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Man Tadpat Hari Darshan Ko Sargam Notes


HOW TO READ THE NOTATIONS

  • CAPITAL LETTERS
    = Shuddh Swars (Natural Notes)
  • small letters
    = Komal Swars (Flat Notes)
  • M with # [hash] or ^ [exponent]
    = Tivra Madhyam (M# / M^)
  • Letter/Alphabet ONLY
    = Medium Pitch/Normal blow on flute
  • Letter/Alphabet PRECEDED BY a ” . ” [full stop] or  a ” , ” [comma]
    = Low Octave Note/Softer blow on flute
  • Letter/Alphabet FOLLOWED BY a ‘ [single quote]
    = High Octave Note/harder blow on flute
  • Notes in { }
    = “murki” have to be played very fast without any pause
  • A Note in ( )
    = “kann swar” has to be just touched before moving on to the next note
  • A “~” between two Notes 
    = “meend”. That is, you have to glide from one note to another slowly to produce that wavy effect.
  • Few “….” (dots) after a note 
    = Play and hold that note

Sargam Notations for Devotional Song – “Man Tarpat Hari Darshan Ko…”

Singer: Mohd. Rafi
Lyrics : Shakeel Badayuni
Music : Naushad
Movie : Baiju Bawra (1952)
Raag : Malkauns
Aroh: S g M d n S’
Avroh : S’ n d M g S
Scale : A#

Raag Malkauns is a difficult Raag to pull off, especially for the beginners. Transitions between Komal Gandhar (g), Komal Dhaiwat (d) and Komal Nishad (n) need to be smooth, which can be achieved only after a great deal of practice.

There are many tutorials available for this song ‘Man Tadpat Hari Darshan ko…’ on the internet, but what I observed is that none of them followed the exact Swars of Raag Malkauns. And, for easiness, they wrote those notations, by transposing the notes and starting the song either at low octave Shuddh Dhaiwat or Pancham, which is in fact, prohibited in Raag Malkauns.

But, here I have tried to keep the original notes of Raag Malkauns intact while writing the following notations. Although Rishabh (R) and Pancham (P) are not used in Raag Malkauns, but in the following notations, these two have been used just as Kann Swars (helping notes).

PRELUDE:

Hari | om, |
,n~,d,n~S | S~M…|

hari | om, |
M~g M | g~S… |

hari | om, |
S S | S….S’….

hari | om
n~d…n(S’)n | d~M

MUKHDA:

Man | tada pat |
M M~g | gM(P)M g~S S

hari | dar shan | ko | aj
S~,n n(R)S | ,n~,d~,n S SM | M | M~g~M M

Man | tada pat |
M M~g | gM(P)M g~S S

hari | dar shan | ko | aj
S~,n n(R)S | ,n~,d~,n S SM | M | M~g~M M

More | tum | bin |
M M | M~g~M | d n

bigare | sagare | kaaj
S’ S’ S’~n | d n d | M M

He…. Binati | karat |
gMdnS’ | S’S’ S’~n | S’~n dM

hun, | rakhiyo | laaj
gMdnS’ndM | d n d | M M

Man tadpat…

ANTARA 1:

Tumre | dwaar | ka |
M~g~M | Mn~dn | n

main | hun | jo gi
S’… | S’ | S’g~n S’…

Hamri | or | najr |
S’S’S’ | S’~n~d | Md d~n n~d |

kab | hogi
n~S’ S’~n | n~d n~d M

Suno | more | byaakul |
d n | S’~g g~S’ | g~M~g g~S’ S~,n

man | ka | baaj
d~M M | gMdnS’ndM | S…S

Man tadpat…

ANTARA 2:

Bin | guru | gyan |
M~g | M M | Mn~dn |

kahaan | se | paaun |
n S’… | S’ | S’~g~n S’

Aaaaa….
gMdnS’… n dM
M n d n…(S’)n d M g
S~M g~M…(P)M g~S
S~,n~,d~,nS
M~g~M

Bin | guru | gyan |
M~g | M M | Mn~dn |

kahaan | se | paaun |
n S’… | S’g’S’g’ | g’~n S’….

Dijo | daan |
S’ S’ | S’~n S’~n dM |

hari | gun | gaaun
Md d~n~d | nS’ S’~n | n~d n~d dM

Sab | guni | jan | pe |
d n | S’~g~S’ | g gM~g | g~S’

Tum ra | raaj
S’~’n n~d {MdnS’}| nd gS S

Man tadpat…

ANTARA 3:

Murali | manohar | aas | na | todo
MgM | Md n | S’S’ | S’ | S’S'(r)n~S’…

Murali | manohar |
M M | MM M

mohan | giridhar | hari om
M MM | MM M | MM M…

O ..
nS’…~n..

Dukh | bhnjan | mora |
d n | n n | n n

saath | na | chhodo
dn S’ | n | dM MdgM …

hari om | hari om | hari | hari om
MM M | MM M | Md | gM M….

Mohe | darshan | bhiksha | de | do
gM | Md d | dn n~d | n S’ | S’….

Murali | manohar |
M M | MM M

mohan | giridhar | hari om
M MM | MM M | MM M…

Mohe | darshan | bhiksha |
gM | Mn d | d M |

de | do | aj | de | do | aj
gM | Mg | Md M | gM | gS… | S….

Murali | manohar |
M M | MM M

mohan | giridhar | hari om
M MM | MM M | MM M…

hari om | hari om | hari om | hari om
MM M… | dd d… | nn n… | S’S’ S’….

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