re dhadak dhadak dhadak dhadak mujhe bulaye re --FEMALE-- (chote chote sheron se khaali bore dopehron se hum to jhola uthake chale) - 2 barish kam kam lagti hai nadiyaa madham lagti hai hum sumandar ke andhar chale hum chale hum chale oye ramchandre - 2 Dhadak Dhadak Bunty Aur Babli dhadak dhadak dhadak dhadak seeti bajaye re dhadak dhadak dhadak dhadak dhooan udaye re dhadak dhadak dhadak dhadak mujhe bulaye re hum to chale sar pe liye ambar ki thandi phul kariya hum hi zameen hum aasmaan kasma nu khaaye baki jahan (chaand ka tika mathe lagake raat din taaro bina jeena bhi easy nahin) hum chale hum chale oye ramchandre - 2 dhadak dhadak dhadak dhadak dhooan udaye re dhadak dhadak dhadak dhadak seeti bajaye re dhadak dhadak dhadak dhadak dhooan udaye re dhadak dhadak dhadak dhadak mujhe bulaye re --MALE dhadak dhadak dhadak dhadak --FEMALE-- dhadak dhadak dhadak dhadak dhooan udaye dhooan udaye seeti bajaye re --MALE-- seete bajaye seete bajaye re dhooan udaye re --FEMALE-- dhadk dhadak MALE-- mujhe bulaye re dhadak dhadak dhadak dhadak dhooan udaye re Tabla Sargam : Di Na Ka, Di Na Ka, Dhin Dhin Ta Harmonium Sargam : Ma Pa Da Da Da --FEMALE mujhe bulay Da Pa x2 Ma Ma Pa Pa Pa Ma Ma Ma Ga Ga Ga Ga *Sa Sa Sa Sa x2 Dha Re Sa Re, Dha *Sa Dha Dha Pa

33 In Bihar Give Peace a Chance (Beatles) C Everbodys talking about Bagism, Shagism, Dragism, Madism, Ragism, Tagism This-ism, That-ism, Isn't it the most? C G C All we are saying is give peace a chance C G C All we are saying is give peace a chance C G C All we are saying is give peace a chance C Everbodys talkin about Ministers, Sinisters, Banisters, Canisters, Bishops and Fishops, Rabbits and popeyes, Bye-bye Bye-byes C G C All we are saying is give peace a chance C G C All we are saying is give peace a chance C Let me tell you now, Everybodys talking about Revolution, Evolution, Mastication, Flagellation, Regulations, Integregations, Meditation, Unitied Nations, Congratulations C G C All we are saying is give peace a chance C G C All we are saying is give peace a chance C Ok lets stick to it, Everybodys talkink about John and Yoko, Timmy Leary Rosemary, Tommy Smothers, Bobby Dylan, Tommy Cooper, Derek Taylor Norman Mailer, Alan Ginsberg, Hare Krishna,Hare Hare Krishna C G C All we are saying is give peace a chance C G C All we are saying is give peace a chance C G C All we are saying is give peace a chance C G C All we are saying is give peace a chance

34 Imagine By John Lennon In Bihar Imagine there's no Heaven It's easy if you try No hell below us Above us only sky Imagine all the people Living for today Imagine there's no countries It isn't hard to do Nothing to kill or die for And no religion too Imagine all the people Living life in peace You may say that I'm a dreamer But I'm not the only one I hope someday you'll join us And the world will be as one Imagine no possessions I wonder if you can No need for greed or hunger A brotherhood of man Imagine all the people Sharing all the world You may say that I'm a dreamer But I'm not the only one I hope someday you'll join us And the world will live as one

35 In Bihar Song : Apna Bharat Aesa Hai Tabla Sargam Dha Dha Te Te, Dha Dha Tun na Ta Ta Te Te, Dha Dha Tun na Dha Dha TeTe TeTe TeTe Dha Dha TeTe, Dha Dha Tun na TaTa TeTe, TeTe Tete TaTa TeTe, DhaDha Tun na 2x 2x 3x 3x 3x 3x TeTe TeTe TeTe TeTe, Tunna Tunna Tunna Tunna Tunna TeTe Tunna Tunna, TeTe TeTe Dha TeTe, Dha TeTe, TeTe, Dha Dha TeTe Dha Dha Tunna Ta TeTe Ta, TeTe TeTe TaTa TeTe, Dha Dha Tunna Dha Ge TeTe, Ta Ge TeTe, Dha Ge TeTe Dha Dha Tunna Ta Ge TeTe, Ta Ge TeTe Dha Ge TeTe Dha Dha Tunna Harmonium Sargam Sa Ga Sa Ga Sa Ga Pa Pa Pa Pa Pa, Da Pa Ga Ga Ga Re Re Re Pa Ga Re Sa Pa Pa Pa Da / Sa Sa Sa / Re Sa Da Pa / Da Pa Ga Ga Ga -> Pa Pa Pa Pa / Da Pa Ga Ga Ga / Re Re Re Pa / Ga Re Sa Saragam *Apna Bharat Aesa Hai Mandir Sabka, Mandir Hai Masédjid Sabka, Masédjidé hai * Sapka Man, Guru Dhuara hai Girija Sapka Pyara Hai Apne Dess Ki Nari Ka Achel Ganga Djabena Hai Biro or Djavano Ka Sir Dunya me Hucha hai 4x Hindu Musslim Shik Issaï Ové Appas me Bhai Bhai Inmé Hotti Khabi Na Laraï Unko Gaya Dunya Sari

