krishnaa nee bEganE baarO
Ragam: Yamuna
Kalyani { 65th Melakartha Mecha Kalyani Janyam}
https://en.wikipedia.org/wiki/Yamunakalyani
ARO: S R₂ G₃ P M₂ G₃ P D₂ N₃ D₂ Ṡ ||
[sung in madhyamam sruti]
AVA: Ṡ N₃ D₂ P M₂ G₃ M₁ R₂ S ||
Talam: Misra
Chapu
Composer: Vyaasaraaya
Version:
Lyrics & Meanings Courtesy: Karnatik.com https://karnatik.com/c1298.shtml
Youtube
Class / Lesson: https://www.youtube.com/watch?v=qn-dT-dznmw
MP3 Class / Lesson: http://www.shivkumar.org/music/krishnaneebegane
-class.mp3
Pallavi:
krishna nee
bEganE baarO
Anupallavi
bEganE
baarO mukhavannu tOrO
(krishna
nee bEganE baarO)
caraNam
1
kaalaalandhugE
gejje nIlada baavuli
nIlavarNane
naaTya vaaduta baarO
(krishna
nee bEganE baarO)
Udiyalli udigejje beraLalli ungura
koraLalli haakida vaijayantiya maalE
(krishna nee bEganE baarO)
caraNam
3
kaashi
peethambara kaiyalli koLalu
pUsida
shreegandha mayyOLagamma!
(krishna
nee bEganE baarO)
caraNam
4
taayige
baayalli jagavannu torida
jagadhOddhaaraka
namma uDupi shree krishna
(krishna
nee bEganE baarO)
Meaning: (Contributed by Jayaram
Suryanarayana)
pallavi:
krishna nee bEganE baarO - Krishna ! Come hither soon !
anupallavi:
bEganE baarO mukavannu tOrO - Come hither soon! Show (me) your face!
caraNam
1: kaalaalandhigE gejje niladhabaavuli - Beautiful anklets adorn your feet!
Sapphire bracelets (on your arms)!
nilavarNane
naaTya maaduta baarO - "(Oh!)Blue coloured one.. (Please) come hither
dancing !
caraNam
2: Odiyalli odigejje beraLalli ongura - Waistbands with bells adorn your waist!
Ring(s) on your finger(s) !
koraLalli
haakita vajayantimaalE - "The (divine)Vaijayanthi necklace garlands your
neck !
caraNam
3: kaasi peeTambara kaiyalli koLalu - (Sacred)Saffron cloth from Kashi (covers
you) ! (a) flute in your hand(s)!
pushita
shreegandha mayallOLagamma! - Oh dear! Your body is anointed with sandal paste
!
caraNam
4: taayige baayalli jagavannu torita - The one who showed his mother the
universe in his mouth
jagadhOdhaaraka
namma uDupi shree krishna - (that)Benefactor of the world (Is) our Udupi Shri
Krishna !
Pallavi: {note – this is sung in madhyamam struti}
krishna nee
bEganE baarO
Sahityam: krishna nee bEganE baarO
Meaning:
krishna nee bEganE baarO - Krishna ! Come hither soon !
; ; S | G ,
m | R ; || snrs nd | ; N | , R
, ||
Kri shna- nee bE- -
- - ga
nE
(optional)
; ; g m |
R ; | S ; ||
dnrds , | ; ; | ; ; ||
- - baa- rO -
- - - - - -
- - -
; ; S | G ,
m | R ; || nr-ssnd | nN , | R ; ||
Kri
shna- nee bE- -
- ga
nE
nsrgmp
| R ; |
S ; || ; ; ; | ; ; | ; ; ||
baa- -
- rO -
- - - - - -
- - -
; ; S | G ,
m | R ; || grnd ; | N ; | R
; ||
Kri
shna- nee bE- -
- ga nE
G ; ,m
| R ; |
S ; || ; ; ; | ; ; | ; ; ||
baa- -
- rO
- - - - - - - - - -
Anupallavi
bEganE baarO
mukhavannu tOrO (krishna nee bEganE baarO)
Sahityam: bEganE baarO mukavannu tOrO
Meaning: Come hither soon! Show (me)
your face!
