Hum tere binn ab rehh nahi sakte(Tum hi ho) notation

 Song: Hum tere binn ab rehh nahi sakte 

 Movie: Aashiqui2

Hum* tere* * binn *** a-b* * rehh***** nahi** ** sakte
C**** * F D#* D#C#* C#C* A#G# * A#C# ** C C C

Tere* ** bina**** kya** wajoodh ** mera
A#A#* G#A#* A#*** G#G** F***** D# F

Hum* tere* * binn *** a-b* * rehh***** nahi** ** sakte
C**** * F D#* D#C#* C#C* A#G# * A#C# ** C C C

Tere* ** bina**** kya** wajoodh ** mera
A#A#* G#A#* A#*** G#G** F***** D# F





Tujhse** juda**** gar** ho ** jaa* yenge
C C F*** D#C#* C#C* A#** A#* C** C

Toh** khud** se*** hi ** ho ** jaa* yenge** judaa
C***** A#A#* A#** G#** A#** A#* G** F**** D# D#

Kyun** ki** tum** hi * ho
F******* G#* C**** G#** A#

Ab ** tum** hi** ho
FG#* C* ** G# * A#

Zindagi*** ab** tum* hi * ho
F A# G#* GF* G**** D#* F

HO HO HO?
G** G#* A#

Chain * bhi, * mera*** dard ** bhi
C** G#* A#* * F G#*** C G# * A#

Meri** aashiqui ** ab** tum* hi ** ho
G* F** G A# G#** GF** G*** D#*** F





Tera * mera ** ri-sh-ta** * hai**** kaisa
C F*** D#C#** A#G#A#* C#*** C C

E-kk * * pal***** door * * gawara** nahi
A#A#* A#G#* A#A#** G# G F** D# F

Tere** liye****** har*** ro-z* ** hai*** jeete
C F*** D#D#* C#C* A#A#* C#** C C

Tujh***** ko** diya * * mera**** waqt * sabhi
A#A#** A#** G#A#* A#G# ** G F** D# F

Koi*** lamha* mera* na** ho * tere* * bina
D#F* F G G** F G ** G**** C#* C# C** A# C

Har * saans * pe* * naam*** tera
C F** E ** F** D#*** C#A#** G#A#

Kyun** ki** tum** hi * ho
F******* G#* C**** G#** A#

Ab ** tum** hi** ho
FG#* C* ** G# * A#

Zindagi*** ab** tum* hi * ho
F A# G#* GF* G**** D#* F

HO HO HO?
G** G#* A#

Chain * bhi, * mera*** dard ** bhi
C** G#* A#* * F G#*** C G# * A#

Meri** aashiqui ** ab** tum* hi ** ho
G* F** G A# G#** GF** G*** D#*** F

(Repeat Twice)





Tere* li-ye**** hi * jiyaa* main
F F** D#D#** F** G G** D#

Tujhko* jo* * yun* de* diya* hai
C** C* * C#** C#* * F*** G G * D#

Teeri**** wafa * * ne** mujhko * sambhala
C#C#** C C#** C**** C#* C* ** A# G# C

Saare ** gamo * ko*** dil *** se * nikala
C# C#* C C#** C# * D# * C**** A# G# C

Vatapatra saayiki... instrumental notation

Song: Vatapatra saayiki

Movie: Swathimutyam

Base Notes: S R2 G2 M1 P D1 N3 

(Guest Notes: G3 N2)

Pallavi:

 S S Ri G   rS S S N  S S Ri G  rS S  -  Sa Ri G  Ri S S M  M G Ri G  rS S
 Vatapatra  Saayiki  varahaala laali -  Rajeeva  netruniki ratanaala laali

 S S Ga3 M  Pa P P Pa  -  S S Ga3 M  Pa P P P    Pa D P P  Sa' P
 Muripaala  krishuniki -  Muripaala  krishuniki  mutyaala  laali
  
 M P P D P P M M G  P M M G G  rS S
 Jagamelu swaamiki  pagadaala  laali

Charanam 1:

G3 M Pa P  Pa P P P PaD2N2P  N2p MPamg3 - G3 M Pa P Pa P P P  PaD2N2P  N2p MPamg3
Kalyaana  Raamuniki Kausalya laali      - Kalyaana   Raamuniki Kausalya laali