36 Camijulis Song By Sunita Madame Bachhe Man Ke Sachhe Bachhe Man Ke Sachhe Sare Jag Ke Aakhon Ke Tare Ye Wo Nanhe Phool Hain Jo Bhagwaan Ko Lagte Pyare Bachhe Man Ke Sachhe Bachhe Man Ke Sachhe In Bihar Sujata Song School chalo, school chalo, school chalo O bharat ke bachao sub school chalo Suraj ki kirane boli school chalo Chirio ne aankhe kholi school chalo School chalo, school chalo, School chalo O bharat ke bachao sub school chalo Vidaya ke ab phul khile har gawo sahar Ghar ghar me gayan ki jyoti jalge har ek pahar School chalo, school chalo, school Chalo O bharat ke bacho sab school chalo

37 In Bihar Song : ilhaam hassan dekho dekho hai shaam badi deewani dheere dhere ban jaye na koi kahani x2 dilbar hai dilkash hai dildaar nazare hain aaj zameen per utre kitne sitare hai atlo hosh na mi danam, hum hai dil hai aur janam bas deewangi deewangi deewangi hai na koi rahe sama rahe per, yeh ilzaam lage kisper bas deewangi deewangi deewangi hai all the hot girls put your hands up and say, om shanti om all the cool boys come on make some noise and say, om shanti om say, om shanti om all the cool boys come on make some noise and say, om shanti om x2 shaam gazab ki humgamna khez ai, iska nasha hi gehra hai tez hai x2 zulf khuli hai resham resham saans ghuli hai madham madham, yeh to ishaare hain atlo hosh na mi danam, hum hai dil hai aur janam bas deewangi deewangi deewangi hai na koi rahe sama rahe per, yeh ilzaam lage kisper bas deewangi deewangi deewangi hai all the hot girls put your hands up and say, om shanti om all the cool boys come on make some noise and say, om shanti om all the hot girls put ur hands up and say, om shanti om all the cool boys come on make some noise and say, om shanti om kehene ko waise to sara sukun hai phir bhi yeh dil hai ki isko junoon hai x2 pal do pal ko khwaab saza de isko usko sab ko bata de, raaz jo sare hain atlo hosh na mi danam, hum hai dil hai aur janam bas deewangi deewangi deewangi hai na koi rahe sama rahe per, yeh ilzaam lage kisper bas deewangi deewangi deewangi hai all the hot girls put your hands up and

38 Once upon a time in Mumbai song Tum jo aaye Lyrics: Paya maine, paya tumhe, rab ne milaya tumhe, Hontun pe sajaya tumhe, nag mein sagaya tumhe Paya maine, paya tumhe, sab se chupaya tumhe, Sapna banaya tumhe, neendun mein bulaya tumhe Tum jo aaye zindagi mein baat ban gayi Ishq mazhab, ishq meri zaat ban gayi In Bihar Sab se upar likha, hai tere naam ko Khwaishon se jude silsilon mein kahin Khwaishein milne ki tumse, khwaishein milne ki tumse Roz hoti hai nayi Mere dil ki jeet meri baat ban gayi Hoo tum jo aaye zindagi mein baat ban gayi Paya maine, paya tumhe, rab ne milaya tumhe, Hontun pe sajaya tumhe, nag mein sagaya tumhe Paya maine, paya tumhe, sab se chupaya tumhe, Paya maine, paya tumhe, rab ne milaya tumhe, Hontun pe sajaya tumhe, nag mein sagaya tumhe Paya maine, paya tumhe, sab se chupaya tumhe, Sapna banaya tumhe, neendun mein bulaya tumhe Ho tum jo aaye zindagi mein baat ban gayi Sapne teri chahaton ke, sapne teri chahaton ke Dekhti hoon ab gayi Din hai sona aur chaandi raat ban gayi Ho tum jo aaye zindagi mein baat ban gayi Paya maine, paya tumhe, rab ne milaya tumhe, Hontun pe sajaya tumhe, nag mein sagaya tumhe Paya maine, paya tumhe, sab se chupaya tumhe, Sapna banaya tumhe, neendun mein bulaya tumhe Chahatun ka maza, fasalun mein nahin Aa chupa loon tumhe hauslon mein kahin Sapna banaya tumhe, neendun mein bulaya tumhe Zindagi bewafa hai yeh maana magar Chod kar raah mein jaoge tum agar Cheen launga main aasman se tumhe Soona hoga na yeh, do dilon ka nagar Raunke hain dil ke dar pe, raunke hain dil ke dar pe Dhadkane hain surmayi Meri kismat bhi tumhari, saath ban gayi Hoo tum jo aaye zindagi mein baat ban gayi Ishq mazhab, ishq meri zaat ban gayi Sapne teri chahaton ke, sapne teri chahaton ke Dekhti hoon ab gayi Din hai sona aur chaandi raat ban gayi Hoo tum jo aaye zindagi mein baat ban gayi Paya maine, paya tumhe, rab ne milaya tumhe, Hontun pe sajaya tumhe, nag mein sagaya tumhe Paya maine, paya tumhe, sab se chupaya tumhe, Sapna banaya tumhe, neendun mein bulaya tumhe