; ; G | G R
| G M || P ; ; |
gm P |
P ; ||
bE
ga - nE- baa-
rO - - - -
; ; mp | D ; | D P ||
P ; , n | dpP ; | mdpm ||
Mukha van nu - tO - rO -
- - - -
G ; -md | pmG | G M || P
; ; | gm P | P ; ||
bE ga
- nE- baa- rO - -
- -
; ; mp
| D
; | D P || mpnd nn | dpP ; | mdpm
||
Mukha van
nu - tO - rO
- - - - -
G ; -gm | G ; | G ; || G ; ; | G R | gmdp
||
bE
ga - - nE
baa- rO - - - -
P ; gm
| G R
| R S || nsrg mdpp | R ; | S ; ||
Mukha van
nu - tO -
rO - -
-
; ; - S | G
, m | R ; || sn D ; | N ; | R ; ||
Kri shna-
nee bE- - -
ga nE
nsrgmp
| R ; |
S ; || ; ; ; | ; ; | ; ; ||
baa- -
- rO - - -
- - - - - - -
; ; - S | g- rgm |
R ; || sn D ; | N
; |
R ; ||
Kri
shna- nee bE- -
- ga nE
; ; gm | R ; | S ; || ; ; ; | ; ; | ; ; ||
- - baa
rO - - - - - - - - - -
caraNam
2
Udiyalli
udigejje beraLalli ungura
koraLalli
haakida vaijayantiya maalE
(krishna
nee bEganE baarO)
Sahityam: Odiyalli odigejje beraLalli ongura
Meaning: Waistbands with bells adorn
your waist! Ring(s) on your finger(s) !
; ; md | pm
R | G M || P P ; | gmP | P ; ||
Udi yal - li -
u di ge
jje
; ; mp
| D ;
| D P || P ; , n | dpP
; |
mdpm ||
Bera Lal
li - un -
gu - ra
- -
Sahityam: koraLalli haakita vajayantimaalE
Meaning: "The (divine)Vaijayanthi
necklace garlands your neck !
G ;
-gm | G ; | G
; ||
G ; ; | G R | gmdp
||
Kora
Lal li haa- - ki- - da - -
P ; gm
| G R
| R S ||
nsrg mp | R ;
| S ; ||
- vai- ja yan- ti
- maa
- - la
(krishna nee bEganE baarO)
; ; - S | G , m |
R ; || nrssnd | N
; |
R ; ||
Kri
shna- nee bE- -
- ga nE
; ; gm | R ; | S ; || ; ; ; | ; ; | ; ; ||
- - baa- rO - -
- - - - - - - -
caraNam
3
kaashi
peethambara kaiyalli koLalu
pUsida
shreegandha mayyOLagamma!
(krishna
nee bEganE baarO)
Sahityam: kaasi peeTambara kaiyalli koLalu
Meaning: (Sacred)Saffron cloth from
Kashi (covers you) ! (a) flute in your hand(s)!
; ; md | pm
R | ;
gm || P ; ; | P ; | P ; ||
Kaa- shi
- - - pee- tham-
ba- ra –
; ; mp
| D ;
| D P || P ; , n |
dpP ; | mdpm ||
Kai-
yal- li - ko -
La- lu
Sahityam: pushita shreegandha
mayallOLagamma! –
Meaning: Oh dear! Your body is anointed
with sandal paste !
G ;
-gm | G ; | G
; ||
G r G r | ; rg |
m P , ||
- - pU- si
da shree-gan - dha -- -
P ; gm
| G R
| R S || nsrg mdpp | R ; | S ;
||
- may yO-
La - gam- - - - ma! - -
(krishna
nee bEganE baarO)
; ; - S | G , m |
R ; || sn D ; | N
; |
R ; ||
Kri
shna- nee bE- -
- ga nE
nsrgmp
| R ; |
S ; || ; ; ; | ; ; | ; ; ||
baa- -
- rO - - -
- - - - - - -
caraNam
4
taayige
baayalli jagavannu torida
jagadhOddhaaraka
namma uDupi shree krishna
(krishna
nee bEganE baarO)
Sahityam: taayige baayalli jagavannu torita
Meaning: The one who showed his mother
the universe in his mouth
; ; md | pm
gr | G M || P ; ; | P ; | P ; ||
Taa- yi- - - ge
- baa yal li
; ; mp
| D ;
| D P || P ; , n | dpP
; |
mdpm ||
Jaga van nu- to
- ri - - da - -
G ; md | pm
gr | G M || P ; ; | gmP |
P ; ||
Taa-
yi- - - ge -
baa yal li
; ; mp
| D ;
| D P || P ; , n |
dpP ; | mdpm ||
Jaga
van nu- to
- ri - -
da - -
Sahityam: jagadhOdhaaraka namma uDupi shree
krishna
Meaning: (that)Benefactor of the world
(Is) our Udupi Shri Krishna !
G ;
-gm | G ; | G
; ||
G r G r | ; rg | gmdp ||
- - jaga
dhO ddhaa ra -
ka - nam ma-
P ; gm
| G R | R
S || nsrg mdpp | R ; | S ;
||
uDu pi - shree kri-
- - - shna
- -
; ;
-gm | G ; | G
; || G G ;
| R- rg | gmdp ||
- - jaga
dhO ddhaa ra ka - -
nam ma-
P ; gm
| G R
| R S || nsrg mdpp | R ; | S ;
||
uDu
pi - shree kri-
- - - shna
- -
; ; - S | G , m |
R ; || sn D ; | N
; |
R ; ||
Kri
shna- nee bE- -
- ga nE
nsrgmp
| R ; |
S ; || ; ; ; | ; ; | ; ; ||
baa- -
- rO - - -
- - -
- - - -
; ; - S |
g- rgm | R ; || sn D ;
| N ; | R ; ||
Kri
shna- nee bE- -
- ga nE
; ; gm | R ; | S ; || ; ; ; | ; ; | ; ; ||
- - baa
rO - - - - - - - - - -
Other
information: "Bhava darpana" by S. Jayaram Uparna.