 G3 M P N2 N2  N2 N2 N2 N2  D2 Ni2s'N2  D2 N2 N2 -  G3 M P N2 N2  N2 N2 N2 N2  

 Yaduvamsa     vibhuniki    yashoda     laali    -  Yaduvamsa     vibhuniki    

D2 Ni2s'N2  D2 N2 N2

yashoda     laali

  
 G3 M Pa S'  S' S' S' Sa' - G3 M Pa S'  S' S' S' S'  N N S'R'S  Ni S'
 Kariraaja   mukhuniki    - Kariraaja   mukhuniki   giritanaya  laali

 N N S' P P  P P P P   M P PDP    DPGRS
 paramaamsha bhavuniki paramaatma laali

Charanam 2:

 G3S G3SG3 G3SG3  S S Ga3 M  Pa P  -  G3S G3SG3  G3SG3   S S Ga3 M  Pa P
 Alamelu   patiki annamayya  laali -  Alamelu    patiki  annamayya  laali

 G3M PaS' S'NS'NNp  MG3 MG3M sGa S -  G3M PaS' S'NS'NNp  MG3 MG3M sGa S
 Kodanda  raamuniki gopayya  laali -  Kodanda raamuniki gopayya laali
  
 s'Ni S' Ni P P P   S' N S' N S' pNi2 P - s'Ni S' Ni P P P   S' N S' N S' pNi2 P
 Shyaamalaanguniki  shyaamayya   laali  - Shyaamalaanguniki  shyaamayya   laali

 mPaPD  D P M G' G M pSa'P  G R rS S
 Aagama nutuniki tyaagayya  laali

Piano /Guitar/ Violin /Flute Western Notations of Brahma Murari (Lingastakam)

Music Director::HamsaLekha

Starring::Arjun Saria,Soundarya..

Carnatic Raga::Shankarananda Priya

Notations::  sa=s  ri=r2   ga=g2   pa=p  da=d2  unless and otherwise specified.