39 Yeh To Sach Hai Ki Bhagwan Hai Yeh To Sach Hai Ki Bhagwan Hai, Hai Magar Phir Bhi Anjaan Hai, Dharti Pe Roop Maa Baap Ka, Us Vidhaata Ki Pehchaan Hai... In Bihar Janmdaata Hai Jo, Naam Jinse Mila, Thamkar Jinki Ungli Hai Bachpan Chala, Kaandhe Par Baithke, Jinke Dekha Jahaan, Gyan Jinse Mila, Kya Bura Kya Bhala, Itne Upkaar Hain Kya Kahen, Yeh Bataana Na Aasaan Hai, Dharti Pe Roop Maa Baap Ka, Us Vidhaata Ki Pehchaan Hai... Janam Deti Hai Jo, Maa Jise Jag Kahe, Apni Santaan Mein, Pran Jiske Rahe, Loriyan Hothon Par, Sapne Bunti Nazar, Neend Jo Vaar De, Hanske Har Dukh Sahe, Mamta Ke Roop Mein Hai Prabhu, Aapse Paaya Vardaan Hai, Dharti Pe Roop Maa Baap Ka, Us Vidhaata Ki Pehchaan Hai... Aapke Khwab Hum, Aaj Hokar Jawaan, Us Param Shakti Se Karte Hain Prarthna, Unki Chhaya Rahe, Rehti Duniya Talak, Ek Pal Reh Sake Hum Na Jinke Bina, Aap Dono Salaamat Rahe, Sabke Dil Mein Yeh Armaan Hai, Dharti Pe Roop Maa Baap Ka, Us Vidhaata Ki Pehchaan Hai, Yeh To Sach Hai Ki Bhagwan Hai...

40 In Bihar Mere Dholna Sun Mere Dholna Sun Mere Pyaar ki dhun Mere Dholna Sun Dha Na Dha Tatdha tatdha Dhi Titkit Dha Dhi Titkit Dha Dhin Tirakita Tirakita dha Dhin Tirakita Tirakita dha Dhin Tirakita Tirakita dha Dhin Tirakita Tirakita dha Dhin Tirakita Tirakita dha Dha Tat Dhin Tirkit Dha Tirkit Dha Tirkit Dha Dha Tat Dhin Tirkit Dha Tirkit Dha Tirkit Dha Dha Tat Dhin Tirkit Dha Tirkit Dha Tirkit Dha Mere Dholna Sun Mere Pyaar ki dhun Mere Dholna Sun Meri Chahte to Fiza mein bahengi Zinda Rahengi Hoke fana Tana na na tum 4 Ta na dhi re na ta dhi re ta na dhi re na Mere Dholna Sun Mere Pyaar ki dhun Mere Dholna Sun [allap] [Saathi re saathi re mar ke bhi tujhko Chahe ga dil tujhe hi bechainiyon mein aayega dil]2 Mere Kesuo ki saaye mein Teri raahton ki khushboo hai Tere begair kya jeena Mere rom rom mein tu hai Meri chudiyon ki khaan khan se Teri sada aati hai Yeh dooriyan hamesha hi nazdik kahan bulati hai o Piya Sa Ni Dha Ni Dha Ma Ma Ga Sa Ni Dha Ni Sa Ga Ma Ma Ga Sa Ni Dha Ni Sa Ga Ma Ga Sa Ni Dha Ni Sa Ga Ma Ga Ma Ga Sa Ni Dha Ga Pa Dha Ni Sa Ni Dha Ga Pa Dha Ni Sa Ni Dha Ni Dha ni Sa Dha ni Sa Dha ni Sa Dha ni Sa Ma Dha Ni Ma Dha Ni Ma Dha Ni Ma Dha Ni Dha ni Sa Dha ni Sa Dha ni Sa Ma Dha Ni Ma Dha Ni Ma Dha Ni Ma Dha Ni Sa Ma Dha Ni Sa Ma Dha Ni Sa Ma Dha Ni Sa Sa Ni Dha Ma Sa Ni Dha Ma Sa Ni Dha Ma Sa Ni Dha Ma Ma Ma ga ga Sa Sa Ni Ni Sa Sa Ni Ni Dha Dha Ni Ni Sa Sa Ni Ni Dha Dha Ma Ma Sa Sa Ni Ni Dha Dha Ga Ga Re Re sa sa Ni Ni Sa sa Sa Ni Dha Sa sa sa Ma Ga Sa sa sa [Mere Dholna Sun Mere Pyaar ki dhun Mere Dholna Sun ]2 [Aaalaap] [Saason mein saason mein teri sargame hai Abb raat din Zindagi meri to kuch na abb tere bin ]2 Teri dhadkon ki sargoshi Meri dhadkano mein bajti hai