Saint
Vyasaraya reaches his devotional pinnacle in this song. There is hardly anyone
who is not moved when he hears this song being rendered correctly. Here the
Saint calls out to Krishna and implores him to come to him . He launches into a
devotional trance where he sees Krishna at a distance. Krishna's immaculate
dressing and exquisite beauty makes the Saint detail them in this evergreen
song. The amalgamation of genuine Bhakti with touchingly simple composition,
sets one thinking whether is Krishna who is decorated with the ornaments, or
the other way around.
There is a
more profound philosophical meaning to this song. The anklets are worn in India
with a belief that the bells attached to them would create a sound which beckon
good fortune and drive away demons. When the Saint describes Krishna, he
allocates a first place to this ornament, thus requesting Krishna to ward off
all the demons of ignorance in our heart and bestow all his divine mercy on us.
The next in
line is the armlet. The armlet (popularly called as Baajuband in the northern
parts of India), is an ornament in the upper portion of the arm. The Armlet is
an ornament that restricts the free movement of the hand, it has a tight grasp
and is a constant reminder of its presence. Ideologically, this ornament is
considered to be a symbol of restraint and control, of what is called as
'SaMyama'. Hence, the Saint calls out to the Lord to grant the benign qualities
of restraint and control, to his devotees. Not only does the Saint ask Krishna
to come, but He also implores the Lord to come dancing ..... a symbol of pure,
unadulterated joy.
WaistBands
are worn mostly by the affluent, aristocratic families in India, and the
mention of these here has profound significance. The Waistbands worn on
children, apart from their other mundane practical purposes, is supposed to
disenchant and protect the young one. Since Krishna's beauty is above all, it
is as if the Saint is imploring the Lord to not forget to wear the waistband,
so that the evil eye cast by his devotees on him (when they see His lotus like
face), does not affect him...!
Rings have
always been associated with the show of dedication all over the world ( be it
the royal insignia, the Seal or even the wedding ring). The Saint implores
Krishna to bless him with dedicated unflinching devotion, so that he may never
stray from the path of Love towards the Supreme.
The
Vyjayanthi Mala, a divine necklace born during the churning of the
KsheeraSagara (Milk Ocean), is a sacred and potent ornament. It is said to
bestow unrestricted victory to anyone who wears it (hence the name Vaijayanti
-- Vijayee Kurvanti iti Vaijayanti ). The Saint describes the Lord wearing this
ornament, so that the Love for the Lord (Bhakti) in the devotees heart always
emerges victorious over the other emotions that ravage the human heart.
Kaashi is
one of the oldest inhabited cities in the world, and for the Hindus, it is the
sacred city of death. Every devout Hindu aspires to breath his last in this
city for it is believed that one who does so attains salvation without doubt.
Kashi, also called as Benares, is very famous for the rich golden silk cloth
that is made there. The Saint remembers the City through its famous silk,
imploring the Lord to bestow him with the ultimate goal of any living entity ..
the remembrance of Krishna while passing away.
The Flute
is a unique musical instrument. Utterly mellifluous and demystifyingly
simplistic and practical, the flute is Krishna's favorite instrument. The flute
not only soothes the humans listening to it, but even the beasts have been
known to slow down, calm and be subdued at the sound of the Flute.
Metaphorically speaking, Krishna's flute is remembered here to defeat the
beasts in us and to congregate the saintly ( the cow has always been associated
with a saintly nature, and Krishna's flute always calls the cows together).
After all
the ornaments and instruments, the Saint directs his attention to the most
revered of all beautifying agents - Sandal Paste. The Sandal tree is a unique
tree. It gives itself up, and though it undergoes pain and torture when it is
rubbed together vigorously, it endures it all and perfumes even the hand that
caused it the suffering. The Sandal has always been a symbol of sacrifice and
total submission. Devotees of the highest grade have been compared to the
Sandalwood. Hence, by mentioning the aromatic Sandal paste here, the Saint
cautions one towards the ideal of complete submission to and absolute
dependency on, Krishna.
Lest the
devotee take Krishna's love in jest, the Saint reminds him of the famous
episode from Krishna's childhood when he shows the entire universe in his lotus
like mouth to his startled mother. By this Krishna shows to the devotee that he
is the be all and end all of everything. He is the originator, benefactor and
ultimate destroyer of everything. The Devotee is cautioned that he should never
take Bhakti lightly, for that may sound the death knell of his existence...and
the pure devotee is spirited away into remembrance of the splendid world of
Krishna Leela. A befitting end to a glorious song. Shri KrishNArpaNam astu.