Prelude

g r g r g r g r

Brahma Murari surarchita Lingam

s   r  r g g  r g  g  r  g  g

Nirmala bhasita sobhita Lingam

r  r s  r  s d  s r  g  r  r

Interlude

sgs pppd dpgrssss

sgs pppd dpgrssss

Janmaja dukha vinasaka Lingam

s  r g  p p   p p d p  g  r

Tat pranamami Sadasiva Lingam

s   r  g r d  r r s s  s  s  ||

Interlude

GRSd RSdp Sdpg rs rgrp

Devamuni pravararchita Lingam

p p p d  d  S d  d  d  p  p

Kamadahana karunakara Lingam

p p p d d  d S d d d  p  p

Ravana darpa vinasaka Lingam

g p g  p  d  p g p g  r  r

Tat pranamami Sadasiva Lingam

s   r  g r d  r r s s  s  s  ||

Interlude

dSRSdpdS pdSdpgrs

Sarva sugandhi sulepita Lingam

s  r  r g  g   r g g r  g  g

Buddhi vivardhana karana Lingam

r r    s r  s  d  s r g  r  r

Siddha surasura vandita Lingam

s r    g p p p  p  d p  g  r

Tat pranamami Sadasiva Lingam

s   r  g r d  r r s s  s  s  ||

Kanaka maha mani bhushita Lingam

p p p  p d  d S  d  d  d  p  p

Phanipati veshtitha shobhita Lingam

p  p p p  d d   S   d  d  d  p  p

Dakshasu yajna vinashana Lingam

g  p  g  p  d  p g p  g  r  r

Tat pranamami Sadasiva Lingam

s   r  g r d  r r s s  s  s  ||

Kumkuma chandana lepita Lingam

s  r r  g   g r  g g r  g  g

Pankaja hara sushosbhita Lingam

r  r s  r s  d s   r  g  r  r

Sanchita papa vinashana Lingam

s  r  g  p p  p p d  p  g  r

Tat pranamami Sadasiva Lingam

s   r  g r d  r r s s  s  s  ||

Devaganarchita sevita Lingam

p p p d  d  S  d d d  p  p

Bhavair bhaktibhi revacha Lingam

p  p    d   d S   d d d   p  p

Dinakarakoti prabhakara Lingam

g g p g p d  p  g  p g  r  r

Tat pranamami Sadasiva Lingam

s   r  g r d  r r s s  s  s  ||

Ashtadalo pariveshtita Lingam

s  r r g  g r g g   r  g  g

Sarva samudbhava karana Lingam

r  r  s r  s  d  s r g  r  r

Ashtadaridra vinashana Lingam

s  r g p p   p p d  p  g  r

Tatpranamami Sadashiva Lingam

s   r  g r d  r r s s  s  s  ||

Suraguru suravara pujita Lingam

p p p p  d d d S  d d d  p  p

Suravana pushpa sadarchita Lingam

p p p p  d   d  S d  d  d  p  p

Paramaparam paramatmaka Lingam

g g p g p   d p g  p g  r  r

Tatpranamami Sadashiva Lingam

s   r  g r d  r r s s  s  s  ||

Lingashtakamidam punyam Yat Pathet Shivasannidhau

Shivalokamavapnoti Shivena saha modate

WESTERN VS. CARNATIC NOTATIONS

Carnatic Swaras and Western Notes -Comparison 
No.                                   Carnatic Swara Name                                   Note in the Western System
1                                               Sa or Shadja                                                    C (Do)

2                                                Suddha Rishabha                                           D flat (Re)

3                                               Chatussruti Rishabha                                             D

4                                                Sadharana Gandhara                                     E flat (Mi)

5                                                Antara Gandhara                                                  E

6                                               Suddha Madhyama                                           F (Fa)

7                                                Prati Madhyma                                                F sharp

8                                                Panchama or Pa                                                G (So)

9                                                Suddha Daivata                                             A flat (La)

10                                             Chatussruti Dhaivata                                            A

11                                              Kaisiki Nishadha                                            B flat (Ti)

12                                              Kakali Nishadia                                                  B


What is an octave?
An octave is doubling the pitch of a swara by a factor of 2. Take a look at a keyboard. You will notice the C key. In Carnatic music, the C key is called one kattai or a pitch of one. In a keyboard, the C key is followed by D, E, F, G, A, and B keys. The B key is again followed by another C key. That is, the range between a lower C to the next high is one octave. The range that begins from the next C until the next higher B is reached is Octave 2 and so on.
In Western Music, the interval between two keys or frequencies between two keys (.e.g. D and E) are of fixed intervals.However, in Carnatic music, the intervals between two keys are not absolute intervals but relative intervals or nominal intervals.
In the keyboard, there are black keys in between the white keys that represent pitches (e.g. C, D, etc.) These black keys represent half piches or frequencies between two swaras or notes (e.g. between C and D). In a keyboard, there are five white keys in between the seven black keys that represent the primary notes. The twelve notes are formed when we add the seven primary notes to the five half-notes or in-between frequency notes.
The twelve divisions are common both to Carnatic music and Western music.


Notation in Indian Music
There are two basic ways to write music - Staff notation and script notation.
Western music uses the Staff notation approach. In this approach, music is written on five parallel lines. The position of the note on the line and the space between lines indicate pitch.
The script notation is common to Indian music including, Carnatic music. In script notation, music is written on straight lines. The pitch, intervals and related measures are indicated by using additional symbols. The following will give a basic understanding of the script notation.


Duration (time)                                                                                        Swaras or Notes                    

1) akshara or unit time                                                                                  s r g m p d n                                

 2)aksharas                                                                                             S R G M P D N                                    

 3)aksharas                                                                             s, , r , , g , , m , , p , , d , , n , ,
                                                                                                                           or
                                                                                                         S , R , G , M , P , D , N ,                    
                                                             (Comments::::Each comma represents one  aksharam or unit time)

4) akshara                                                                       s, , , r , , , g , , , m , , , p , , , d , , n , , ,
                                                                                                                   or
                                                                                            S , ,R , ,G , ,M , ,P , ,D , ,N , ,                              

5)Reducing the time                                                                                           ___
                                                                                                                         s s
                                                                                                                         ===
                                                                                                                          s s                                                                                                  (Comments::::::: One horizontal line on top of  swaras indicate that the time is one-half and two lines on top denote  that the time is one-quarter and  so on.)

6)Sthayi or pitch                                                                                                    . .  .  .
                                                                                                                             s r g m  and
                                                                                                                             s r g m
                                                                                                                              . .  .  .  
                                                                                                                              and
                                                                                                                         s r g m g                                                                                           (Comments::::::::::A dot on the top of a note indicates that it belongs to the higher octave and a dot below the note indicates that it belongs to the lower octave. Without a dot, indicates middle range or manthra sthayi.)

7)Swara type
 The sixteen swaras that we discussed earlier, are represented using the following vowel notations.
Swara                                                                                   Notation                                                         
Suddha Rishabha......................................................................ra
Chatussruti Rishbha....................................................................ri
Shatsruti Rishbha.......................................................................ru
Suddha Gandhara......................................................................ga
Sadharana Gandhara..................................................................gi
Antara Gandhara.......................................................................gu
Suddha Dhaivatam.....................................................................dha
Chatussruti Dhaivatam...............................................................dhi
Shatsruti Dhaivatam......................................................................dhu
Suddha Nishadam.......................................................................na
Kaisiki Nishadam.........................................................................ni
Kakali Nishadam........................................................................ni
Sudha Madhyamam...................................................................ma
Prati Madhyamam......................................................................mi
Shadjam (single type).................................................................sa
Panchamam (single type)..............................................................pa

Technical Terms of Carnatic Music

Sangeetham is an rndian term for Music. A group of musical sounds, which are called swaras that give melody and pleasant feelings to the ears, is called Sangeetham.
Ancient writers hold the view that vocal music, instrumental music and dance together constituted sangeetham. Later, dance was separated from the first two.

Shruthi is an audible sound which can be heard distinctly. rt is a musical sound which a well trained human ear is capable of distinguishing. rt is the Key note or Adhara Shadjam, based on which all other Swaras are derived.

Swara is a musical note which is pleasing to the ears. There are seven basic swaras, known as Saptha Swaras. They are -
1. Shadjam (shortly - Sa)
2. Rishabham (Ri)
3. Ghandaram (Ga)
4. Madhyamam (Ma)
5. Panchamam (Pa)
6. Dhaivatham (Dha)
7. Nishadham (Ni)

Dwadasa Swarasthanas
Out of the seven swaras, Shadjam (Sa) and Panchamam (Pa) are constant. They are called Achala Swaras. The remaining five swaras admit varieties and they are called Chala Swaras. rn combination, both Achala and Chala swaras yield 12 different musical notes and they are called Dwadhasa Swarasthanas.
The Dwadasa Swarasthanas are -
1. Shadjam......................................Sa
2. Suddha Rishabam.......................Su Ri
3. Chatusruthi Rishabam.................Cha Ri
4. Sadharana Gandharam...............Sa Ga
5. Anthara Ghandaram...................An Ga
6. Suddha Madhyamam..................Su Ma
7. Prathi Madhyamam.....................Pra Ma
8. Panchamam................................Pa
9. Suddha Dhaivatham...................Su Dha
10.Chatusruthi Dhaivatham.............Cha Dha
11.Kaisiki Nishadham......................Kai Ni
12.Kakali Nishadham.......................Ka Ni2

Arohana – Series of Swaras in the ascending order of pitch.

Avarohana – Series of swaras in the descending order of pitch.

Moorchana – Arohana and Avarohana together, is called Moorchana

Sthayi – A series of swaras, beginning with Sa and ending with Ni, is called Sthayi.

There are Five Sthayis.
1. Anumandra Sthayi
2. Mandra Sthayi
3. Madhya Sthayi
4. Tara Sthayi
5. Ati-Tara Sthayi

The Sthayi in which we normally sing is the madhya sthayi. The swaras following the upper Shadjam of madhya shtayi are in Tara Sthayi, and the swaras following upper shadjam of tara sthayi are in Ati-Tara Stayi. The Sthayi preceding Madhya stayi is the Madhra sthayi, and the swaras preceding the Mandhra Stayi Shadjam are in Anumandra stayi.

Purvanga – The group of first four swaras of the Saptha Swaras – Sa, Ri, Ga,Ma – is known as the Purvanga.

Uttharanga – The group of last three notes – Pa Dha Ni – is known as Uttharanga.

Dhathu – The swara part of the musical composition is known as Dhathu.

Mathu – The sahitya part of a musical composition is known as Mathu.

Akshara Kala – Unit time in music is called Akshara Kala.

Thrikaala – Kala is refers to the speed of the musical piece. There are Three Kalas,

1. Prathama Kala – First degree of speed. One note is sung in one Akshara Kala.
2. Dwitiya Kala – Second degree of speed, twice faster than Prathama kala.Two notes are sung in one Akshara Kala.
3. Tritiya Kala – Third degree of speed, twice faster than Dwitiya Kala. Four notes are sung in one Akshara Kala.
Thourya Trikam - Vocal Music, Instrumental Music and Dance, all the three combined together is referred to as Thouryathrikam.

Tala – Musical time or measure.

Avartha – It is the completion of a tala angas or time measure.

Angas, Shadangas – In order to facilitate easy and accurate method of reckoning musical time, six angas have been devised. They are known as Shadangas or six angas. They are
Name of the Anga                    Sign                                Number of Aksharas
1. Laghu                                        I                                       3/4/5/7/9
2. Drutham                                     O                                       2
3. Anudrutam                                U                                         1
4. Guru                                         8                                           8
5. Plutam                                      |                                             12
                                                   8
6. Kakapadam                             +                                            16


Of the Thalangas, only 3 are widely in use. They are called Principle Thalangas.
Here is the list of Principle Thalangas along with their way of counting
1. Anudrutam (U) – One Beat of the Palm on the lap
2. Drutam (O) – One beat + One wave (usi/visarjitam)
3. Laghu (I) – One beat + Count of the fingers

Jaati – Of the Shadangas, only laghu has variations in number of kriyas. It is called Laghu Jaati bedha. There are 5 Jaatis.
1. Trisra Jaati - 3 Kriyas
2. Chaturasra Jaati - 4 Kriyas
3. Kanda Jaati - 5 Kriyas
4. Misra Jaati - 7 Kriyas
5. Sankeerna Jaati - 9 Kriyas

Sapta Talas – There are seven principle Talas, they are called Sapta Talas.
They are -
Name of the Tala                                   Sign                              Akshara Kala
1. Dhruva Tala                                           IOII                                      14
2. Matya Tala                                            IOI                                       10
3. Rupaka Tala                                          OI                                         6
4. Jampa Tala                                           I7UO                                    10
5. Triputa Tala                                         I3OO                                      7
6. Ata Tala                                              I5I5OO                                  14
7. Eka Tala                                                I                                           4

Basic information on Carnatic Music

 Music has no language.Everyone in the world has a system in presenting their music.Carnatic music (in Sanskrit::KarnATaka sangEta) is a system of music,mostly associated with the people of south India.

It is one of the two main sub-genres of Indian classical music that evolved from ancient hindu traditions; the other sub-genre being Hindustani music, which emerged as a distinct form because of Persian and Islamic influences in North India.

 Carnatic music involve:

1)Shruthi

2)Swara

3)Raga

4)Tala

1)Shruthi::

Shruthi is the relative musical pitch.A shruti is considered the smallest interval of pitch that the human ear can detect.

2)Swara::

Swara is a note in the octave.The seven basic notes of the scale (swaras), in Indian music are named shadja, rishabh, gandhar, madhyam, pancham, dhaivat and nishad, and are shortened to Sa, Ri (Carnatic) or Re (Hindustani), Ga, Ma, Pa, Da, and Ni and written S, R, G, M, P, D, N.

 

3)Raga::

Raga is one of the melodic modes used in Indian classical music. A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, ragas are associated with different times of the day, or with seasons. Indian classical music is always set in a raga.

4)Tala::

Tala is the term used in Indian classical music for the rhythmic pattern of any composition.A tala is a regular, repeating rhythmic phrase, particularly as rendered on a percussive instrument with an ebb and flow of various intonations represented as a theka, a sequence of drum-syllables or bol.

There are several composers in Carnatic/Karnatic music. Tyagaraja (1759–1847), Muthuswami Dikshitar (1776–1827) and Syama Sastri (1762–1827) are known as the Trinity of Carnatic music, while Purandara Dasa (1480–1564) is the father of Carnatic music.